The thesis is focused on the student journalism and its comparison with the content of national magazines intended for children and teenagers. The main aim of the thesis is to find out to what extent the topics in the school and national magazines are intertwined; what topics are most commonly found in national journals, and the extent to which students of (secondary) schools take on their journalistic work. The first (theoretical) part of the thesis is intended to characterize the principle and the main mission of the school magazines, ie what they serve and what their main benefits are for students or other readers. In this part, youth magazines are further specified in terms of the main target group of readers, content and relevant topics, language forms, etc. The theoretical part also explains basic concepts such as intelligence values and stereotypes in media presentation that will be used in analytical work. The aim of the practical part is to perform the brief characteristics of the studied sample of student and national magazines, including the criteria of their selection and especially the content analysis, exploring the most important and most frequented topics that the journals are exploring. The results of the analysis will serve as a basis for subsequent comparison, ie. what topics are...

This dissertation investigates nineteenth-century Canadian literary and general interest periodicals through the prefaces and other editorial missives written by the editors who created them. It seeks to demonstrate how these cultural workers saw their magazines as vehicles for promoting civic and literary development. While the handful of previous Canadian magazine dissertations take a “snapshot” approach to the genre by profiling a handful of titles within a region, this study attempts to capture the editorial impulse behind magazine development more widely. To do so, it examines multiple titles over a wider geographical and chronological span. To provide context for these primary documents, the dissertation begins with a chapter that summarizes the development of magazines as a genre and the history of publishing in nineteenth-century Canada. Subsequent chapters examine prefaces by theme as well as by rhetorical strategy. Themes such as nationalism, cultural development, and anti-Americanism emerge most prominently, alongside rhetorical techniques such as metaphor, imagery, analogy and personification. The dissertation also examines other sites of editorial interaction, most commonly the “correspondent’s columns,” where editors provided public feedback on topics ranging from versification to currency to prose style as a means of educating writers and readers alike. Finally, the dissertation relies on existing indexes to identify some of the most prolific contributors to the magazines, considering how these writers used the magazines to boost their literary careers. In the early century, these sources verify the productivity of canonical writers such as Susanna Moodie and Rosanna Leprohon, and call attention to obscure writers such as Eliza Lanesford Cushing, W. Arthur Calnek, James Haskins, and Mary Jane Katzmann Lawson. In the later century, the same approach is used again to examine the hive of writers who emerged to contribute to late century magazines like The Canadian Monthly and National Review and The Week, confirming the immense productivity of writers such as Agnes Maule Machar and drawing attention to now-obscure contributors like Mary Morgan. By recovering these overlooked editorial elements and figures, this dissertation draws scholarly attention to a more nuanced view of literary production and affirms the importance of magazines to literary development in nineteenth-century Canada.

The Thesis maps the Czech tablet magazine market tablet and describes possible approaches to tablet magazines' creation and distribution. First chapter outlines the historical timeline of tablet magazines development both in the Czech Republic and abroad, and maps the current situation of the Czech market. The chapter defines a concept of "strictly tablet magazine" and presents possible approaches to a production of such magazines. The following chapter analyses the concept from the new media theory point of view. The last chapter focuses on a comparison and critical evaluation of differences between variants of tablet magazines (strictly tablet magazines versus tablet editions of print magazines), with emphasis on advertisement and interactivity. Keywords: tablet magazine, tablet, magazine, advertising, interactivity

Ainsworth's Magazine: A Miscellany of Romance, General Literature, and Art made its first appearance in February, 1842. Owned and edited by William Harrison Ainsworth, illustrated by George Cruikshank, published in London by Hugh Cunningham, it was a bargin at eighteen pence. To a greater extent than any of its predecessors, Ainsoworth's was a literary magazine. Previous successful monthlies had been owned by publishing houses, with literary editors at the finanical and ideological mercy of the publishers--according to the literary men. Ainswroth's hope was that a plan, which invests the real property and the real responsibility of a Magaine in literary hands, may give great freedom to writers...and therefore be more favourable to the prosperous exercise of their talents, than is frequently the case under established arrangements.1 This freedom, however, was not to be licence. Although free of a publisher's restrictions, this was to be a family magazine, "addressed not to Mothers only, but to Daughers."2 The necessity to preserve the virture and vacuity of the minds of these young persons was laready beginning to diminate the Victorian literary scene. Ainsworth's Magazine had its initial success assured in the person of its owner-editor, William Harrison Ainsworth. By the time he undertook proprietorship of a magazine, Ainsworth had been a publisher, an editor, a contributor to the popular annuals and monthlies of the day, and had written six best-selling romances. Historical romances; sporting, domestic, and social novels; travel books; scientific and pseudoscientific studies; and biographies were among the books with wied appeal, and they were given serious consideration in the magazine. Not only the books reviewed, but the reviews themselves, are an important part of the context of the writings of the novelists and prose writers of the era to whom we give our serious consideration today.

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Denna uppsats har syftat till att undersöka hur maskulinitet görs i omslagsintervjuerna i Café Magazine under åren 2015 och 2020. Analysen har utgått från Raewyn Connells och Ylva Elvin-Nowak & Heléne Thomssons teorier kring maskulinitet och att kön är något som görs, snarare än något som är. Connells maskulinitetsteori innebär att maskuliniteter ska förstås som något dynamiskt som är avhängigt sociala, kulturella och historiska villkor. I vår undersökning har vi sökt besvara frågan: Hur görs maskulinitet i omslagsintervjuerna i livsstilsmagasinet Café Magazine åren 2015 och 2020? Vi har undersökt hur de arbetar med text och bild för att gestalta maskulinitet. Genom att tillämpa en kvalitativ tematisk innehållsanalys samt en semiotisk bildanalys har totalt åtta stycken omslagsintervjuer analyserats, såväl i text som bild, fyra stycken från respektive år.  Av analysen framgår att Café Magazine i bild och text gör en maskulinitet som bär flera kännetecken av den västerländska hegemoniska maskuliniteten. Men vi ser även nyanseringar som kan antyda att det skett, och fortfarande sker, förändringar i denna västerländska, hegemoniska maskulinitet. Fram växer bilden av en emotionell och reflekterande maskulinitet. / The purpose of this study is to examine how masculinity is portrayed in the cover stories of Swedish magazine Café Magazine during 2015 and 2020. The theoretical framework upon which the analysis has been made consists of Raewyn Connell’s theory of masculinity, as well as Ylva Elvin-Nowak & Heléne Thomsson’s concept of gender, stating that gender is constructed by us, rather than something that resides within us. Connell’s theory of masculinity proposes that masculinities are dynamic, social constructs that varies in different cultures and periods of time.  The aim has been to examine how masculinity is constructed in the cover stories of the men’s lifestyle magazine Café Magazine during 2015 and 2020. The material consists of eight cover stories in total, four from each year. The cover stories have been analyzed by combining two methods: (qualitative) thematic analysis for the written content of the articles and semiotic analysis for the images.   The study concludes that the masculinity constructed by Café Magazine, in the written content as well as the images of the cover stories, displays several characteristics consistent with those of western, hegemonic masculinity. However, there are nuances to suggest that this western, hegemonic masculinity has recently undergone, or still is undergoing, changes. In these nuances an emotional and reflecting masculinity emerges.

Si l’intégration du livre à la télévision a été l’objet de nombreuses analyses en France, là où l’importance et le succès des émissions littéraires constituent une exception culturelle, la situation est tout autre au Québec, où les rapports entre le livre et la télévision demeurent très peu étudiés. En ciblant des enjeux propres au Québec, l’objectif de ce mémoire consiste à développer une réflexion sur la manière de faire la promotion du livre dans le cadre d’une émission littéraire télédiffusée sur les ondes de la Société Radio-Canada. Dans un premier temps, nous retraçons l’historique de la radiodiffusion et nous présentons un survol des différents concepts d’émissions culturelles et littéraires qui ont fait partie de la programmation télévisuelle de la Société Radio-Canada. Nous nous intéressons aussi aux éléments qui définissent le milieu culturel des années 1980 et influencent la promotion du livre. Dans un deuxième temps, nous effectuons une étude de cas, celle du magazine littéraire Sous la couverture, télédiffusé sur les ondes de la Société Radio-Canada de 1993 à 1997. Nous étudions les caractéristiques spatiales, temporelles, substantielles, pragmatiques et fonctionnelles qui la définissent en portant une attention particulière aux fonctions respectives des participants de l’émission (animatrice et chroniqueurs). Nous nous penchons également sur le contenu de l’émission, soit les livres qui y sont présentés et les auteurs invités. L’analyse des différents paramètres de l’émission permet de constater que les choix opérés sont conditionnés par des impératifs télévisuels.

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New Criticism has had a profound impact on Arabic critical thought since the early 1950s. The reasons behind this vary from one critic to another. Some have employed New Criticism to analyse the poetic movement of Shi r al-taf īla, and its new poetic features that required innovative critical tools. Other critics’ use of New Criticism was based on their familiarity with English literary thought and schools of criticism. While some Arab critics, such as Iḥsān Abbās, Izz al-Dīn Ismā īl and Ilyās Khūrī, partially employed New Criticism, others, such as Rashād Rushdī and his students, confined themselves exclusively to New Criticism, viewing it as the only appropriate approach to literature. Members of Majallat Shi r employed many New Critical ideas, deeming them to be the modern concept of poetry. Through an in-depth reading of the articles in Shi r, and a comparative approach based on thorough study of New Critical writings, this thesis demonstrates that the majority of the critical ideas and concepts which appeared in Shi r were based on New Criticism. Additionally, the thesis illustrates that many of Shi r’s critics, particularly Yūsuf al-Khāl who dominated the magazine, showed a great deal of fascination with the New Critics, Eliot in particular. The Shi r critics’ use of New Criticism appeared to be, particularly on the theoretical level, an imitation to such an extent that one cannot find any new critical ideas in al-Khāl’s works. Additionally, the New Critics’ concepts were predominantly theoretical and largely unsupported by examples from Arabic poetry, with the exception of Jabrā’s and Khālida Sa īd’s works. In this way, Shi r critics’ contention that modern Arabic literary thought should be creative while seeking to evade the imitation of classical literary and critical accounts was fallacious as they merely replaced one form of imitation with another. Furthermore, Shi r critics called for many ideas without providing literary justifications or examples. One instance pertains to their encouragement of the use of colloquial Arabic instead of the standardised form. Furthermore, other critical problems, such as issues involving poetic ambiguity and language, were tackled insufficiently. For these reasons, this thesis characterises the relationship of Shi r critics to the New Critics as not only one of fascination and imitation, but also as a parental paradigm similar to a father-child relationship. Initially, I sought to find in Shi r new critical concepts and developments resulting from the use of New Criticism and simultaneously based on modern Arabic literature. However, much to my dismay, I discovered that the magazine’s critical project based itself, to a great extent, on the New Critical concepts without questioning or challenging them. This behaviour appears analogous to children’s imitation of their parents as an ideal form of behaviour.