Bibliografías temáticas / Journalists – turkey – fiction

Literatura académica sobre el tema "Journalists – turkey – fiction"

Autor: Grafiati
Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Journalists – turkey – fiction"

1

Vititnev, S. F. y A. V. Shmeleva. "Military prose by Vasily Ivanovich Nemirovich-Danchenko". Язык и текст 9, n.º 4 (2022): 37–43. http://dx.doi.org/10.17759/langt.2022090404.

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<p>V.I. Nemirovich-Danchenko is considered to be one of the first professional military correspondents in Russia. He was called &laquo;the Russian Dumas&raquo; and &laquo;the king of war correspondents&raquo;. He took part as a war correspondent in the military operations in the Russo-Turkish War of 1877-1878, the Russo-Japanese War of 1904-1905, and the First Balkan War of 1912-1913. Numerous works of fiction, essay prose, memoirs and war correspondence belong to his pen. The authors focus on the journalistic activity of V.I. Nemirovich-Danchenko during Russia&rsquo;s war against Turkey, the result of which is the liberation of Bulgaria from the Ottoman yoke, a reflection of the dramatic and sometimes tragic realities of the fighting. The article reveals how V.I. Nemirovich-Danchenko, by his example, created the image of an objective and faithful writer to the ideals of the Fatherland and laid the foundations and methodology of military journalism.</p>
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Libros sobre el tema "Journalists – turkey – fiction"

1

Little, Jean. The cat who talked turkey. Oxford: Isis, 2004.

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Little, Jean. The cat who talked turkey. New York: JOve Books, 2005.

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3

Little, Jean. The cat who talked turkey. New York: G.P. Putnam's Sons, 2004.

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4

Little, Jean. The cat who talked turkey. London: Headline, 2004.

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5

Freely, Maureen. Enlightenment. Woodstock, NY: Overlook Press, 2008.

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6

Freely, Maureen. Enlightenment. Waterville, Me: Thorndike Press, 2008.

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7

The Genesis secret: A novel. New York: Viking, 2009.

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8

Knox, Tom. The Genesis Secret. Bath: Windsor/Paragon, 2010.

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9

Toyne, Simon. Sanctus: Roman. Paris: Éd. France loisirs, 2011.

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10

Sanctus. London: Harper, 2011.

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Capítulos de libros sobre el tema "Journalists – turkey – fiction"

1

Prokhorov, George. "A Jew – Funny, Terrible, and Useful: Sides of the Character in Literature of 19th Century Russian Conservatism". En Laughter and Humor in the Slavic and Jewish Cultural Traditions, 53–70. Institute of Slavic Studies, Russian Academy of Sciences; Sefer, 2021. http://dx.doi.org/10.31168/2658-3356.2021.4.

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In the article, we focus on how Russian conservative writers and journalists of the 19th century (Panteleimon Kulish, Nikolay Kostomarov, Nikita Hiliaroff-Platonov, and Fyodor Dostoevsky) shape an image of a Jew. In their writings, Jews are portrayed: a) as people connected with Biblical narratives; b) as ultimate aliens, unexorcized and mostly essential. Thus, the image is formed by comism, horror and the sublimeness. In the mixture, Russian conservatives share a fascination of Romanticism with the highness and horror of the past. Amidst pieces of prose and other fiction, the ‘post-Romanticism’ Jew is a quite suggestive image; meanwhile, entering journalism, the image turned into a popular ‘shibboleth’ used for political purposes and mainly as a tool for propaganda.
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Shakirova, Lyudmila G. "Pushkin and Radishchev (Two “Journeys…” in Russian Literature)". En Documentary and Fiction Literature in Russia of the 18–19 Century, 173–205. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0680-2-173-205.

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The article re-resolves the question of why Pushkin turned to Radishchev and his book “Journey from St. Petersburg to Moscow” in the 1830s. There is a traditional opinion in the research literature that Pushkin wanted to lift the ban on Radishchev’s name and gain the right to write about him. To achieve this goal, he stated his point of view on Radishchev as if it were official, deliberately strengthening the critical part in the article and thus aggravating his differences with the author of “Journey...”. Following this logic, it remains to admit that there had been no changes in the system of views of the mature Pushkin since the eighteen-year-old poet wrote the ode “Liberty” after Radishchev’s. Along with the article about Radishchev, Pushkin attempted to lift the ban on the publication of Karamzin’s note “On Ancient and New Russia...”, the existence of which he had known already in 1820 and the significance of which he accepted and appreciated not immediately, but only after 1825, like all of Karamzin’s journalistic work, which is consistently argued in the article. It was Karamzin’s journalism that had a huge impact on the formation of Pushkin’s political views and on his spiritual formation in the late 1820s–1830s. And it was through the prism of Karamzin’s ideas that he would evaluate Radishchev’s activities in the 1830s. The proof of these provisions is the task of this article.
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3

MacDougall, David. "Documentary and its doubles". En The looking machine, 157–89. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526134097.003.0013.

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This chapter provides a critical overview of the history of documentary cinema, arguing that it gradually lost sight of its early inspiration in the cinema of the Lumière brothers, adopting many of the features of fiction film production and modelling itself increasingly on didactic texts and journalism. In the sound era, British documentary films made under the aegis of John Grierson, despite his celebration of the ‘actual’, turned towards mass education and an idealised vision of collective humanity, and away from recording actual events in human lives. Italian Neorealist fiction films and changes to camera technology in the post-war period inspired a return to these objectives, but this found little space in television, which remained firmly fixed on journalism, entertainment, and public issues. Reactions took many forms, including experimental documentaries, social advocacy, biography and autobiography, and films exploring the relationship of film to reality, as in the work of Jean Rouch and Errol Morris. The rise of observational films gave promise of a return to the more modest aim of giving audiences shared access to what the filmmaker had witnessed, despite the challenges of manipulative ‘reality’ television and designer-packaged documentaries. The essay refers to a host of influences and commentaries, including those of Edward Said, Bill Nichols, Dai Vaughan, Robert Flaherty, Jean Rouch, Colin Young, and Grierson himself.
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4

Green, Barbara. "Documentary Feminism: Evelyn Sharp, the Women’s Pages, and the Manchester Guardian". En Women's Periodicals and Print Culture in Britain, 1918-1939. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412537.003.0021.

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This chapter explores the workings of the innovative “women’s page” of the Manchester Guardian during the interwar period in relation to the contributions of feminist journalist and former suffrage activist Evelyn Sharp. Sharp became a central contributor to feminist interwar debates concerning the meaning of domestic modernity, and she turned feminist attention to women’s domestic lives as well as their professional experiences. Following in the tradition of earlier socialist-feminist women’s pages, the Guardian’s women’s page juxtaposed treatments of expected materials such as cooking, fashion, and housework with essays on politics and feminism, book reviews, and cultural analysis. This chapter traces Sharp’s formal experimentation evidenced in a blending of documentary strategies with fictional ones, particularly in her writings on children and urban childhood.
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Soboh, Maram. "The Feminist Cinema of Jocelyne Saab: Women’s Relationships and the Philosophy of Dance in Four Fiction Feature Films". En ReFocus: The Films of Jocelyne Saab, 174–87. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474480413.003.0012.

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This chapter considers the narrative and aesthetic challenges and creative decisions Jocelyne Saab faced in making her first feature film, Dunia (Kiss Me Not on the Eyes) in 2005. Dunia is a “re-invention” and exploration of many real issues facing Arab women. The film took Saab seven years to make, filmed in Egypt and produced in Egypt, France, Libya and Morocco. Confronted with stark issues facing women in contemporary Egypt, including the continuing tradition of female genital mutilation (then still practiced on 97% of young Egyptian women), as a former front-line journalist and documentary maker Saab found “the truth became too hard to tell”. No longer able to make stories representing reality in Middle-Eastern conflicts, Saab turned to the fictional world of feature film. To understand Saab’s development of narrative and aesthetics in Dunia, this chapter - based on interviews with the filmmaker - melds established screen studies fields including poetics and neo-formalism and the emerging field of script development to discuss the multi-faceted creative process of developing story, metaphor and meaning for the screen.
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