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1
Gubbins, Sarah. "Journalistic Intermediation: The Newspaper Poetics of Nerval and Baudelaire." Dix-Neuf 27, no. 2-3 (July 3, 2023): 134–50. http://dx.doi.org/10.1080/14787318.2023.2218211.
2
Kitchener, Jennifer. "Review & Booknote: The Politics and Poetics of Journalistic Narrative." Media International Australia 81, no. 1 (August 1996): 135–36. http://dx.doi.org/10.1177/1329878x9608100127.
3
Rusnak, Iryna. "The poetics of Mykola Chyrskyi’s feuilleton “Poděbrady cicerone”." Synopsis: Text Context Media 26, no. 4 (2020): 131–37. http://dx.doi.org/10.28925/2311-259x.2020.4.3.
Анотація:
The subject of the Study is the poetics of the feuilleton “Poděbrady cicerone” (1924) by Mykola Chyrskyi. The feuilleton “Poděbrady cicerone” was an effective response of the writer to the desire of the Ukrainian Academy of Economics (UAE) students to criticize his views on the ideas of women’s emancipation, as well as editors’ of student issues satirical attitude to the volume of prepared materials. The objective of the article is to study the achievements of M. Chyrskyi in the use of common techniques of artistic visuality creation in a message and the implementation of the ideological and thematic idea. The hermeneutic method of analysis of a journalistic text was used to achieve the objective. The results of the study clarify the features of the central image of Cicerone, the composition of the text and its subject matter. Cicerone is an experienced mediator between travelers and the phenomena of reality exposed in the feuilleton. The recipient looks at the memorable places of Poděbrady through the author’s eyes, his remarks become dominant in shaping the idea of the town, the UAE and the people who studied and lived there. The colorful details of student life, the activities of some parties, artistic, public organizations and associations were reproduced in the feuilleton in a humorous tone, including the women’s union, provocatively named the “Organizations of a problematic nature” in the feuilleton. The composition of the feuilleton was created with the help of assembly technology. The assembling elements emphasized the emotional, semantic, and associative connections between the individual characters and the episodes. The clash of incompatible episodes helped to create comic artistic effects, to reflect the dynamic situation of observing the life of the Ukrainian student community. In addition to the main topic, the feuilleton implicitly raised the issue of editing and reducing journalistic materials in student periodicals in exile. The feuilleton allowed the writer to involve readers in the discussion of important issues, which turned the works of this genre into an active factor of public life. The appearance of materials about women's emancipation in Ukrainian foreign periodicals and the participation of women in the multifaceted life of migrants verified the considerable attention to these issues in the Ukrainian emigrant environment. However, the feuilleton achievement of the writer is not limited to the works of the outlined subject. This promising layer of M. Chyrskyi journalistic heritage can reveal new features of the writer’s poetics in further research.
4
Halliburton, David, and Phyllis Frus. "The Politics and Poetics of Journalistic Narrative: The Timely and the Timeless." American Literature 67, no. 3 (September 1995): 609. http://dx.doi.org/10.2307/2927964.
5
Levine, Caroline, and Phyllis Frus. "The Politics and Poetics of Journalistic Narrative: The Timely and the Timeless." Yearbook of English Studies 27 (1997): 333. http://dx.doi.org/10.2307/3509226.
6
Foley, Barbara. "The Politics and Poetics of Journalistic Narrative: The Timely and the Timeless." MFS Modern Fiction Studies 41, no. 2 (1995): 344–46. http://dx.doi.org/10.1353/mfs.1995.0067.
7
Litinskaya, Evgeniya. "RHETORIC AND POETICS OF DOSTOEVSKY’S PUSHKIN SPEECH." Проблемы исторической поэтики 19, no. 2 (May 2021): 141–75. http://dx.doi.org/10.15393/j9.art.2021.9583.
Анотація:
The article examines the F. M. Dostoevsky’s Pushkin's Speech in the context of modern studies of the way ancient heritage was reflected in the writer's work. The analysis of the speech was carried out in the categories of rhetorical poetics. The author proves that the speech is structured according to the rules of epideictic eloquence, with a pronounced emotional component characteristic of Christian preaching. The author identifies established stylistic figures, the use of which is always justified: repetition, parallelism, gradation, amplification, polyphonic forms, period, allusion, irony. Rhetoric is translated into poetics. Pushkin's characters (Aleko and Onegin, Tatiana, Pimen) become images with apparent features of both Christian culture and antiquity. Evangelical motifs and images, allusions to antiquity, concepts of Orthodox and ancient culture are integrated in a journalistic form. Christ and Pushkin are connected figuratively in poetics and rhetoric of the speech. Dostoevsky creates a portrait of the Russian poet, his image, and it is no accident that the "speech" is called an essay by its author.
8
Nasminchuk, Iryna. "M. Slaboshpytsky «The Great War»: anthropological paradigm as a basis for journalistic reflection." Obraz 35, no. 1 (2021): 68–75. http://dx.doi.org/10.21272/obraz.2021.1(35)-68-75.
Анотація:
The author of the article analyzes the issues and poetics of the documentary and journalistic publication by M. Slaboshpytsky «The Great War. 2014… Ukraine: challenges, events, materials». The influence of the military factor on human consciousness is being clarified. Peculiarities of the author’s concept of human and military dialectics are revealed in the aspect of anthropological reception. In this perspective, the relationship between the antinomies «man – power», «man – society», «man – state», «man – nation» is analyzed. It is proved that the first year of the war was reflected in different levels of traumatic experience. Thus, the creative meaning of the author’s idea manifested itself in the design of the journalistic text as a sharp contrast between the desperate heroism of Ukrainian soldiers on the one hand and the incompetence of the command on the other.
9
Esaulov, Ivan. "POETICS OF THE RUSSIAN WORLD BY IVAN SHMELEV." Проблемы исторической поэтики 21, no. 2 (June 2023): 7–37. http://dx.doi.org/10.15393/j9.art.2023.12442.
Анотація:
The article discusses the underlying causes of a new wave of axiological rejection of I. S. Shmelev, which, as the author of the work demonstrates, has a negative attitude towards the image of historical Russia, depicted in the writer’s top works: “Praying Man” and “The Summer of the Lord.” At present,there is a tendency of academic reduction of the religious (Orthodox) dominant idea of the late Shmelev in themodern studies of his work, which is motivated by the correction of “one-sidedness” in the works of non-Soviet researchers and their post-Soviet followers about the writer.The author analyzes the poetics of the writer, highlights the dominant concepts of this poetics.Although the article does not only review the writer’s literary texts, it emphasizes that the Christian tradition, in which Shmelev’s artistic work is rooted, does not manifest itself separately from his poetics (in the “worldview,” journalistic, critical, epistolary texts), but does so in the poetics of his works of art.The poetics of the late Shmelev in the great time of Russian culture seems to contain the national image of the Russian world.It demonstrates how exactly artistic time and space in the writer’s works are deeply connected with the fundamental categories of Orthodox consciousness.
10
Brems, Elke, and Dorien De Man. "Very Feminine, Yet Unmercifully Intelligent. A Portrait of the Dutch Critic and Translator Elisabeth de Roos (1903-1981)." TranscUlturAl: A Journal of Translation and Cultural Studies 7, no. 1 (June 15, 2015): 16. http://dx.doi.org/10.21992/t9md00.
Анотація:
The Dutch author and translator Elisabeth de Roos has largely been ignored by literary historians. Nevertheless, she played a major role in the literary scene in the Netherlands between 1925 and 1955. She was a very productive and respected essayist, critic, journalist and translator, but in the rearview mirror of literary history her husband Eddy du Perron outshined her. The contemporary gender discourse, in which de Roos herself took part, created a blind spot for the contribution to innovation and poetical conceptualisation of female authors. The infamous journal Forum to which both she and her husband contributed was a mouthpiece for a masculine discourse: being a fellow was the highest goal. After their marriage her husband pursued his writing career, whereas de Roos took care of the household and was the family breadwinner by writing journalistic pieces instead of literary work. After her husband’s death at the start of the Second World War, de Roos started to work as a translator, a profession in which she soon gained a high degree of expertise and professionalism. She wrote lengthy and substantial essays as prefaces to her translations, revealing her thoughtful literary ideas that preferred intellect and lucidity to melodrama and sentimentality and partis pris to half-heartedness. An analysis of her translation of Wuthering Heights suggests she didn’t smoothen the source text to please the target audience, in accordance with her poetics.
11
Schnirmajer, Ariela Érica. "Rubén Darío, lector de Almafuerte." (an)ecdótica 5, no. 1 (January 29, 2021): 183–99. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19790.
Анотація:
In 1896, Darío published one of his most important books in Buenos Aires: Los Raros, an article collection about the writers that most interested him. Through them, he revealed his belief system, based on the cultural heroes who, from his point of view, founded the roots of modern tradition. In this article we focus on a “raro” who didn´t enter Los Raros: Pedro Bonifacio Palacios, known by his pseudonym Almafuerte. Despite the distances between Darío’s poetic proposals in his stay in Buenos Aires and Almafuerte’s profile, close to social romanticism and to a “vociferous” tone, the Nicaraguan author considered him a precursor. The investigation unravels the reasons for these postulates in two journalistic articles published in La Nación of Buenos Aires in 1895. We propose that Darío places Almafuerte on the new poetry path. To do this, he leads to the figure of the oxymoron, in which he tries to sharp the edges that distance Almafuerte’s poetics from his, and brings him closer to the defense of art professionalization. Simultaneously, Darío adopts the imprecating tone of the poet from Buenos Aires.
12
Loshchilov, Igor Evgenjevich. "Vladimir Mayakovsky in the journalistic writings of the Harbin poet Vasily Loginov." Philology. Issues of Theory and Practice 16, no. 12 (December 5, 2023): 4139–44. http://dx.doi.org/10.30853/phil20230629.
Анотація:
The aim of the study is to find an answer to the question of how the poetry, personality and fate of Vladimir Mayakovsky reflected in the journalistic heritage of the Harbin poet, prose writer and journalist Vasily Stepanovich Loginov (1891 – 1945/1946?). The study is novel in that it introduces into scientific use four pieces of correspondence by Loginov in the Harbin newspaper “Gong-Bao” containing references or detailed judgments about Mayakovsky. The perception and assessment of Vladimir Mayakovsky among first-generation emigrants from the countries of the Asia-Pacific region have not been sufficiently studied. As a result, it is shown that the politically and aesthetically conservative writer of the first generation of the Russian émigré community Vasily Loginov knew well and highly appreciated Mayakovsky’s creative work, despite the decisive rejection of Mayakovsky’s political position and programme of aesthetic renewal. This can be explained by the fact that so many different writers belonged to the same cultural field of the Russian literature of the 1910s, which included diverse influences, from Valery Bryusov to the futurists and poets of the Satyricon magazine circle. It is also shown that Mayakovsky did not have a significant influence on the poetics of Vasily Loginov’s poems, however, upon careful reading, one can find echoes of Mayakovsky’s pre-revolutionary poetry in Loginov’s first poetry book (the year of its publication is also specified in the paper).
13
Primochkina, Natalia N. "M. Gorky “About the Russian peasantry”: Problematics, poetics, historical context." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2023): 92–101. http://dx.doi.org/10.20339/phs.4-23.092.
Анотація:
The article examines Gorky’s special, negatively distrustful attitude towards the Russian peasantry, whose political and spiritual conservatism could prevent, in the writer’s opinion, the realization of the socialist ideals of the revolution. During the 1917 revolution and the Civil War, it seemed to Gorky that it was the Russian “peasant” who could ruin the revolution and that the revolution itself was inexorably turning into a brutal struggle between town and village, workers and intellectuals on the one hand and peasants on the other. The result of the writer ‘s intense reflections in 1917–1921. Gorky’s artistic and journalistic article “On the Russian Peasantry” (1922) was about the fate of his native people and its role in the revolution, which became his first major public appearance in the press after leaving Russia for Europe. Based on Gorky’s negative attitude towards the Russian peasantry, it seems quite natural that the writer at the turn of the 1920–30s supported the Bolshevik policy of universal collectivization of the village. Moreover, it was the radical breaking of the foundations of village life that made him believe in the “truly socialist character” of the October Revolution.
14
Privalova, Elena. "Linguistic and Cultural Poetics of German Popular Science Texts (based on U. Stumpf’s “Kräuter: Gefährten am Wegesrand”) and Resultant Translation Challenges." Nizhny Novgorod Linguistics University Bulletin, no. 54 (June 30, 2021): 58–76. http://dx.doi.org/10.47388/2072-3490/lunn2021-54-2-58-76.
Анотація:
The article examines several aspects of linguistic and cultural poetics of German popular science texts, which in many ways shape national and cultural specifics of such texts and thus influence the process of translating them into Russian. As a distinct hybrid, popular science texts are characterized by high information density, intertextuality, and a wide range of vocabulary and style. Popular science texts create a special information space in which national and cultural specifics play a significant role. The article presents the results of the linguistic, stylistic, and cultural analysis of the German popular science work on botany by W. Stumpf “Kräuter: Gefährten am Wegesrand,” The strongly marked linguistic and cultural poetics of this text is largely determined by the peculiarity of botany as a field of knowledge: namely the knowledge of herbs, based on discoveries of ancient botanists, on folk knowledge, and on the personal experience of the author. At the lexical level, the linguo-cultural specifics are most clearly manifested in the nominations of plants: etymologically interesting phytonyms, their synonymic chains, and lexical gaps identified in the translation process. As a cross between scientific, journalistic, and literary texts, popular science texts display features of all these styles, which also determines the density of their linguistic and cultural poetics. The article provides a translation of several passages into Russian in order to demonstrate some of the challenges in translating popular science texts while taking into account their national and cultural specifics. The results of the study can be used both in teaching German as a foreign language and in translation courses at all levels of general and professional education as well as in developing textbooks, thematic dictionaries, and botanical glossaries.
15
Munteanu, Dana LaCourse. "The Paradox of Literary Emotion: An Ancient Greek Perspective and Some Modern Implications." Nuntius Antiquus 13, no. 2 (January 31, 2018): 263–83. http://dx.doi.org/10.17851/1983-3636.13.2.263-283.
Анотація:
Fifth-century BCE Greek writers (e.g., Isocrates, Pseudo-Andocides) complain that the Athenians might have been more deeply moved by tragedies than by horrific contemporary events. My essay suggests that literary narratives could indeed produce this effect on us through several features. (1) The feeling of personal safety, threatened sometimes by our showing compassion to others (e.g. Euripides’ plays, Thucydides; modern refugee debates) remains intact when we engage in fiction. (2) The proximity to literary characters becomes enhanced by literary narratives (pro ommaton, focalization), in contrast to impersonal journalistic reports. (3) The universality ascribed to a literary piece (Aristotle’s Poetics) could contribute to our emotional immersion into the world of fiction to the detriment of the surrounding reality. While each section starts from ancient Greek authors, the essay will underline some similarities between the classical and the modern ways of engaging with literary narratives.
16
Sardarbek kyzy, Nuraym. "FUNCTIONS OF FANTASTIC IN CH. AITMATOV'S NOVEL "AND THE DAY LASTS LONGER THAN A CENTURY", "CASSANDRA'S BRAND"." Alatoo Academic Studies 22, no. 2 (June 30, 2022): 146–55. http://dx.doi.org/10.17015/aas.2022.222.19.
Анотація:
The article deals with Ch. Aitmatov's novels "And the Day Lasts Longer than a Century", and "Cassandra's Brand" from the point of view of the functions of fantasy. The creative method of the writer, as research shows, synthesizes figurative with realistic. The fantastic beginning is important in aspects of the problematics and poetics of the work. It contributes to a more accurate and deeper implementation of the author's concept, enriches the ideological and moral content of the novels, brings a journalistic sound to the narrative, and focuses the writer's attention on the urgent problems of modern life. Fiction is involved in the formation of the plot-compositional structure of novels, the figurative system, determines the polygene nature of works, actualizing their philosophical and metaphorical, myth-making, symbolic, parable origin. Through fantasy, the author in a vivid artistic form conveys to the reader the enduring spiritual ideals, and values.
17
Dubakov, L. V., and Zhang Weining. "The poetics and functions of the Chinese national costume in the works of S. M. Tretyakov." Memoirs of NovSU, no. 5 (2023): 512–19. http://dx.doi.org/10.34680/2411-7951.2023.5(50).512-519.
Анотація:
The article analyzes the specifics of S. M. Tretyakov's creation of images of Chinese national costumes in arts journalistic works, written by him at the turn of the 1920s – 1930s. The relevance of the work determines the interest of modern literary criticism in the study of cultural intersections between Russia and China reflected in literature. The novelty of the work is due to the first attempt to analyze the peculiarities of the perception of Chinese culture (in this case, in terms of its everyday component) by the writer Tretyakov, who took a revolutionary position. The costume text of the cultural dilogy “Zhongguo” and “Deng Shi-hua” is distinguished by the author's desire to identify the authentic, deep features of Chinese culture and Chinese worldview. His attention is focused on the general Chinese cultural intentions, which he fixes and rejects as excessive and outdated – on traditionalism, on restraint, on the miniaturization of the costume and on the depersonalization of a person. The basis for creating the image of a costume by Tretyakov is a comparison and a metaphor. These tropes differ in his attitude to “decline”: the writer uses zoomorphic, gastronomic, objectifying comparisons, thereby pointing to the diminution of man in Chinese culture of the past and present against the background of the ongoing revolutionary changes.
18
Wolny-Zmorzyński, Kazimierz. "Ewolucje i rewolucje w wybranych gatunkach dziennikarskich po 1989 roku (reportaż i artykuł wiralowy)." Poradnik Językowy 2020, no. 4/2020(773) (April 30, 2020): 82–94. http://dx.doi.org/10.33896/porj.2020.4.7.
Анотація:
Over the past three decades, under the infl uence of the development of electronic techniques and changes in the awareness of media recipients arising from the freedom of speech, reportage has evolved and a new genre, i.e. a viral article, has occurred. After 1989, reporters, relishing the hint of freedom, began to depart from the habits of the passing (authoritarian) epoch and make changes to the poetics of the genre. These changes concern the following spheres: the topic taken up by reporters; the form (structure, shape); the language; the reporter’s attitudes; the media. Before 1989, journalistic texts had been addressed to the educated reader who was able to understand many overtones, understatements, and hints, and currently, authors of reportages and viral articles talk about the reality and the world surrounding them in a straightforward manner, apply the simplest stylistic solutions and devices in order to fi nd the shortest way to the recipient’s imagination, and thus to the largest possible group of readers.
19
Hlukhovtseva, K., and I. Hlukhovtseva. "ORIGINAL CHARACTERISTICS OF THE UKRAINIAN LANGUAGE IN EXPRESSIONS OF CULTURAL ICONS." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 3(98) (December 23, 2022): 90–105. http://dx.doi.org/10.35433/philology.3(98).2022.90-105.
Анотація:
The article clarifies the list of the most basic features of the Ukrainian language, which have become the focus of attention of leading cultural figures, scientists in linguistic aphorisms of different time periods. The sources of the research were figurative statements about the language, represented in the works of famous scientists, cultural icons and included in modern collections of statements about the language. To implement this task a descriptive method and elements of the linguistic component analysis of the text were used.
The analysis of linguistic aphorisms, whose authors are scientists, cultural icons of the past and present, proves that to the most important specific features of the Ukrainian language they attribute the power, richness of expressive means, picturesqueness, brightness, melodiousness, sweetness, flexibility of morphological and syntactic means, poeticity of the Ukrainian language. These features are currently confirmed by the scientific investigations of modern scientists. The melodiousness and sweetness of the Ukrainian language is based on the pronunciation peculiarities of vowels and consonants, the structure of the Ukrainian syllable, and quantitative indicators of the frequency of sounds formed with the participation of the voice in texts of various styles. The power is confirmed by the stability of linguistic means over the centuries, the richness of expressive means – the length of the rows of lexical synonyms, the variety of grammatical and syntactic synonymy.
Picturesqueness, brightness, and poetics are confirmed by classical prose and poetic works that enrich world culture. We see the prospects of the research in describing the specifics of figurative means of linguistic aphorisms, scientific, journalistic and artistic discourse.
20
Sims, Norman. "Phyllis Frus, The Politics and Poetics of Journalistic Narrative: The Timely and the Timeless. New York: Cambridge University Press, 1994. 235 pp. Cloth, $54.95." American Journalism 12, no. 1 (January 1995): 60–61. http://dx.doi.org/10.1080/08821127.1995.10731700.
21
Khabutdinova, Mileusha M. "The role and place of women in the creative work of Naki Isanbet." Historical Ethnology 9, no. 1 (February 26, 2024): 38–48. http://dx.doi.org/10.22378/he.2024-9-1.38-48.
Анотація:
The article presents an attempt to conduct a systematical study of the typology of female images in the works of Naki Isanbet, the Tatar scholar-encyclopedist, folklorist, critic, and classic of Tatar literature (1899–1992). Published and unpublished sources were used as the research material. Fiction, journalistic, and scientific texts of N. Isanbet have been analysed using the method of semantic analysis, historical and cultural, comparative methods. The author proves that the ideal of a woman of the Enlightenment epoch, i.e. the “mother of the nation”, dominates in the legacy of the scholar who was the classic of the Tatar literature as well. The images of a devoted spouse, a wise mother, a “mother of the nation” can be encountered in his works. The writer defends the ideas of equality of women and men, women’s active participation in public life, etc. in his works of fiction written in various genres throughout the twentieth century. The poetics of female images depends on the requirements of the genre. When developing the images, the writer relies on the traditions of the Tatar folklore and oriental poetry. In his creative legacy, the encyclopedic scholar immortalised dozens of names of the female contemporaries who made a significant contribution to the history of the Tatar people – teachers, actresses, writers, translators, public figures, etc.
22
Sizova, Irina Igorevna. "Transformation of literary and folklore genre structures in the literary fairy tale “Ivan the Fool” by Leo Tolstoy (1885-1886)." Philology. Issues of Theory and Practice 17, no. 2 (February 9, 2024): 339–46. http://dx.doi.org/10.30853/phil20240047.
Анотація:
The study aims to shed light on the peculiarities of transformation of literary and folklore genre structures in the literary fairy tale “Ivan the Fool” by Leo Tolstoy (1885-1886). The paper reveals the genre polyphony of this literary fairy tale by Tolstoy in comparison of its content with the problems of the philosophical novella of Voltaire, the social utopia of Th. More, F. Bacon and Plato, with the poetics of folklore (fairy tales, epics, riddles) and the military novella. The scientific novelty of the paper lies in determining the connection between Tolstoy’s artistic “ideas” in “Ivan the Fool” and the humanistic principle of his religious, philosophical and journalistic writings of the 1880s and 1900s (pacifism, criticism of historical forms of slavery, advocacy of nonviolence and universal love); in providing a historical and theoretical literary substantiation of the genre genesis of Tolstoy’s tale. As a result of the study, the genre form of Tolstoy’s literary fairy tale was characterized as a complex structure combining features of different types of literary creativity. The methods of artistic solution in this work containing socio-philosophical and ethical issues peculiar to philosophical novellas, social utopias and folk tales were classified. Scientific knowledge about folklore and ancient Russian reception in the plot, themes, images and details was supplemented with new facts.
23
Ermolaeva, Elizaveta Alekseevna. "Poetics and Axiology of S. D. Dovlatov as a Publicist (Based on the Material of Portrait Essays of the Tallinn Period of Creativity)." Филология: научные исследования, no. 3 (March 2023): 16–24. http://dx.doi.org/10.7256/2454-0749.2023.3.39862.
Анотація:
The popularity of Sergey Dovlatov's fiction is unconditional, but his journalistic legacy is a little–studied area. During the study of Sergey Dovlatov's publications published in 1972-1975 in "Soviet Estonia", we came to the conclusion that these texts should be considered not only from the point of view of their thematic and stylistic originality, but also from the perspective of the author's axiology. The article examines an important aspect of Sergey Dovlatov's work – the author's focus is not so much on the formation of new value categories, as on the actualization of existing ones, which presuppose the reader's return to the established generally accepted "norm". The object of the study is the portrait essays of the writer Sergei Dovlatov, published in the newspaper "Soviet Estonia" in the period from 1972 to 1975. The subject of the study is the poetic and axiological features of portrait essays of the Tallinn period. The article pays special attention to the headings "Man and profession" and "Your profession", within which Dovlatov's essays are often published. The content of these essays does not go beyond the ordinary materials of the party periodicals, but a detailed study of the texts allows us to identify some features inherent in all portrait essays of the author. The main conclusions of the article are to define a set of axiological dominants that can be traced in the texts of Sergey Dovlatov, a publicist. In his publications, the writer defines a number of universal values, which include the significance of human life, the possibility of presenting different points of view, empathy and complicity, as well as the harmonious existence of the ordinary and sublime.
24
Rousseau, Sandra. "Ali Dilem: Artivisme algérien et mémoire comique." International Journal of Francophone Studies 23, no. 1-2 (July 1, 2020): 9–29. http://dx.doi.org/10.1386/ijfs_00008_1.
Анотація:
This article analyses Algerian cartoonist Ali Dilem’s drawings from the first years of the décennie noire and contrasts them with his productions from the early months of 2019, when the Algerian demonstrators of the hirak ousted President Bouteflika. Dilem’s career – spanning over 30 years – has made him a staple of Algerian and European news, whether in newspapers or on TV. Both popular and prolific, Dilem produces cartoons that illustrate what I call ‘comic memory’, a recording and remembering of the past through humour. A diachronic analysis of this large corpus of drawings sheds light on the social and subversive potentials of humour, but most importantly allows for a discussion of its mechanisms over time. Through a careful reading of Dilem’s sardonic cartoons and their contexts of production, I show his work offers both a comic outlet unifying readers in a community of laughter, and a stern cultural commentary on how Algerians consider their history. In particular this article addresses two central motifs of Dilem’s work, on the one hand Algerians’ relationship to France, on the other hand the political pressures exerted on journalistic work in Algeria. Through themes such as censorship, racism and subversion, I explain how humour is a valuable source for memory studies. In fact, Dilem’s work participates in creating a comic archive that keeps track of the mentalités and sheds light on media politics, aesthetics and the poetics of humour.
25
Zhaplova, Tatyana, and Elena Khmura. "The Image of the Author and the Character in Provincial Satirical Press in the Early 20th Century." Theoretical and Practical Issues of Journalism 9, no. 2 (May 27, 2020): 300–306. http://dx.doi.org/10.17150/2308-6203.2020.9(2).300-306.
Анотація:
The article analyzes the structure of the image of the author and the character in satirical magazines published in Orenburg in the early 20th century. The study shows that creation of a literary «mask» and the dialogization of main characters speech are the key methods to reflect the authors position, who is forced to maneuver between the reader and voluntary censorship. Parody, being an integral part of the arsenal of satirical poetics, contributes to effective intervention in the inconsistencies of modern reality, their correction or eradication. However, the external layer of tests, thanks to the malicious, ambivalent irony, preserves a completely noble and emotionally neutral form of appeal to contemporaries discussing everyday problems. It focuses on the hidden mechanisms of modern reality, affecting consciousness, worldview and social position of an individual and the stages of its development. Parodying the speech of representatives of various social classes, the author, using specific vocabulary and stylistics, clearly delineated the boundaries. It was possible to go beyond them only for a representative of a journalistic community that owned a palette of diverse means and techniques. They stylized characteristic noble metaphorization, merchant and bureaucratic symbolization, masking the lack of both spirituality and reason for existence in the description of peasants life, striking by its terrifying reality. The editorial policy of magazines is clearly reflected in the selection of materials for their distribution on the page. After accusatory materials relevant to the political and public life of the city, everyday genre paintings of national disasters and oppression are placed. It strengthens the readers need for change.
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Shatin, Yu V. "The Anatomy of Revolution: “The Ill-Timed Thoughts” by M. Gorky in “New Life”." Vestnik NSU. Series: History and Philology 18, no. 6 (2019): 75–81. http://dx.doi.org/10.25205/1818-7919-2019-18-6-75-81.
Анотація:
Purpose. In this article, one of the brightest publicist compositions of M. Gorky – “Untimely thoughts” is being considered. The main platform, where the author’s essays was being publicized, is the “New life” newspaper, which was established with V. A. Desnitsky in April of 1917 and closed by personal disposition of V. I. Lenin in July of 1918. After closing of the newspaper, in 1920 the author decided to publish separate book, augmented it with essays from another cycle “Revolution and culture” and exchanged chronological principle of positioning of the material with thematic one. Results. In this article is pointed, that, as a result of changes, the book has loosed some features, inherent to journalistic discourse with it linear time sequence, but gained new features, which have amplified artistic-publicistical speech of the text, which took more generalized meaning along with the documentary material. Gaining of balance between an entinema and an example as a way to expand the material have been became the important principle of the book’s poetics. Artistic method, discovered by L. N. Tolstoy in “Anna Karenina” and “Resurrection”, made Gorky able to demystificate thesis about humanin character of events of 1917–1918 years and occupy objective view on the revolution, avoiding influence of Bolshevik’s press and defamation, peculiar to counterrevolution publications. Conclusion. Also, true anatomical view on the Russian revolution haven’t deliver Gorky from utopical hope for culture as a remedy for the social rescue. In this utopia, prerequisites of the future union between Gorky and Bolsheviks, which caused ambiguous reaction of descendants, already appeared.
27
Vasudevan, Alexander. "Writing the Asphalt Jungle: Berlin and the Performance of Classical Modernity 1900–33." Environment and Planning D: Society and Space 21, no. 2 (April 2003): 169–94. http://dx.doi.org/10.1068/d256t.
Анотація:
In this paper I explore the textual performance of Berlin in the early 20th century, focusing on the multiple spaces of classical German modernity (1900–33) as they are described and reinvented within the poetics of a rapidly modernizing metropolis. It is argued that writing Berlin cannot offer a unifying text or conceptual system which arranges the city ipso facto into a single territory, a generalise space of selected indices and icons. Alternatively, the writing of the city explores the ongoing transformation of the city in text. My purpose in this paper is, therefore, irrefutably bound up with the capacity of the urban text to remap imaginatively the changing condition of the city onto the text itself—hence the fashioning of textual presences as surrogate city spaces. The notion of performance is furthermore deployed to account for the immediacy and evanescence characterizing the Berlin of classical modernity, a period that rehearsed the contradictions of modernization in accelerated form. From journalistic reportage to novels, the textual performance of Berlin necessitates an enabling reception and adaptation to the destabilizing nature of urban industrial modernity, which in turn can be plotted in two interrelated ways: first, in the proliferation of textual strategies which approximate the montage effect of the incipient modernization of the city; second, in the writerly anticipation of cinematic innovations as the scripting of a ‘moving’ urban culture of modernity. Taken together, these writings inhabit traveling geographies which provide models of performative identification for appropriating and embracing the complexity of the modern city.
28
Barkovskaya, Nina. "“KRAPIVA” (NETTLE) JOURNAL: AN INDEPENDENT CREATIVE COMMUNITY OF NOVICE AUTHORS." Children's Readings: Studies in Children's Literature 23 (2023): 137–51. http://dx.doi.org/10.31860/2304-5817-2023-23-1-137-151.
Анотація:
The characteristic of the children’s literary and journalistic periodical “Krapiva” (Nettle) is offered. The journal has been published in Yekaterinburg since 2017 at the Sverdlovsk Regional Library for Children and Youth named after Vladislav P. Krapivin, curated by the young playwright Anna Baturina. The periodicity of issues is once a year; to date, six issues of the journal have been published. The editorial board consists of children, they also select texts for publication, prepare the original layout of the issue and its design (drawings, photographs). An analysis of editorial statements in the journal and interviews with the curator allow us to conclude that the publication is unique: the authors are absolutely free in their work; the tactic and position of the curators are extremely democratic. From the very beginning, “Krapiva” (Nettle) declared itself not only as a journal, but, above all, as a platform for weekly communication, discussion of the problems that concern today’s teenagers. At community meetings, new works of participants are discussed, meetings with writers are held, questions of the theory and poetics of literature are studied. The choice of the name (apart from the reference to Krapivin, whose name the library bears) is motivated by the desire of aspiring authors to share traumatic experiences like stinging nettles. The epigraph to the magazine is the words of one of the participants: “Nettle is the pain of childhood”. The article characterizes the headings of the journal, identifies the dominant themes, and makes observations on the genre composition of the published works.
29
Khalikova, N. V. "The role of a stylistic device in creating the image of the author." Literature at School, no. 4, 2020 (2020): 81–91. http://dx.doi.org/10.31862/0130-3414-2020-4-81-91.
Анотація:
The purpose of the article is to compare the definitions of a stylistic device with modern philological ideas about the text and the image of the author as the main subject of cognition of reality in a feature. The methods of structural poetics make it possible to separate the stylistic means and methods as functionally different units of the artistic speech and the language of the writer. There is a steady connection between the worldview of the writer, their “image of the author” and their style. Autological and metalogical stylistic means are equally important for creating both an artistic and a non-artistic image (journalistic, scientific, everyday). Artistic means and techniques perform fundamentally different functions. Artistic means of image expressiveness contribute to the aesthetization of speech. Stylistic techniques organize the processes of meaning generation, preservation and transmission of meanings. The text records and reproduces artistic thinking, typical for this very writer, a set of ideas about a human, landscape, interior, ways of action and other classes of images. The artistic style is the same as the style of thinking, a level speech style of reflecting the perception of reality. The style can be adopted, it can be imitated and, thus, one can understand how the author thinks, what their manner of the aesthetic transformation of reality, forms of perception, is. The stylistic forms of the same author are reproduced from work to work, regardless of the plot and ideological content. To explain how the technique works is to identify the ways of the artistic thinking about the world (images). The stylistic device is closely connected with the intellectual book culture of society.
30
Bianchi, Carlo. "Vladimir Vysotskij e le Sue Canzoni: Note Sulla Ricezione Italiana." IASPM Journal 4, no. 2 (December 31, 2014): 103–16. http://dx.doi.org/10.5429/ij.v4i2.624.
Анотація:
Abstract (English)
From the beginning of the sixties to the end of the seventies, the singer-songwriter, poet and actor Vladimir Vysotsky (1938-1980) embodied an archetypical Soviet Russian dissident: while ostracized by the Brezhnev regime, he was very popular and beloved by Russian people, to whom he was known for his prolific concert activity and career as a stage and film actor. After the fall of the USSR, his life and work were the subject of a growing body of studies, with publications of texts and new multimedia offerings from both the Russian community (as an emblematic example, the V.S. Vysotsky State Cultural Centre and Museum, founded in Moscow during the early ‘90s) and at the international level. This article will utilize historical-critical evidence, in order to understand Vysotsky’s poetics in relation to Soviet society of his time, within an Italian context. In doing so, it will review the reception of Vysotsky’s work in Italian academic, journalistic and musical sources, and explore the bibliography, discography and audio and video offerings, such as a television documentary by Demetrio Volcic (1979-1982), utilizing historical-critical evidence to understand Vysotsky’s work in relation to an Italian frame of reception.
Abstract (Italian)
Nella Russia sovietica fra l’inizio degli anni Sessanta e la fine degli anni Settanta, il cantautore, poeta e attore Vladimir Vysotskij (1938-1980) ha incarnato una peculiare figura di dissidente: ostracizzato dal regime brežneviano, nel contempo assai popolare, amatissimo dal popolo russo, nonché noto alle stesse autorità per la sua intensa attività concertistica e la sua carriera di attore teatrale e cinematografico. Dopo la caduta dell’URSS, la sua vita e la sua opera sono state oggetto di una mole di studi sempre crescente, con pubblicazioni di testi e nuovi prodotti multimediali sia da parte della comunità russa (emblematico il Museo e Centro Culturale di Stato “V. Vysotskij” allestito a Mosca all’inizio degli anni Novanta) sia a livello internazionale. Il presente articolo si propone di passare in rassegna la ricezione dell’opera di Vysotskij nel mondo accademico, giornalistico e musicale italiano. L’autore descrive ed esplora la bibliografia, la discografia e vari contributi audio e video, come il dossier televisivo di Demetrio Volcic (1979-82), ricorrendo ad alcuni cenni storico-critici utili per comprendere la poetica di Vysotskij nel rapporto con la società sovietica del suo tempo.
31
Kokbas, Zh. "YESLYAM ZIKIBAYEV'S LITERARY HERITAGE." Vestnik of M. Kozybayev North Kazakhstan University, no. 1 (57) (May 19, 2023): 145–51. http://dx.doi.org/10.54596/2958-0048-2023-1-145-151.
Анотація:
This article will focus on the poetic activity and work of the famous journalist, poet Yeslam Zikibaev. In modern Kazakh poetry, the poetic specificity of the poet's poetry, manifested in its originality, is fully revealed, thematic and ideological features are revealed. The works of the poet Yeslam are dedicated to the native land, the Motherland. A thematic analysis of poems written on patriotic themes was carried out, artistic specificity was revealed. Beauty definitely shakes the soul of poets. After all, there are many writers who clearly reflect them in their poems. Yeslam Zikibaev sang of pure love, beauty, chastity. In the course of the study, the artistic specificity of the poet's poems was also analyzed.An analysis of journalistic research articles and essays in the literary heritage of the poet was also carried out. In the work of the well-known journalist, poet, publicist Yeslam Zikibaev, the criticisms expressed were summarized and assessments were given.
32
Kowalik, Krystyna. "Próba typologii tytułów (ideonimów) prozy Jana Wiktora." ANNALES UNIVERSITATIS PAEDAGOGICAE CRACOVIENSIS. STUDIA LINGUISTICA, no. 14 (December 15, 2019): 96–107. http://dx.doi.org/10.24917/20831765.14.9.
Анотація:
The paper contains some remarks on the titles (ideonyms) of the works by Jan Wiktor (1890–1967, mainly literary ones). The writer, who came from Radomysl (on the San River), was socially-oriented. He spent most of his life far away from his hometown. He was a resident of Cracow by choice. He had special affection for Szczawnica and Pieniny. He is particularly remembered for his loyalty to recognised ideology and friendships. As for important professional activities, he favoured travelling. These circumstances determined his journalistic and literary work. The titles he used for his works are strictly connected not only with the content and the trend they represent, but also their genre. By following the standards of microtext poetics, which the title of the work belongs to, they form more or less equal groups from one up to four words, less frequently – more extended. The most dominant category contains titles which have the form of a nominal phrase. Thanks to their literary shape, they are recognised as the texts belonging to certain periods and they clearly reflect Jan Wiktor’s artistic personality. This link is visible at the level of linguistic realisation of a formal structure, in the formation of its shape and artistic expression, in the field of using lexis from particular semantic fields and its architectonics, which is based on the similarities between rhetorical figures (Błogosławiony chleb ziemi czarnej, Droga przez wieś, Kłosy na ściernisku, Legenda o grajku bożym, Ożywcze krynice, Rozmowy pod kolorowym parasolem, Wyznania heretyka) or forming innovative contradictions (Orka na ugorze, Miłość wśród płonących wzgórz, Podróż po słońce, Papież i buntownik, Skrzydlaty mnich, Strzecha w cieniu drapaczy chmur, Wierzby nad Sekwaną). Also orka na ugorze is an idiomatic expression that has been popularised in the Polish language thanks to Jan Wiktor.
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Valentinova, Olga. "Word Image as a Cultural Sign in Language, art and Intellectual Journalism (on «Ontology of the Poetic Word Art and Ostrannenye» by M.L. Novikova)." Theoretical and Practical Issues of Journalism 9, no. 2 (May 27, 2020): 379–86. http://dx.doi.org/10.17150/2308-6203.2020.9(2).379-386.
Анотація:
With the development of information technology, the influence of mass-media on the active processes in the language and society is steadily increasing. In this context, the problem of forming high professional culture of journalistic community, which involves working knowledge of information culture, linguistic culture and creative potential of the native language, is essential. Unlike an artist who does not invent images, but thinks in them, a journalist uses language imagery rationally, but not only a means of persuasion aimed mainly at manipulation. Intelligent journalism uses the image as an economical tool of expressing a complex idea, especially when logical thinking is ineffective. The monograph «Ontology of the Poetic Word Art and Ostrannenye» by M.L. Novikova explores imagery as a universal creative principle that enables one to see essential things, previously unnoticed, while conceptualizing the reality. This principle of creation, which features one mechanism, but different functions, works in the language, in the Arts - in oral lore, plastic and synthetic arts, and in intellectual journalism. The book will be of great interest for journalists. It allows readers to see the mechanism of forming the imagery and evaluate and master the creative word as both a tool for constructing new meanings that de-automatize perception, and a conductor of public attitudes, the latter being a special form of peoples interaction, a conceptual space that reflects the world view of a person and society in a particular period of time.
34
Kovalenko, Alla. "Artistic and publicistic component of modern military diaries (on the example of G. Kharchenko’s diary «An Artilleryman’s Diary»)." Dialog: media studios, no. 27 (December 30, 2021): 98–119. http://dx.doi.org/10.18524/2308-3255.2021.27.251407.
Анотація:
In the process of survey writing, the main stages of creation and narrative features of the diary were investigated. It has been established that communicative guidelines and authorial conceptuality had influenced the poetics and typology of the diary. Despite the fact that some scholars recognize texts of this type as «works of art» and the analyzed work does not have a traditional diary composition, we classify this text as a diary-fixation of events, where the author is a combatant, eyewitness and participant in events, in some detail (in facts, documents, evidence) reflects the realities of war. At the same time, it is a socio-political diary, deliberately written by the author for publication. Focusing on a wide readership, publishing parts of the diary on social networks and online publications in the absence of objective information about the war led to the format of the presentation, genre features, influenced the chronology, lack of confession and privacy in the text, intimate moments and more. In addition, the diary clearly demonstrates the decline in the era of postmodern metanarrative (J.-F. Lyotard), in particular in the literature of non-fiction. The peculiarities of manifestation in the diary of artistic and publicistic origin are revealed and analyzed, among which there are the propaganda components, historical appeal, archetypes of Cossacks, critical attitude of reflection of the realities of war, usage of the spectrum of journalistic genres (article, obituary, portrait essay, etc.), essay type, presentation of humor and sarcasm, image system, etc. The text raises pressing social issues caused by the war: the development of the Ukrainian army, lack of national consciousness, etc., intensified social dialogue, the formation of public opinion, and self-determination of every Ukrainian. The artistic principle is implemented in the elements of lyricization, the aesthetical value of the diary (reflection of several emotions), compositional features (exposure, development of action, culmination, etc.), the system of images, and more. In general, artistic and publicistic components are harmoniously synthesized with the documentary component of the text.
35
Larkovich, D. V. "The Russo-Turkish Wars in Russian Literature: Axiological Priorities in Historical Dynamics." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 80, no. 4 (2021): 5. http://dx.doi.org/10.31857/s241377150016288-9.
Анотація:
The paper represents the experience of analytical description of the fictional discourse, which captures the chronicle of the long-lasting military confrontation between the Russian Empire and the Sublime Porta. The author pursues the goal to trace the logic of evaluative dynamic specific to the Russian literary tradition in the perception and reflection of the events of the Russo-Turkish wars. The material of the paper is a sufficiently voluminous corpus of literary and journalistic texts, most fully and clearly representing the wide range and variability of axiological attitudes of participants of the XVI–XIX centuries national literary process who responded to these events. Among them are such iconic names for Russian intellectual and artistic culture as M.V. Lomonosov, G.R. Derzhavin, A.F. Veltman, A.A. Bestuzhev-Marlinsky, M.P. Pogodin, N.A. Nekrasov, A.N. Pleshcheev, L.N. Tolstoy, F.M. Dostoevsky, V.M. Garshin and many others. As a result, the author concludes that the nearly four-century history of the Russo-Turkish wars provided rich material for creative initiatives of Russian writers and significantly influenced the development of the Russian literary process. Reacting swiftly to the events of numerous military conflicts, fiction produced and clearly demonstrated ideological and axiological priorities of public consciousness from the perspective of their historical dynamics. The general logic of the Russian-Turkish confrontation theme development was directly expressed at the level of poetics in artistic creations. Comparing the early literary experiences of understanding and depicting military conflicts, one can observe a general movement from the general to the particular, from the collective to the individual, from direct evaluation to complex ethical collisions. As artistic consciousness develops, depictions of large-scale battle scenes give way to literary sketches of inner experiences, psychological and existential perspectives replace the external perspective of describing events. The perception of the war is gradually, but more distinctly reveals through the prism of the personal consciousness of an author and his character and is perceived as a personally lived meaningful experience.
36
Al-kuran, Mohammad Ahmad. "Journalistic transgression against Classical Arabic via translation." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 1 (November 24, 2014): 109–19. http://dx.doi.org/10.1075/babel.60.1.07kur.
Анотація:
Journalistic Arabic appears to be encroaching upon Classical Arabic language in many respects. The former seems to have been influenced by European languages via translation. New construct phrases and idiomatic expressions have come into existence and other classical syntactic structures ceased to exist in journalistic Arabic. The new syntactic modes of expression are not as strict as Classical ones. They seem conformed to the English thought habits and thus retain much less of the rigid Classical Arabic structural particularities. Thus journalistic Arabic is deemed more flexible than Classical Arabic, which enjoys a restricted formal scope of Arabic literary genres that bring about the poetic use of the language. Such use is unwelcome by the media, merely because the focus of the media writing is on communicating the message rather than presenting the aesthetic value of the expression. It is not the intention of the author here to promote Classical language to the detriment of the language of the media, but to show how deviant the modern journalistic language is in relation to the classical Arabic, the most revered and highly respected. This paper is thus an inquiry into the journalistic transgression against Classical Arabic via translation from European languages, especially English. This transgression is obvious in deviant passive structures, negative constructions, and literal translation of foreign idiomatic expressions. Each of these themes will be discussed, alongside representative examples to elucidate each point in question. The paper ends by discussing the repercussions of this study for journalists and their affinity with Classical Arabic.
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Romanova, Alyona N. "Anna Gotovtseva, the interlocutor of poets." Literature at School, no. 2, 2020 (2020): 62–75. http://dx.doi.org/10.31862/0130-3414-2020-2-62-75.
Анотація:
The article examines the history of the publication of some works by the little-known poetess of the first third of the 19th century Anna Gotovtseva, including her poem addressed to A.S. Pushkin, and poems by A.S. Pushkin and P.A. Vyazemsky, appealed to Gotovtseva. The author reveals some features of the historical and literary process, which influenced the poetic dialogue of writers, published in the “Northern Flowers” almanac, which marked the emergence of female professional poetry in the literature of the first third of the 19th century. A.I. Gotovtseva’s poems are analyzed in the context of the contemporary Russian poetry o that time, and the artistic originality of her works is revealed in comparison with the lyrics of poets of the elegiac romanticism. The author considers the influence of French writers such as Alphonse de Lamartin and Madame Janlis on the development of literary opinions and priorities of the provincial poetess, which predetermined the internal contradiction of the poetic dialogue between Pushkin and his admirer Anna Gotovtseva. The hypothesis about the indirect influence of “Note” by Janlis on the development of the controversy about women writers reflected both in the journalistic statements and in the artistic works by Pushkin and his contemporaries – men of letters – is tested in the article.
38
Wall-Romana, Christophe. "Mallarmé's Cinepoetics: The Poem Uncoiled by the Cinématographe, 1893–98." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 128–47. http://dx.doi.org/10.1632/003081205x36903.
Анотація:
Between 1893 and his death in 1898, Stéphane Mallarmé experimented with a poetics permeated by the emerging technology of cinema. Close to technicians and journalists of early film, Mallarmé developed what might be called a cinepoetics, especially in Un coup de dés (1897)—the ur-modernist visual poem whose preface recoups the single declaration he made on cinema—and in the unrealized project known as Le Livre (1893–98), a poetic performance involving electrical lighting and image projection. Close readings make explicit Mallarmé's cinepoetic aesthetics. Its epistemology of déroulement ‘unfolding’ is compared with that of other 1890s figures: Étienne-Jules Marey, Henri Bergson, and Loïe Fuller. Cinepoetry has not been recognized as the distinct practice it was, although Walter Benjamin and Jacques Derrida came close to theorizing Mallarmé's interest in cinema. Cinepoetic experimentation has shadowed the whole French vanguard. The study of its genealogy should reshape our understanding of the intersection of modernist lyricism and new media.
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Sokhatmamatovna, Eshboyeva Tursuntosh. "ISSUES OF LINGUOPOETIC ANALYSIS IN MODERN POETRY." Current Research Journal of Philological Sciences 5, no. 4 (April 1, 2024): 21–27. http://dx.doi.org/10.37547/philological-crjps-05-04-05.
Анотація:
This article examines the features of weight and rhyme in literary translation, focusing on poetic translation. Various aspects of artistic translation, in particular, are focused on the relation to other forms of poetic translation (synchronous, scientific-technical, political-journalistic and information-analytical translation of materials). The most important thing is creativity, which is very important in poetic translation, which is the center of analysis of this article. In addition, great attention is paid to the issue of tone.
40
Mazurov, A. E. "Feuilletons by F. V. Volkhovsky (Ivan Brut) in the “Siberian newspaper”." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 78–89. http://dx.doi.org/10.25205/2410-7883-2020-2-78-89.
Анотація:
F. V. Volkhovsky lived in Tomsk since 1881. Almost immediately he began to actively cooperate with the “Siberian newspaper” and eventually became its leading feuilletonist. During his work, Volkhovsky published 89 feuilletons on its pages, more than half of the edition’s feuilletons. A huge role in the formation of the poetics of feuilletons by F. V. Volkhovsky is played by “literary masks” with characteristic features of his biography and personal qualities. The work of F. V. Volkhovsky with the images of feuilletonists is best manifested in the image of Ivan Brut. It is in the feuilletons of Ivan Brut that the dialogicity is manifested, which was not previously characteristic of the author, and also the diversity of satire is revealed even deeper – in the materials there are many characters with whom the feuilletonist discusses the phenomena of social life. Ivan Brut is the most frequent image of the feuilletonist used by F. V. Volkhovsky – 22 feuilletons have been written under this pseudonym. The purpose of this study is to clarify the features and meaning of the feuilletonist’s image in the materials of F. V. Volkhovsky on the example of the narrator Ivan Brut (1883–1888). As a result of the research, the author comes to the conclusion that Ivan Brut was perhaps the brightest character in the artistic and journalistic history of the first private newspaper in Western Siberia. This is the only full-fledged and thoughtful image of the feuilletonist – with his pedigree, biography and position, on many issues (in view of the democratization of the image) different from the author’s. Thus, Ivan Brut becomes not just a pseudonym, but a full- fledged co-author who constantly refers the reader to the same artistic images and thoughts. Despite a similar populist position with the author, Ivan Brut was able to “separate” from his personality and become a separate figure and a full-fledged member of the editorial board. The tradition of creating “literary masks” of feuilletonists was continued in the Tomsk newspaper “Sibirskaya Zhizn” (1894–1919), which to some extent was the “heir” of the “Sibirskaya Gazeta”. This technique expanded the satirical possibilities of feuilletonists, made it possible to involve readers in the literary game, and thereby increased interest in public problems that were discussed in the feuilletons. The image of Ivan Brut created by Volkhovsky in this respect turned out to be a kind of “reference point” for all subsequent generations of Tomsk feuilletonists of the 19 th – early 20 th centuries.
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Ramos, Júlia Capovilla Luz. "O RETORNO DA AUTORIA E UMA NOVA CONSCIÊNCIA DOCUMENTAL NO FOTOJORNALISMO CONTEMPORÂNEO." Revista Observatório 4, no. 1 (January 1, 2018): 349. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n1p349.
Анотація:
Os fotojornalistas têm vivenciado mudanças na prática e na produção fotográfica desde a adesão das tecnologias digitais pelas empresas jornalísticas. O que para muitos profissionais da imagem representou uma crise sem precedentes, para outros se configura como a possibilidade de explorar temáticas e estéticas não comumente usadas nas coberturas diárias dos impressos. Neste sentido, os blogs de fotografia dos jornais de maior circulação do Brasil aparecem como lugares outros para publicação e circulação desse material imagético originalmente produzido para atender as demandas da produção noticiosa diária. Ao romperem com a suposta objetividade da fotografia, os fotojornalistas que contribuem com estes blogs apontam para a necessidade de incluir a poética em suas produções, provocando um movimento de “retorno da autoria” (FOUCAULT, 2001) e uma “nova consciência documental” (FONTCUBERTA, 2007).
PALAVRAS-CHAVE: Blog de fotografia; Fotojornalismo; Autoria.
ABSTRACT
Photojournalists have experienced changes in the practice and photographic production since the adhesion of digital technologies by journalistic companies. What for many professionals of the image represented an unprecedented crisis, for others it is configured as the possibility to explore thematic and aesthetics not commonly used in the daily coverages of the printed matter. In this sense, blogs of photography of the newspapers of greater circulation of Brazil appear like other places for publication and circulation of imagery material originally produced to meet the demands of the daily news production. Photojournalists who contribute to these blogs point to the need to include poetics in their productions, provoking a "return of authorship" movement (FOUCAULT, 2001) and a "new documentary awareness" (FONTCUBERTA, 2007).
KEYWORDS: Photography blog; photojournalism; authorship.
RESUMEN
Los reporteros gráficos han experimentado cambios en la práctica y la producción fotográfica desde la llegada de las tecnologías digitales por las compañías de periódicos. Lo que para muchos profesionales de la imagen ha representado una crisis sin precedentes para el otro está configurado como una oportunidad de explorar temática y estética no se utiliza comúnmente en la cobertura diaria de impresión. En este sentido, los blogs de fotos de los principales periódicos de Brasil aparecen como otros lugares para la publicación y difusión de estas imágenes producidas originalmente para satisfacer las demandas de producción de noticias al día. Para romper con la supuesta objetividad de la fotografía, los reporteros gráficos que contribuyen con estos blogs apuntan a la necesidad de incluir la poética en su producción, provocando un movimiento de "regreso de la autoría" (FOUCAULT, 2001) y una "nueva conciencia documental" (FONTCUBERTA, 2007).
PALABRAS CLAVE: Blog de fotografía; fotoperiodismo; autoría.
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Hazaymeh, Omar. "ANALYTICAL STUDY OF QUOTATIONS IN MOHAMMAD DAOUDIA’S JOURNALISTIC WRITINGS." INTERNATIONAL JOURNAL OF HUMANITIES, SOCIAL SCIENCES AND BUSINESS (INJOSS) 2, no. 3 (July 25, 2023): 347–55. http://dx.doi.org/10.54443/injoss.v2i3.63.
Анотація:
Language is a means of communication and knowledge that individuals utilize to express their desires and share their cultural innovations through various disciplines. In order to enrich their writing, authors rely on a multitude contemporary and former sources, including linguistic and historical citations and quotations texts. The present study aims at examining the quotations in Mohammad Daoudia’s newspaper articles. The study's data were comprised of articles authored by Daoudia and published on Jordanian news websites in January 2022. The findings showed that the writer quoted directly and indirectly from a wide range of historical, religious, poetic, prose, and official sources. Additionally, the results demonstrated that the writer used these quotations in various ways and for functions.
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Kobuta, Stepan, and Svitlana Kobuta. "LITERARY WORK OF THE UKRAINIAN GALICIAN LAWYERS AT THE END OF THE XIX – BEGINNING OF THE XX CENTURY." Problems of humanities. History, no. 6/48 (April 27, 2021): 160–79. http://dx.doi.org/10.24919/2312-2595.6/48.228477.
Анотація:
Summary. The purpose of the article is to analyse literary heritage of the Ukrainian lawyers who dealt with literature, to present an overview of its sense and essence with their professional work as a background. The paper aims at disclosing different genres of their literary activity, as well as their creative authenticity. The paper sheds light on the personalities whose literary works were long forgotten due to the Soviet propaganda of the former era. The methodology of the research relies on the historic and objective principles. It includes the historical, historical-comparative, biographical, behavioural, and contrastive methods. The scientific novelty of the paper is revealed by the need to determine and systemize the role and place of the lawyers-writers in the cultural life of Galicia at the turn of two centuries, to understand peculiarities of their professional and creative work and to comprehend their perception of national ideas with their further embodiment in literature. Conclusions. The turn of the XIX–XX centuries introduced a new socio-professional stratum to the public arena of Western lands which were under the Austro-Hungarian Empire rule, and this stratum consisted of the Ukrainian lawyers. Not only its representatives, particularly lawyers, acted as legal defenders of national and civil rights of their compatriots in the local courts, they also took leading positions in the Ukrainian political and public life of Eastern Galicia, and fought for the rights of Ukrainians in both the Austrian Parliament and the Diet of Galicia and Lodomeria. Besides their professional, political and social activity, a significant part of Galician lawyers (as all representatives of the legal professions were called back then) became famous because of their cultural and creative activities which were not a part of their working routine but part-time activities or hobbies. A lot of them took to creative writing as a means of expressing their ideas, and they works appeared in various genres of literature: scientific, journalistic, fiction (poetics, prose, etc.), representing their worldview and beliefs. The list of the well-known literary figures of that time includes such people as an ethnographer and folklorist M. Buchynsky, writers L. Martovych, I. Semanyuk, A. Tchaikovsky, poets M. Kichura and M. Kozoris, a publicist and one of the first Ukrainian futurists A. Kos, literary critics and editors V. Levitsky and M. Mochulsky and others. In fact, literary work was a complementary component of their way of life, a way of self-expression, as their main activity was legal work. Their literary work was an important component of life, a way of self-expression, which complemented their main legal work in a way. Their literary works depicted bitter reality of that time and hard life of fellow stateless people. Yet, they also served to show the best features of Ukrainians in literature.
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Dmytriv, Iryna. "CREATIVITY OF “LOGOS” WRITERS THE PERIOD OF EMIGRATION." Polish Studies of Kyiv, no. 35 (2019): 121–26. http://dx.doi.org/10.17721/psk.2019.35.121-126.
Анотація:
The article attempts an integrated analysis of the creativity of the “Logos” group activities of the emigration period on the background of the literary process of the first half of the twentieth century. The aesthetic, religious and national principles that underlie the multifaceted activity of the “Logos” are considered. The “Logos” group should be described by six writers: Hryhor Luzhnytsky, Olexandr-Mykola Moh, Stepan Semchuk, Petro Sosenko (junior), Vasyl Melnyk and Roman Skazynsky. Hryhor Luzhnytsky is the author of more than 500 artistic, scientific, popular scientific works, numerous journalistic works, reviews, essays. After leaving for the United States in 1949, the writer continues his activity and takes on adventure and sensational and spyware. Vasyl Melnyk (Limnychenko) is a “writer-wanderer” and a “political emigrant”. Beyond the borders of his native land continues to write poetry (“Ode to the book”, “Ballad about the Truth”, “Ballad about White Letters”, “Ballad about the Sun in the Bridge” and others). A certain generalization of the writer’s life experiences was his journalistic works “Ukrainian Crusaders”, “Religion and Life”. A peculiar “bridge” between poetry and journalism became essays. Stepan Semchuk − a poet, a journalist, a publicist. Becoming a priest, Stepan Semchuk leaves for Canada, but he does not cease to write there. Out of his native land he published poetic collections. Stepan Semchuk worked as an active publicist, author of the historical and literary articles. Association of catholic writers “Logos” was occupied noticeable place in literary life of Western Ukraine of intermilitary period of the 20th century. “Logos” writers expressly declared that they were the creators of Catholic literature, and tried to outline the concept of “Catholic worldview” and “Catholic literature”. Ideological principles of “Logos” were a christian moral; the main tasks were popularization of religious subject and christian ethics. “Logos” writers literary works are skilful collage of biblical images, motifs, allusions, reminiscences, christian ceremonies, symbols.
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Polatinsky, A. "Living with grace on the earth: the poetic voice in Antjie Krog’s A change of tongue." Literator 30, no. 2 (July 16, 2009): 69–88. http://dx.doi.org/10.4102/lit.v30i2.79.
Анотація:
“A change of tongue”, Antjie Krog’s second creative non-fiction, articulates experiences of the postapartheid quotidian in two tongues: that of the journalist and that of the poet. This article examines Krog’s various instantiations of the poetic voice, and argues that the site of the body is crucial to Krog’s understanding of how languages and landscapes are translated into human experiences of belonging, alienation and self-expression. The voice that is inspired by, and best conjures these acts of somatic translation is the poetic voice, Krog suggests. The article argues that Krog endows the poetic tongue with particular capacities for synaesthetic perception and for modes of imagining that surrender many of the limitations we ascribe to other registers and grammars. Despite the profusion of challenges and setbacks expressed by the evidence-oriented journalist, the three poetic strands in the text, which are identified and explored in this article, provide a space of meditation and of refreshed language in which processes of hopeful revivification can occur.
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Wunder, Alik, Alda Regina Tognini Romaguera, and Marli Wunder. "ESCAVAÇÕES." Revista Observatório 4, no. 6 (October 8, 2018): 1036–45. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n6p1036.
Анотація:
"Escavações" é uma experimentação artística realizada pelo Coletivo Fabulografias, ligado ao Laboratório de Estudos Audiovisuais - OLHO da Faculdade de Educação - Universidade Estadual de Campinas - Unicamp (SP), exposta em 2015 no Museu da Imagem e Som de Campinas - SP na Mostra "Aparições" organizada pelo Laboratório de Estudos Avançados em Jornalismo - LABJOR - Unicamp. Inspirados nas fotografias de Francesca Woodman, nas imagens de Tom Lisboa (Palimpsestos) e Leila Danzinger (Todos os nomes da melancolia) em obras que tem como suporte o papel jornal, e pela poesia Escova, de Manoel de Barros, o Coletivo Fabulografias propõe nesta exposição pensar uma intervenção pela poética do fragmento e fazer surgir das palavras-jornal o indizível e o insuportável. As produções imagéticas foram disparadas por minicontos escritos pelo Coletivo Fabulografias a partir de encontros dos pesquisadores-artistas com grupos minoritários: moradores de rua, profissionais do sexo, trabalhadores dos serviços de limpeza da universidade, indígenas... A partir dos contos lançamo-nos as produções imagéticas com o jornal, escavando nas matérias jornalísticas as narrativas que não se fazem presente, esvaziando as letras e palavras e imagens e compondo uma narrativa poética que faz pulsar o silenciamento e a invisibilidade.
PALAVRAS-CHAVES: Fotografia, experimentação, jornal.
ABSTRACT
“Excavations” is an artistic experiment conducted by the Collective Fabulografias, linked to the Laboratory of Audiovisual Studies – OLHO, of the Faculty of Education – Universidade Estadual de Campinas (Unicamp - SP) , which was exposed in 2015 at the Image and Sound Museum of Campinas - SP at the Mostra “Aparições” organized by the Laboratory of Studies Advanced in Journalism - LABJOR - Unicamp. Inspired by the photographs of Francesca Woodman, in the images of Tom Lisboa (Palimpsestos) and Leila Danzinger (All Names of Melancholy) in works supported by the newspaper, and by the poetry by Manoel de Barros, the Fabulogfrafias Collective proposes in this exhibition to think an intervention by the poetics of the fragment and to make appear from the newspaper words the unspeakable and the unbearable. The imagery productions were triggered by texts written by the Collective Fabulographs from meetings of researchers-artists with minority groups: street dwellers, university cleaning workers, indigenous people... From the short stories we launched the imaginary productions with the newspaper, digging in the journalistic subjects the narratives that are not present, emptying the letters and words and images and composing a poetic narrative that makes pulsate the silence and the invisibility.
KEYWORDS: Photography, experimentation, newspaper.
RESUMEN
"Excavaciones" es una experimentación artística realizada por el Colectivo Fabulografías, ligado al Laboratorio de Estudios Audiovisuales - OLHO de la Facultad de Educación - Universidad Estadual de Campinas - Unicamp (SP), expuesta en 2015 en el Museo de la Imagen y el Sonido de Campinas - SP en la Muestra "Apariciones" organizada por el Laboratorio de Estudios Avanzados en Periodismo - LABJOR - Unicamp. Inspirado por las fotografías de Francesca Woodman, las imágenes de Tom Lisboa (Palimpsestos) y Leila Danziger (Todos los nombres de abatimiento) en las obras que se apoya en el papel de periódico, y el cepillo poesía, Manoel de Barros, el colectivo propone este Fabulografias la exposición pensar una intervención por la poética del fragmento y hacer surgir de las palabras-periódico lo indecible y lo insoportable. Las producciones imaginales fueron disparadas por minicontos escritos por el Colectivo Fabulografías a partir de encuentros de los investigadores-artistas con grupos minoritarios: moradores de calle, profesionales del sexo, trabajadores de los servicios de limpieza de la universidad, indígenas... A partir de los cuentos nos lanzamos las producciones imagéticas con el periódico, excavando en las materias periodísticas las narrativas que no se hacen presentes, vaciando las letras y palabras e imágenes y componiendo una narrativa poética que hace pulsar el silenciamiento y la invisibilidad.
PALABRAS CLAVES: Fotografía, ensayo, periódico.
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Tymchenko, Antonina, and Svitlana Kryvoruchko. "ABOUT THE AUTHOR ANTONINA TYMCHENKO. POETRY. GLUED TO A STRAW BULL. I WAKE UP WITH YOU. GOD, SAVE AND PROTECT MY PARENTS. TIRED BY TRAVELLING, WALKING. SPEARS ARE BROKEN, AND SO ARE WHEEL SPOKES. I SPRING TO MY FEET AND IN HASTE TO THE WINDOW." Astraea 2, no. 1 (2021): 137–41. http://dx.doi.org/10.34142/astraea.2021.2.1.09.
Анотація:
Antonina Tymchenko is a poetess, a literary critic, a candidate of Philology, an assistant professor, a member of the National Union of Writers of Ukraine, laureate and organizer of literary contests. The poetess managed a literary and journalistic class at the Central Children’s and Youth Theater №6, was a freelance proofreader, editor, translator, and author at «Ранок», «Фактор», «Клуб сімейного дозвілля», «Основа», «Vivat» and other publishing houses.
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Kerimov, Ismail A. "Literary and cultural character of Cemil Seitabla Kermenchikli (1891–1942)." Crimean Historical Review 10, no. 1 (July 3, 2023): 97–105. http://dx.doi.org/10.22378/kio.2023.1.97-105.
Анотація:
Cemil Kermenchili is one of the brightestCrimean Tatar poets of the 20th century, who played significant role in the development of the national poetic word in Crimea. In the article, on the basis of new materials recently found in the central and in the repositories of regional libraries in Russia, new facets of his work are revealed and many refinements are made to the development of the author`s scientific biography. Attention is paid to the rich journalistic component of his work. The appendix to the article contains unknown poetic works of the author relating to the period of the First World War.
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Bogatyreva, Nataliya Yu. "“I Believe in SevenString Guitar”: On the Occasion of Yury Vizbor’s 80th birthday." Observatory of Culture, no. 4 (August 28, 2014): 95–101. http://dx.doi.org/10.25281/2072-3156-2014-0-4-95-101.
Анотація:
Is dedicated to diverse artistic and creative work of this singersongwriter, journalist, script writer and actor. The author analyses Vizbor’s poetics and evolution of his creativity from his students’ songs and to philosophical lyrics imbued with existential feelings and evaluates Vizbor’s contribution to Russian culture as that of a man of the sixties.
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Kerimov, Ismail A. "Literary and cultural character of Cemil Seitabla Kermenchikli (1891–1942) (part 2)." Crimean Historical Review 10, no. 2 (December 1, 2023): 124–32. http://dx.doi.org/10.22378/kio.2023.2.124-132.
Анотація:
Cemil Kermenchikli is one of the brightest Crimean Tatar poets of the early twentieth century, who played a significant role in the development of the national poetic word in the Crimea. On the basis of new materials recently discovered both in the central and in the repositories of regional libraries in Russia, the article reveals new facets of his work and introduces many clarifications into the development of the author’s scientific biography. Attention is paid to the rich journalistic component of his work. The appendix to the article contains unknown poetic works of the author relating to the period of the First World War.