Letteratura scientifica selezionata sul tema "Fiction, romance, international"

It is now twenty years since the publication of Jamie O’Neill’s At Swim, Two Boys (2001). O’Neill’s novel was not the first Irish novel to depict same-sex passion, and not even the first Irish gay novel of the post-decriminalisation period. However, it did attain a wider and higher level of recognition among mainstream Irish, and international, readers. This may have been at least partly due to O’Neill’s decision to write a historical romance – a genre which still retains its enduring appeal for readers. By adapting this genre, O’Neill uses fiction to unearth, and imaginatively recreate, an archaeology of same-sex passions between men in revolutionary Ireland. As such, his novel speaks powerfully to a yearning to make the silences of history speak and is motivated by the belief that, as Scott Bravmann puts it in a different context, ‘lesbian and gay historical self-representation – queer fictions of the past – help construct, maintain and contest identities – queer fictions of the present.’ Revisiting O’Neill’s novel now – after two decades of remarkable social change for Ireland’s LGBT communities, and after almost a decade of national commemoration of the revolutionary period – is a timely opportunity to reflect on the relationship between history, fiction and how we imagine sexual liberation. Keywords: Gay Men in Irish Culture; Historical Fiction; Jamie O’Neill; Denis Kehoe; ANU Theatre Company

AbstractAntarctica and Australia share a geographical marginality, a commonality that has produced and continues to reinforce historical and political ties between the two continents. Given this close relationship, surprisingly few fulllength novels set in or concerned with the Antarctic have been produced by Australian authors. Until 1990, two latenineteenth- century Utopias, and two novels by Thomas Keneally, were (to our knowledge) the sole representatives of this category. The last decade, however, has seen an upsurge of interest in Antarctica, and a corresponding increase in fictional response. Keneally's novels are ‘literary,’ but these more recent novels cover the gamut of popular genres: science fiction, action-thriller, and romance. Furthermore, they indicate a change in the perception of Antarctica and its place within international relations. Whereas Keneally is primarily concerned with the psychology of the explorer from the ‘Heroic Age,’ these younger Australian writers are interested in contemporary political, social, and environmental issues surrounding the continent. Literary critics have hitherto said little about textual representations of Antarctica; this paper opens a space for analysis of ‘Antarctic fiction,’ and explores the changing nature of Australian-Antarctic relations as represented by Australian writers.

Despite the recent attention of historians to the influence of Cold War politics in and on Ireland, literary scholarship has been more reticent when it comes to reading mid-century Irish writing as part of a broader international field of Cold War fiction. While some work has been conducted to situate individual writers, such as Samuel Beckett and John Banville, within an international political milieu, this essay proposes that the Cold War had a much broader impact on Irish writing than has previously been considered. This essay wades into the possibilities of this proposed area of interest through a reading of the Cold War political undercurrents moving within William Trevor’s 1972 short story ‘The Ballroom of Romance’. The story of Bridie’s disappointing evening in the eponymous dancehall has largely been read as an examination of rural disillusionment within an Ireland facing economic and cultural stagnation. Yet American influence suffuses the story. On the one hand, that influence can be felt in the presence of American cultural importation, or ‘soft power’; on the other hand, that influence can be found in the allusions to the shift in Irish economic policy in the mid-twentieth century away from protectionism and towards foreign investment. The most prominent dream amongst the locals who gather at the Ballroom of Romance – the rumours of American investment in a concrete factory in Kilmalough – places Trevor’s story firmly within the politics of global capitalism at the height of the Cold War in the early 1970s. Recognising that ‘Americanisation’ is bound up with Cold War policy affords the opportunity to read the dreams of rural Ireland within the context of global politics – and the failure of these dreams suggests that the reach of Trevor’s criticism need not necessarily be limited to boundaries of county and nation.

O presente artigo se propõe a analisar como História e Literatura dialogam no romance Essa Gente (2019), de Chico Buarque. Literatura e narrativa histórica caracterizam-se como formas eficazes de construção de memórias e identidades sociais, uma vez que a literatura pode ser considerada uma testemunha importante dos acontecimentos históricos, embora não tenha primordialmente o compromisso de retratá-los. Porém, ao optar por adicionar fatos históricos à sua narrativa, a literatura se configura como mais uma fonte de conhecimento acerca dos mesmos. Por outro lado, faz-se pertinente pontuar que a História também utiliza os recursos da subjetividade e da ficção para compor o fato histórico. O trabalho objetiva trazer problematizações da confluência e dos meandros que circundam Literatura e Ficção nesse romance buarquiano, observando como a narrativa ficcional de Essa Gente pode contribuir na compreensão da recente realidade política histórica-social brasileira. O aporte teórico-metodológico de pesquisa bibliográfica está fundamentado pelas obras de Roland Barthes (2004) e Hayden White (1991), dentre outros. Dessa forma, em decorrência dessas discussões, pode-se mensurar a uma leitura histórico-social da realidade brasileira sob a ótica deste relato ficcional de Chico Buarque, visto que, os relatos feitos no livro aludem às situações vivenciadas por grande parte da sociedade brasileira. Palavras-chave: História. Literatura. Chico Buarque. THE INTERSECTIONAL RELATIONS BETWEEN LITERATURE AND HISTORY IN THE NOVEL ESSA GENTE, BY CHICO BUARQUE ABSTRACT: This article aims to analyze how History and Literature dialogue in the novel Essa Gente (2019), by Chico Buarque. Literature and historical narrative are characterized as effective ways of building memories and social identities, since literature can be considered an important witness of historical events, although it is not primarily committed to portraying them. However, by choosing to add historical factes to its narrative, literature is configured as another source of knowledge about them, On the other hand, it is pertinent to point out that History also uses the resources of subjectivity and fiction to compose the historical fact. The work aims to bring up problematizations of the confluence and the meanders that surround Literature and fiction in this Buarquian novel, observing how the fictional narrative of Essa Gente, can contribute to the understanding of the recent Brazilian social-historical political reality. The theoretical-methodological contribution of bibliographic research is based on the works of Roland Barthes (2004) and Hayden White (1991), among others. Thus, as a result of these discussions, one can measure a historical-social reading of Brazilian reality from the perspective of this fictional account by Chico Buarque, since the reports made in the book allude to situations experienced by a large part of Brazilian society. Keywords: History. Literature. Chico Buarque.

To date, studies of the contribution literature makes to ideas about islands have concentrated on “high” literature. This has left unexamined the largest proportion of literature featuring islands. If one of the goals of island studies is to interrogate prevailing ideas about “islandness,” then the islands that crowd the storyworlds of popular genres merit close attention. This article focuses on popular fiction to advocate “performative geographies” as a key concept for island studies of literature, and indeed other domains of culture. Popular genres are undeniably sources of distraction and entertainment for billions of readers. However, they are also systems of meaning, which have an immeasurable impact on our geographical awareness and imagination. This article uses critical snapshots of Anglophone island-set crime fiction and popular romance fiction to show the meta-geographical potential of popular novels as they both depict and reflect on islands as performative geographies, or spaces that make and unmake individual and social identities.

While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.

Abstract: In this study, the author examines the literary landscape in Turkey given the new dimension opened by the vertical gradation of fiction. The division of literature into high literature (classic), middle-tier (Belles-lettres), and low-tier literature (for mass consumption) is becoming increasingly prominent. Belles-lettres seems to be the most mobile of those, with its representatives being able to, over time, find themselves both at the top and the bottom rung of this paradigm. Zülfü Livaneli's works straddle the line between the high literature and belles-lettres, while books by Barış Müstecaplıoğlu are a perfect example of mass literature becoming regarded as belles-lettres. Another productive approach is horizontal gradation – dividing modern Turkish literature into genres. This is especially true for mass literature, where a clear classification into genres and subgenres is pretty much a precondition for existence. The study singles out such genres of mass literature as detective novels, women's romance novels, and historical adventure novels. Speculative fiction occupies a special place in this, with its genre affiliation being a topic of major discussions. The Turkish literature of the 2000s features several principal genres of speculative fiction: sci-fi (K. Kutlu, G. Berkkan, H. Balçı) with alternative history being a part of such (G. Dayıoğlu, H. Kakınç); fantasy with its subgenres of urban fantasy (S. Yemni, S. Atasoy, G. Elikbank, F. O. Şeran, C. Yücel), "sword and sorcery" fantasy (B. Müstecaplıoğlu, A. Aras, G. Canbaba) and dark fantasy (S. Ersin, G. Öğüt), as well as the genre of dystopia (A. Şaşa). In conclusion, the author argues that analyzing literary pieces necessitates operating with both the vertical and horizontal paradigms simultaneously.

The classical Greeks believed that Eros was about erotic love. When we forsake the object of our love, it becomes relegated to the dustbin of memories, which makes it difficult to recover or retrieve. This article discusses how romantic love has been celebrated in works of magical realism in Asia that have evolved to include a range of emotions, political resistance (and questioning state authority and authoritarian personalities), fantasy, delusion, illusion, and fiction. One of the most pronouncedly celebrated works on magical realism was Gabriel GarcaMárquez’sLove in the Time of Cholera(1985) (1), which was about patience, perseverance, and emotional endurance. It is a frequent reminder of the need to preserve the memory of the object of one’s love, as it appears to be the only way to ensure that the dead never die. Three years later, Salman Rushdie’s The Satanic Verses(1988) (2) analyzed censorship and religious violence in India (and Pakistan), but incurred the wrath of religious fundamentalists in Iran. Gabriel Garca Márquez’s work was translated from Spanish to English and another 56languages; it became so influential that many scholars used to believe that magical realism originated from LatinAmerica and from the work of Gabriel Garca Márquez. Others believed that it was from several other Latin Americanscholars, including George Borges. Before Márquez and Borges, western European scholars said that magicalrealism originated in Germany between 1919 and 1933, i.e., the Neue Sachlichkeit (or Post-Expressionist) inter-war years, in the work of art critic and historian Franz Roh. Neue Sachlichkeit represented a new but unsettling depiction of a society devastated by war. But this claim is not entirely accurate, as there are other, much earlier claims. Nevertheless, for purposes of this article, magical realism began in Latin America and Mexico, most notably with the work of Gabriel Garca Márquez, who would eventually win the Nobel Prize for Literature in 1982. This articleis particularly partial to the influences of Márquez’s Love in the Time of Cholera(1985) (1), which pedestalizes the memory of being devoted to the object of first love and the fragility of life. In one sense, the confusion, massacres, and plagues of Márquez’s narrative reveal the decadent human desire to plot, plan, and massacre fellow human beings, as we are naturally driven by a God-given desire to destroy the things that we create. Exactly as Goddoes to man, the article asks us to think about the literature of Asian magical realism in general and of Southeast Asian magical realism in particular. What patterns can be gleaned from a brief survey of how magical realism works in Southeast Asia, and what can those patterns tell us about our strengths and desires within streams of consciousness?

Este artigo recupera os argumentos centrais de alguns protagonistas da inclusão dos laboratórios de escrita nas universidades brasileiras, analisando suas bases teóricas e os ecos encontrados no percurso histórico de países em que a escrita criativa como área de conhecimento já se encontra consolidada. Demonstra como é possível rastrear a defesa pela inclusão da criação literária nas universidades brasileiras até o final do século XIX. Objetiva, também, contribuir para a organização do debate histórico sobre os cursos de escrita criativa no Brasil. Palavras-chave: Criação literária. Escrita criativa. Oficina literária. Ensino de literatura. História da literatura. REFERÊNCIAS ABED, Carolina Z. Presença da Escrita Criativa no Brasil. Revera – Escritos de Criação Literária, v. 6, 2021 [no prelo]. AMABILE, Luís Roberto. O fantasma, o elefante e o sótão: apontamentos sobre a escrita criativa na academia. Cenários, v. 1, n. 9, p. 53-61, 2014. AMABILE, Luís Roberto. Do que estamos falando quando falamos de escrita criativa. Criação & Crítica, n. 28, p. 132-149, dez 2020. AMABILE, Luis Roberto. Escrita criativa: a aventura começa. In: AMABILE, Luís Roberto; LINARDI, Fred & RICHINITTI, Gabriela (orgs.). Como tudo começou: a história e 35 histórias dos 35 anos da Oficina de Criação Literária da PUCRS. Porto Alegre: EDIPUCRS, 2020b. ALENCAR, José de. Sonhos d’ouro. Rio de Janeiro : B. L. Garnier, 1872. ANDRADE, Mário. Cartas a um jovem escritor: de Mário de Andrade a Fernando Sabino. Rio de Janeito: Record, 1982. ASSIS, Machado de. Obra completa de Machado de Assis. Rio de Janeiro: Nova Aguilar, v. III, 1994. BARBOSA, Amilcar B. Da leitura à escrita: a construção de um texto, a formação de um escritor. 2012. Tese (Doutorado em Letras) – Programa de Pós-Graduação em Letras, Pontifícia Universidade Católica do Rio Grande do Sul/Université Sorbonne Nouvelle, Porto Alegre/Paris, 2012. BRASIL, Luiz Antonio de Assis. A escrita criativa e a universidade. Letras de Hoje, Porto Alegre, v. 50, n. esp. (supl.) , p. s105-s109, dez. 2015a. BRASIL, Luiz Antonio de Assis. Escrita criativa – e reflexiva, ma non troopo. Scriptorium, v. 1, n. 1 jul-dez/2015b, p. 1-5. BRASIL, Luiz Antonio de Assis et. al. Percepções e perspectivas discentes nos cursos de pós-graduação em Escrita Criativa da PUCRS. Navegações, Porto Alegre, v. 10, n. 2, p. 149-155, 2017. COUTINHO, Eduardo. A contribuição de Afrânio Coutinho para os estudos literários no Brasil. In: FIGUEIREDO, Carmen Lúcia Negreiros de, et. al. (orgs.) Crítica e Literatura. Rio de Janeiro: De Letras, 2011, p. 185-196. DAWSON, Paul. Creative writing and the new humanities. Abingdon: Routledge, 2004. DONNELLY, Diane J. Establishing creative writing as an academic discipline. Bristol: Multilingual Matters, 2012. DOURADO, Autran. Uma poética de romance: matéria de carpintaria. Rio de Janeiro: Difel, 1976. EUROPEAN ASSOCIATION OF CREATIVE WRITING PROGRAMMES. Institutional members. Disponível em: https://eacwp.org/members/. Acesso em: 13 set. 2021. FORTUNATO, Márcia V. Autoria e aprendizagem da escrita. Tese (Doutorado em Educação) – Programa de pós-graduação em Educação - Área de concentração: linguagem e educação, Universidade de São Paulo, São Paulo, 2009. GERMANO, Tiago. Breve panorama da escrita criativa no nordeste. In: TENÓRIO, Patricia Gonçalves (org.). Sobre a escrita criativa II. Recife: Raio de Sol, 2018. p. 334-355. GOMEZ, Dimas. Oficineiros e suas oficinas: proseando pela Paulicéia. Amazon Digital Services: 2015. JORDAN-BAKER, Craig. The philosophy of creative writing. New Writing, v. 12, n. 2, p. 238-248, jul./dez. 2015. JUNQUEIRA, Maria Aparecida. Samir Curi Meserani. Coleção Sapientia – Grandes Mestres da PUC-SP. São Paulo: EDUC, 2017. MACVEAN, Kendall Elizabeth. Expansion and inclusion of creative writing: a course for academic writers. Monografia (Bachelor of Arts) – Appalachian State University. Orientadora: Elizabeth Carroll. Carolina do Norte, 2016. MANCELOS, João de. Uma nova abordagem interdisciplinar: da escrita criativa aos estudos crítico-criativos. Carnets: Revista Eletrônica De Estudos Franceses, p. 257-265, Outono/Inverno 2009. MANCELOS, João de. Um pórtico para a Escrita Criativa. Pontes & Vírgulas: Revista municipal de cultura. Ano 2, n. 5, p. 14-15, primavera de 2007. MCGURL, Mark. The program era: postwar fiction and the rise of creative writing. Cambridge (Massachussets) e Londres: Harvard University, 2009. MESERANI, Samir Curi. Quem conta um conto (v. 1-6). São Paulo: Atual, 1989. MEYERS, David Gershom. The elephants teach: creative writing since 1880. Chicago: University of Chicago, 1996 MINÉ, Elza (2003). Criatividade: Homenagem ao Prof. Samir Curi Meserani. Videoteca PUC-SP. PUC 1554: Parte I e II (gravação realizada em 25/08/1999). PEREZ, Marcelo Spalding & ASSIS BRASIL, Luiz Antonio. A escrita criativa nos cursos de Pós-Graduação. Revista do Programa de Pós-Graduação em Letras da Universidade de Passo Fundo, v. 14, n. 2, p. 207-220, maio/ago. 2018. POE, Edgar Allan. A filosofia da composição. Rio de Janeiro: 7 Letras, 2011. PUBLISHNEWS. Unisinos cria curso superior para escritores. Disponivel em: https://www.publishnews.com.br/materias/2006/05/18/21723-unisinos-cria-curso-superior-para-escritores. Acesso em: 16 set. 2021. POSTAY, Andrezza. Por que estudar escrita criativa. In: TENÓRIO, Patricia Gonçalves (org.). Sobre a escrita criativa II. Recife: Raio de Sol, 2018, p. 69-77. RODRIGUES, Flávio Luis Freire. Os recentes manuais de escrita criativa publicados no Brasil entre 2005 e 2019. Miguilim – Revista Eletrônica do Netlli, Crato, v. 9, n. 3, p. 661-679, set./dez. 2020. SAUNDERS, G. A Mini-Manifesto. In: HARBACH, C. (Ed.). MFA vs NYC: the Two Cultures of American Fiction. New York: Faber and Faber, 2014. p. 31-38. SIQUEIRA, Yan P. B. Oficina literária de escrita criativa. Dissertação (Mestrado em Letras) – Universidade Federal do Espírito Santo, Centro de Ciências Humanas e Naturais. Orientador: Paulo Roberto Sodré. Vitória, 2016. XAVIER, Leila Pinheiro. Formação para a escrita literária no ensino superior brasileiro. In: Seminário Interlinhas, 2014.1 (14 e 15 de agosto de 2014, Alagoinhas, BA) / Anais: Org. Gislene Alves da Silva, Luane Tamires dos Santos Martins e Sheila Rodrigues dos Santos; Universidade do Estado da Bahia – Programa de Pós-Graduação em Crítica Cultural. Alagoinhas: Fábrica de Letras, 2014. p. 153-162.

Almayer’s Folly (1896) by Joseph Conrad challenged the conventions of the fictional romance while confronting the need of native-born Malayans and other Asian individuals to find voice and identity in an imperial context. Along with the narrative voice in this text are the many other voices of those who have been colonized. Fidelity to one’s identity and openness to relationships across cultures lies at the crux of this study. Conrad’s critics of the 1950s and 1960s dismissed his first novel as a romance with a weak subplot. However, that subplot, about Almayer’s daughter Nina and her love affair, sets forth moral claims of loyalty and fidelity that must be taken into account. For her relation- ship with a Malay prince expresses a love that is binding and enduring, one that crosses boundaries and divisions and is an apt model for our culturally convergent world. Conrad creates a dialectic of intercultural subjectivities to make a point about identity, loyalty, and self-fashioning. Whereas Almayer is portrayed as foolish and inflexible, his daughter, Nina, faces significant issues of identity, as she has to choose between the traditional, indigenous heritage of her mother and her father’s modern European aspirations. With Almayer’s Folly, Joseph Conrad showed himself to be an international novelist who could develop a story with an inter-racial and intercultural cast of characters.

Drawing from tourism studies, travel literature, and cultural studies, this dissertation uses textual analysis to explore the implicit ideological agendas of international development in a selection of popular narratives written to describe efforts of Spanish individuals to combat poverty in “developing” countries: Pura vida (1998) by José María Mendiluce, Una maestra en Katmandú (2002) by Victoria Subirana, Sonrisas de Bombay (2007) by Jaume Sanllorente, and Los colores de un sueño (2013) by Alba de Toro. This study provides a sociological framework for understanding the politics of production, distribution, and reception of such narratives and examines the discourse of individual altruism by juxtaposing the fields of mass tourism, international development and contemporary popular literature. Although development-themed narratives present themselves as depictions of charity work, they are also stories of touristic exploits. This dissertation explores how the colonial myth of the explorer is refurbished in narratives of altruistic development within the postmodern mood of “global consciousness”, which is triggered by globalization, commodification and a sense of uncertainty—factors that produce a relentless drive to “save the world”. Despite the postmodern gloss, however, these narratives exoticize “non-modern” scenarios in which the narrators (adventure development tourists) represent themselves as intrepid white saviors in the style of explorers, missionaries and survivors of the past. In this sense, these narratives depend on traditional travel literature tropes. The deliberate status of these popular narratives as commodities is highlighted, exposing their utility as marketing tools for NGOs. To this end, this dissertation connects the idea of “a good story” to a publishing objective. Reception is approached by exploring the role of interpellation: the subliminal ways in which readers become financial supporters within the context of “global consciousness” wherein altruistic impulses are commodified and incorporated into lifestyles. In this sense, literature plays a key role in formulating and naturalizing the discourse of development. This dissertation exposes the double mechanism at work in development-themed narratives: the pursuit of progressive development used to veil complicity with exploitation.

Abstract This chapter tracks the rise of the historical novel in Hitler’s Germany, and in the literature, forged in response, of the communist anti-fascist movement. It explains how the promotion of Bolshevik nationalism inside the Soviet Union and of the Popular Front among national sections of the Communist International established the ideological framework for a fiction that would celebrate national traditions of popular struggle and contest fascist claims to narrate the same. From Bahia, Brazil, to Bihar in Eastern India, communist-aligned writers rallied to the call to reclaim the people’s past and give it popular fictional form. The chapter chronicles how British writers adopted the form and embeds their novels in the wider historical culture of the British Communist Party to reveal the connections between literary and more scholarly attempts to write history from below. The chapter closes by linking the communist investment in radical social history to early definitions of a Latin American ‘marvellous’ or ‘magical’ realism.

Abstract Literary cnt1cs have begun very much to look to their ends. ‘Closure’ has become a central critical concern, as a glance at the items listed under that heading in the MLA International Bibliography since 1981 soon makes clear, and recent years have seen the devotion to the subject of the 1978 issue of Nineteenth Century Fiction and the 1984 issue of Yale French Studies.This interest is not entirely new.

This chapter explores the career of bestselling author Elinor Glyn, a figure who moved with relatively unique fluidity across a very broad spectrum of these different forms, as a writer, adapted and filmmaker. The chapter focuses on the underexplored final stage of her film career in the early 1930s in Britain. It delves into Glyn’s archives, considering how archival sources produce a new mapping of the strategies that she and her associates formulated to break into UK cinema culture, developed on the premise that one could create an intermedial star identity through popular culture, and through the manipulation of international discourses on femininity and romance. Such non-filmic traces and materials enlarge and illuminating Glyn’s star image, suggesting the framework that she was trying to construct around her films as a vehicle for her brand and ideas. While Glyn was not wholly unique as a literary/filmic star figure during this period, the chapter argues that the fluidity of her movement across diverse forms of labour, and her creation of new forms and modes of creative influence in cinema culture, offers a distinct new access point to understandings of women’s writing, film fictions and selfhood during this period.

Nowadays, under the non-stop assault of over-information and the multitude of sources and media, the consumers of information (related to non-fiction audio-visual content) suffer from an overflow. They are oversaturated, blasé, disinterested, they have the feeling they know everything and are entitled to jump straight to conclusion (their own or ready-made conclusions). The content they cannot process is rejected. With such an audience, content creators diversify their arsenal of stimuli: shocking images and sound, partisan speech that confirms the viewer's own perceptions and beliefs. But mostly, emotions. Emotion is the most powerful stimulus applied to the viewer and has an enviable effect among content creators. The emotionally connected viewer will develop trust, dependence on the source of information and, in conjunction with other stimuli, will become susceptible to mobilization. It is a key effect in the study of disinformation and propaganda, which makes it possible to manipulate the viewer into acting in a certain way. In other words, emotion becomes a tool. It is used intentionally to trigger a certain reaction from the audience. Our research analyses the extent to which the need for emotion in the news shapes reality, that is the events as they happened, and how we would expect them to be covered on screen. We follow the methods that journalists use to give viewers as much of this stimulus as possible, once considered a foreign body in the news bulletin. And in the analysis of the media content (image and sound) we notice how two fields that once seemed utterly opposed by reference to objective reality (physical truth), journalism and artistic creation (fiction), ended up sharing a common ground, that of emotion. The corpus of our analysis consists of CNN, BBC and RT television reports on the war in Syria during two of its key moments, the WMD attacks of 2013 and 2018. The study method we will apply is rhetorical analysis, proposed by Professor Guillaume Soulez from the University of Sorbonne. This is how we reach a second junction, because the French professor proposes discursive analysis for any kind of media content, whether fictional or not.