Cette thèse vise à analyser les formes de l’expérience des récits sériels en culture médiatique, dans les différents supports à travers lesquels se sont déployés les feuilletons et les séries du XIXe au XXIe siècle (journal, bande dessinée, cinéma et télévision notamment). La relation des publics aux récits sériels est fondée sur la dynamique de la diffusion discontinue et de la récurrence, qui structurent une promesse de retrouvailles. Les expériences sérielles ne se limitent pas au moment d’actualisation des épisodes ni à l’objet « récit » en tant que tel : elles se prolongent de diverses manières durant le temps d’attente inter-épisodique. En outre, fondées sur l’échange et le partage, elles sont indissociables de la sociabilité qu’elles impliquent, ainsi que des interactions entre les pôles de la production et de la réception, qui passent par diverses médiatisations et favorisent la formation de communautés interprétatives. Il s’agit donc d’expériences médiatiquement situées : les caractéristiques thématiques ou formelles des récits ne sont pas détachables de facteurs économiques ni de leurs contextes de production et de réception. Afin de décrire la spécificité de l’engagement dans les récits sériels dans toute sa complexité, je propose de suivre une démarche intégrative, articulant l’étude des dispositifs narratifs et de la dimension sémantique des récits sériels à celle de leurs usages socioculturels. / This thesis analyses the modalities under which serial narratives are experienced in media culture, looking at the different media in which serials and series were developed from the 19th to the 21st century (newspapers, comics, cinema and television in particular). The way different audiences relate to serial narratives is grounded in the dynamics of discontinuous distribution and recurrence, thus framing their expectation of a renewed event. Serial experiences are not limited to the moment of reading or viewing, nor to the “narrative object” as such: they extend beyond it in various ways during the inter-episodic waiting time. Moreover, since these experiences are based on exchange and sharing, they are inseparable from the sociability they imply, as well as from diversely mediatized interactions between production and reception, which favor the emergence of interpretive communities. Therefore, these experiences are conditioned by the media from which they stem: the thematic and the formal dimensions cannot be separated from the material conditions, within the contexts of production and reception. In order to describe the specific modes of engagement of audiences with serial narratives in all its complexity, I follow an integrated approach, by studying narrative devices and the semantic dimension of serial narratives as well as their sociocultural uses.

En 2004, Michael Burawoy, alors président de l’Association américaine de sociologie (ASA), faisait un plaidoyer pour une sociologie « publique ». Ses considérations portaient sur l’orientation de la pratique de la discipline. Il avançait que le domaine devait réengager un dialogue avec des préoccupations plus proches d’un public « non-sociologue ». Dans ce mémoire, je propose des pistes de réflexion sur ces préoccupations en me penchant sur la pratique journalistique à travers deux genres : le fait divers et le feuilleton. Je mets en parallèle les deux genres en les approfondissant et en analysant leur traitement respectif de certains procès. C’est sur ce thème que je souligne leurs apports possibles pour une sociologie « en dehors de la sociologie ». Le fait divers, genre largement lu dans les journaux d’aujourd’hui, porte son attention sur l’environnement proche de ses lecteurs et sur des événements prenant naissance dans leur quotidien, mais qui ont pris des tangentes hors de l’ordinaire. Alors qu’on peut le qualifier de sensationnaliste et de genre exploitant la peur, il démontre cependant un intérêt pour des événements ordinaires pouvant apporter de nouveaux thèmes à la sociologie. Le feuilleton, un genre journalistique allemand foisonnant des années 1920-1930 et plus précisément le type qu’écrit Siegfried Kracauer, s’intéresse à de « petits faits » du monde urbain et assemble ses observations sous la forme d’une mosaïque. Le feuilleton tente de révéler l’implication de ses lecteurs dans les phénomènes qu’il observe, produisant un effet réflexif à sa lecture qui apporte une dimension possible à l’écriture sociologique. Suite à l’analyse d’exemples des deux genres, je propose trois pistes de réflexion pouvant répondre aux préoccupations de Burawoy : 1) la sociologie peut avoir un aspect « sensationnel », 2) la sociologie peut s’inspirer davantage du quotidien, 3) la sociologie peut prendre exemple sur une écriture journalistique. C’est en tentant de générer un effet par la lecture, à s’investir dans une forme d’écriture stimulant la réflexivité et à adopter une posture qui tienne compte de la contingence et du point de vue de l’auteur dans l’interprétation que le journalisme peut apporter des éléments d’orientation de la pratique sociologique afin de permettre à celle-ci de s’ouvrir à un plus large public. / In 2004, Michael Burawoy, then president of the American Sociological Association (ASA), made a plea for a “public sociology”. His considerations focused on the direction of the discipline's practice. His concerns were for a re-engagement in a dialogue with concerns closer to a “non-sociological” public. In this master thesis, I propose avenues to reflect on these concerns by looking at the journalistic practice through two genres: the “fait divers” and the “feuilleton”. I open up a dialogue between the two genres by exploring them in depth and analyzing their respective treatment of trials. It is through this theme that I underline their possible contributions to a sociology “outside of sociology”. The “fait divers” is a genre that is widely read in today’s newspapers. It focuses its attention on the environment close to its readers and on events that take origin in everyday life, but which have taken paths outside away from the ordinary. While this genre can be described as sensationalist and fearmongering, it nevertheless shows an interest in ordinary events that can bring new themes to sociology. The “feuilleton” and more precisely the type written by Siegfried Kracauer, is a German journalistic genre that flourished in the 1920s and 1930s. This author is interested in “small facts” of the urban world and assembles his observations in the form of a mosaic. The “feuilleton” tries to reveal the involvement of its readers in the phenomena it observes, thereby producing an effect of reflection after being read that brings a possible dimension to sociological writing. Following the analysis of examples from both genres, I propose three avenues that can respond to Burawoy’s concerns: 1) sociology can have a “sensational” aspect, 2) sociology can draw more inspiration from daily life, 3) sociology can take the example of a journalistic writing. By being interested in generating an effect through reading, investing in a form of writing that stimulates reflexivity and adopting a posture that takes into account contingency and the author's point of view in interpretation, journalism can provide elements of direction for the sociological practice in order to help it open up to a wider public.

La présente étude est une ethnographie du boulevard Saint-Laurent qui a duré 11 mois et au cours de laquelle j’ai intégré ce que l’on qualifie aujourd’hui le « cœur » du boulevard, la portion allant de la rue Sherbrooke à l’avenue Mont-Royal. Me basant sur des observations, des entretiens avec des résident.es et des commerçant.es, des brochures touristiques et les installations éducatives longeant l’artère, j’entreprends une entreprise de démystification : comprendre la réalité du boulevard contemporain en la substituant à l’aura énigmatique et mystérieuse que l’on retrouve dans les écrits historiques et les discours populaires. En menant des entretiens, je dénote une « nostalgie moderne » chez les résident.es et les commerçant.es de l’artère et montre leur utilisation différenciée de qualificatifs comme « gentrification » et « effervescence ». Par mes observations de tableaux éducatifs longeant les trottoirs, je fais l’expérience d’une « nostalgie post-moderne » et révèle les intérêts des sociétés de développement quant à la transformation commerciale du boulevard. Je perçois que les sens attribués à l’imaginaire du boulevard contemporain se définissent selon un rapport temporel et critique. Ma méthode d’enquête est à la fois phénoménologique, dans la mesure où elle reprend la figure du flâneur de Walter Benjamin comme posture d’observation, et « empirique », notamment par l’utilisation du feuilleton sociologique inspiré de Siegfried Kracauer, approche qui insiste sur la matérialité du quotidien, les discours et les observations. / The current study is an ethnography of Saint-Laurent Boulevard, which lasted 11 months and during which I integrated what is now called the “heart” of the boulevard, the portion between Sherbrooke street to Mont-Royal avenue. Based on observations, interviews with residents and shop owners, tourist brochures, and historical posters installed along the boulevard, I undertake an enterprise of demystification: to understand concretely the reality of the contemporary boulevard by going beyond an enigmatic and mysterious aura perpetuated in historical writings and popular discourses. In conducting interviews, I note a “modern nostalgia” among residents and shop owners of the boulevard and show their differentiated uses of words like “gentrification” and “effervescence”. Through my observations of historical boards lining the sidewalks, I experience a “post-modern nostalgia” and reveal the interests of development associations in the commercial transformation of the boulevard. I perceive that the meanings attributed to the imagination of the contemporary boulevard are defined according to a temporal and critical relation. My method of inquiry is both phenomenological, as it takes up Walter Benjamin’s figure of the flâneur as a posture of observation, and “empirical”, in particular through the use of sociological feuilletons inspired by Siegfried Kracauer, an approach which stresses the importance of the materiality of everyday life, discourses and observations.

À partir d’une série d’entretiens ethnographiques auprès d’employés des bars et restaurants de Montréal, je me penche dans cette recherche sur le monde de « l’industrie » de la restauration. Au cours de l’enquête, j’identifie un style de vie spécifique composé de ce que j’appelle des « conduites dépensières ». Il s’agit pour ces employés d’un ensemble de pratiques ayant pour conséquence la dépense d’une partie importante de leurs revenus d’emplois dans les restaurants et les bars afin de s’offrir des soirées sociables alcoolisées et des sorties de découvertes gastronomiques. En tentant de rendre compte de ce style de vie, j’avance l’hypothèse que ces conduites sont sous-tendues par un véritable système culturel de coutumes, rituels, normes et valeurs. Au cœur de ce système culturel se trouve le brouillage des frontières entre le professionnel et le privé, le sérieux et le plaisir, le travail et le party. Ce brouillage a pour effet de rediriger une partie des revenus de mes informateurs à l’intérieur de leur univers professionnel. Cette redirection ne serait possible sans le marquage symbolique de l’argent-pourboire, tel que théorisé par Viviana Zelizer, qui fait en sorte que cette monnaie est socialement assignée à la dépense à l’intérieur de « l’industrie ». Au cœur de ma méthode d’enquête se trouve l’utilisation du feuilleton sociologique, véritable outil de validation et de construction des données. / Based on a series of ethnographic interviews with bar and restaurant staff in Montreal, I examine in this study the world of the restaurant “industry.” During the investigation, I have identified a specific lifestyle characterized by “spendthrift conducts.” These conducts are a set of behaviors leading to the spending of a significant portion of my informants’ income in gastronomic discoveries and nights of drinking in restaurants and bars. To account for this particular lifestyle, I argue that these behaviors are underpinned by a cultural system of customs, rituals, norms, and values. The blurring of the boundaries between the professional and the private, the serious and the fun, work and party, is central to this cultural system. As a result of this blurring, the informants’ income is reinjected within their professional universe. This would not be possible without the social earmarking of tip, as theorized by Viviana Zelizer. This currency is socially assigned for spending within the “industry.” While writing up this study the sociological feuilleton has turned out to be an original tool for validating and constructing data.

[pt] A maneira como a narrativa de ficção de Nelson Rodrigues é convencionalmente tratada por pesquisadores e pela crítica especializada parece não contemplar aspectos dramatúrgicos que singularizam a construção escritural do texto dramático-literário rodrigueano. O objetivo deste trabalho é apresentar e discutir o conceito de melodrama, que Rodrigues retoma imprimindo seu estilo autoral à escrita, que altera a fórmula melodramática tradicional. Esse conceito envolve questões que inter-relacionam sensorialidade, gesto, movimento, dramaturgia corporal e vocalidade na carpintaria dessa arte-escrita, o romance-folhetim. Uma produção cujo próprio modo de registrar o diálogo e as expressões do corpo no texto é suficiente para questionar a posição marginal do folhetim na carreira do romancista. A linguagem gestual do corpo da personagem, ao ser insistentemente indicada por Rodrigues na escrita, sugere reações emocionais que provocam reações no leitor; e o diálogo o tangencia com energia incorpórea. Na intenção de não negligenciar esses preponderantes aspectos inerentes ao procedimento de escrita teatral rodrigueano, proponho a leitura da construção escritural do folhetim como o processo de produção de uma escritura cênica, que possui uma impactante dimensão espetacular e uma relação direta com espetáculos populares. As reflexões propostas nesta pesquisa, relacionadas com o campo sensível e a percepção sensorial, visam, através de uma sondagem antenada com questões contemporâneas, contribuir para a leitura do segmento folhetinesco da obra em prosa de Nelson Rodrigues. / [en] The way Nelson Rodrigues fictitious narrative is conventionally treated by researchers and specialized criticism does not seem to contemplate dramaturgical aspects that singularize the scriptural construction of his dramatic-literary text. The objective of this thesis is to present and discuss the concept of melodrama that Rodrigues resumes by writing the prose narrative in his own style, which changes the traditional melodramatic formula. This concept involves questions that interrelate sensoriality, gesture, movement, body dramaturgy and vocality in the carpentru of his art-writing, the novel. A piece of writing in which the way of organizing dialogue and indicating body expressions in the next is enough yo question the fringe position of the novel in the novelist s career. The gesture language of the character s body, as Rodrigues repeatedly insists on writing it, suggests emotional reactions that affect the reader; and the dialogue touches him/her with incorporeal energy. In order to not neglect these preponderant aspects inherent to the procedure of theatrical writing of Rodrigues, I propose the reading of the construction of his novel as the process of scenic writing, which has a chocking spectacular dimension and a direct relation with popular spectacles. The reflections proposed in this research, related to the sentitive field and the sensorial perception, aim, through a survey linked to contemporary questions, to contribute to the reading of Nelson Rodrigues prose narrative of book length.

La réception critique de l'oeuvre du feuilletoniste Eugène Sue s'est penchée sur l'apparente disjonction entre, d'une part, son contenu "socialiste" édulcoré et d'autre part, l'impact qu'on accorde à ses écrits par rapport à l'engagement populaire de 1848. Cette lecture, cependant, a tendance à interpréter l'engagement politique de l'auteur, entre Les Mystères de Paris (1842) et Les Mystères du Peuple (1857), comme faisant montre d'un développement soutenu, mais problématique, d'une pensée anti-bourgeoise et socialiste. En montant une lecture sociocritique du discours politique d'un des premiers romans de Sue, Atar-Gull (1832), nous sommes à même de relever les bases d'une pensée radicalement antibourgeoise dans les toutes premières années de sa carrière. La contextualisation littéraire et historique d'Atar-Gull, ainsi que la réexaminassions de l'orthodoxie critique relevée ci-haut, nous permettent de comprendre l'importance de certains textes littéraires en tant que monuments historiques. / So far, critical evaluations of the works of serial writer Eugène Sue have tended to concentrate upon the apparent disjunction between his stereotypical brand of socialism, and the role his writing is credited with having played in furthering popular participation in the revolution of 1848. This critical understanding has tended to portray the author's own political engagement between the publication of Les Mystères de Paris (1842) and that of Les Mystères du Peuples (1857), as a sustained, yet problematic, development in anti-bourgeois and socialist thought. On the basis of a sociocritical reading of one of Sue's earliest novels, Atar-Gull (1832), we do, however, notice a radical antibourgeois stance from the very first years of his career. In examining this novel in context, both historical and literary, and in revisiting the premises that underlay past critical orthodoxy, we may demonstrate the relevance of certain kinds of literary production as historical monuments. / Québec Université Laval, Bibliothèque 2013

Ziel dieser Untersuchung ist es, feuilletonistische Entwürfe von „Amerika“ in der Zeit von 1918 bis 1938 zu analysieren. Der Amerika-Diskurs in der deutschen Presse diente mir dabei als Folie für eine weitere Untersuchung im Kontext der Ersten Tschechoslowakischen Republik. Der Hauptbeitrag der vorliegenden Arbeit liegt daher in einer gänzlich neuen Perspektive auf die Perzeption der USA sowie im Vergleich dieser tschechoslowakischen Sicht mit der deutschen. In den 1920er- und 1930er-Jahren vermochte insbesondere das Feuilleton als modernes urbanes Genre die aktuellen zeitgenössischen Diskurse einerseits aufzunehmen, andererseits mitzugestalten. Deshalb diente es mir als Quelle. In der vorliegenden Arbeit wurde die Modernisierung als komplexes Phänomen untersucht, das alle Bereiche des Alltags erfasste. Anhand ausgewählter Themenbereiche – Amerika, Stadt, Frau – wurde herausgearbeitet, wie sich die Zeitgenossen mit diesem Prozess auseinandersetzten. Da die Modernisierung mit Amerikanisierung gleichgesetzt wurde, ist der so genannte Amerikanisierungsdiskurs zentraler Bestandteil der Untersuchung. Amerika diente sowohl in der Weimarer Republik wie in der ČSR als Projektionsfläche für Wunschvorstellungen sowie für Probleme im Umgang mit der Modernisierung. Das Zentrum der Moderne war der urbane Raum. Daher konzentriert sich meine Arbeit auf die Großstädte Berlin und Prag. Als deren Bezugsgröße diente New York. Analysiert wurden die Selbst- und im Falle Berlins auch die Fremddarstellungen der Metropolen im Hinblick auf ihre voranschreitende Urbanisierung. Der gesellschaftliche Wandel manifestierte sich in den 1920er-Jahren am deutlichsten an der gesellschaftlichen Aufwertung der Frau; sie profitierte am meisten vom Prozess der Modernisierung. Die Weiblichkeitskonstruktionen widerspiegeln daher wichtige Aspekte der Auseinandersetzung mit der Modernisierung / Amerikanisierung. / The goal of this research is the analysis of perceptions about the American model of modernity in the period between 1918 and 1938. The debate about America in Germany serves as the template for its examination in the context of the first Czechoslovak Republic, which will present an entirely new perspective. The main contribution of this thesis is the removal of the one-sided approach to German perceptions of America by means of comparison and perspective from Czechoslovakia. In the ‘20s and ‘30s played in particular the feuilleton a crucial role in creating popular perceptions of society. As a modern urban genre it enabled both the depiction and the formation of contemporary discourse. The subject of this thesis is a study of modernization, a complex phenomenon that has touched upon all aspects of everyday life. The analysis of selected topics – the USA, the city, and the woman – shows how people responded to this process. Due to the fact that modernization became equated with Americanization, a discourse about the latter is central to this analysis. Both in the German Weimar Republic as well as in Czechoslovakia America was used as a backdrop for projecting; both the visions and challenges that occurred while dealing with modernization. The center of modernism was the urban environment. This fact has led the focus of this examination to the cities of Prague and Berlin, with the reference point for both being New York. This thesis analyzes the way these cities presented themselves from the point of view of urbanization – in the case of Berlin it also includes perception of the city by outsiders. In the ‘20s social change was predominantly manifest in the empowerment of women and it was also women who profited most from modernization of the social sphere. The evolution of the notion of femininity is thus reflected in important aspects of this confrontation with modernization / Americanization.

Made available in DSpace on 2016-04-28T19:59:22Z (GMT). No. of bitstreams: 1 Catarina Reis Matos da Cruz.pdf: 2678362 bytes, checksum: 5bdce63d62e3c25c80ecfdd222ea1ea6 (MD5) Previous issue date: 2010-05-11 / Secretaria da Educação do Estado de São Paulo / This dissertation aims to develop an interpretative analytical study of the novel, Senhora , novelist José de Alencar in confrontation with the feuilleton, journalistic genre of 19th century. The central aim is to verify the presence of the characteristics of the feuilleton composition in novel Senhora , realizing that the writer began his literary career with journalism experience. The themes are: Chapter I presents the landscape of the feuilleton genre until the formation of novel. Chapter II deals with the storytelling feuilleton process and novel Senhora in parallel, by means of the likelihood. Chapter III shows us the fictional romance and society from Rio de Janeiro in middle of nineteenth century in approximation and detachment from the romance-feuilleton. The theoretical support parameters are: Marlyse Meyer (1996), Ribeiro (1996), Roberto Schwartz (2000), Tzvetan Todorov (2008), Antonio Candido (1982), (1975) and (2007) Mikhail Bakhtin (1993) and (2003), among others. We priorized the method of hypothetical-deductive approach because search assumes that Alencar would have used the methodology and procedures feuilleton narrative structural (romance-feuilleton) in Senhora novel. The procedures of analysis and synthesis are constants in the interpretation of the novel, resulting in a search descriptive self-explanatory, between the romance-feuilleton and Senhora novel and similar structures of both / A presente dissertação tem o objetivo geral de desenvolver um estudo analítico interpretativo do romance Senhora, do romancista José de Alencar em confronto com o folhetim, gênero jornalístico do século XIX. O objetivo central é verificar a presença das características da composição folhetinesca no romance Senhora, entendendo que o escritor iniciou sua carreira literária com a experiência jornalística. A temática está assim distribuída: o capítulo I apresenta o panorama do gênero folhetim até a formação do romance. O capítulo II trata do processo narrativo folhetinesco e do romance Senhora em paralelo, por meio da verossimilhança. O capítulo III mostra-nos as personagens do romance e a sociedade fluminense da época em aproximação e distanciamento na intriga. Os parâmetros teóricos de suporte analítico são: Marlyse Meyer (1996), Ribeiro (1996), Roberto Schwartz (2000), Tzvetan Todorov (2008), Antonio Candido (1982), (1975) e (2007) Mikhail Bakhtin (1993) e (2003), dentre outros. Priorizamos o método de abordagem hipotético-dedutivo, pois a pesquisa parte da hipótese que Alencar teria utilizado a metodologia e os procedimentos estruturais da narrativa folhetinesca (romance-folhetim) no romance Senhora. Os procedimentos da análise e síntese são constantes na interpretação do romance, resultando numa pesquisa descritivo-explicativa, entre o romance-folhetim e o romance Senhora e suas estruturas similares

Aux alentours de 2008, un genre littéraire nommé « zhichang xiaoshuo » suscite l’engouement en Chine : des best-sellers avec leurs adaptations engendrent quelques centaines d’œuvres dans la même veine. Ce phénomène que nous désignons par la « littérature des cols blancs », est à la fois littéraire, socio-économique et culturel. Inédite dans l’histoire littéraire, cette littérature est atypique par le statut de ses auteurs, par ses formes hybrides, et aussi par ses modes de production. Quatre œuvres, englobant les plus médiatisées et les plus originales, constituent notre corpus noyau, et forment un échantillon qui permet de rendre compte de la richesse du phénomène. Notre travail relève d’une double approche socio-historique et littéraire. Pour les œuvres du corpus, nous procédons à l’étude de l’intrigue, des personnages, de la structure textuelle et des techniques narratives. Nous examinons en parallèle deux romans d’écrivains reconnus ayant mis en scène le monde du travail respectivement au début et à la fin des années quatre-vingt, ainsi que des œuvres de fiction relevant des genres « guanchang » et « shangchang », écrites au tournant du siècle ou contemporaines des« zhichang xiaoshuo ». Le contexte économique, politique et culturel dans lequel est apparu le phénomène, est largement étudié. Nous analysons également les adaptations en tant que variantes de l’œuvre littéraire, et tentons d’expliquer leurs différences. Enfin, nous explorons les fonctions de cette littérature « grand public » dans la société chinoise du XXIe siècle, une société affichant sa prospérité et jouissant de nouveaux moyens technologiques d’une part, et d’autre part marquée par le traumatisme du passé et par la perte de repères. / Around 2008, a literary genre called "zhichang xiaoshuo" arouses enthusiasm in China: bestsellers with their adaptations generate several hundred works in the same vein. This phenomenon that we call "white-collar literature" is literary, socio-economic and cultural at once. New in the history of literature, this literature is atypical due to the professional identity of its authors, its hybrid forms, and also its production methods. Four works, including most publicized and most original, constitute our core corpus, and offer a sample of the richness of the phenomenon. Our work takes a two-pronged approach, both socio-historical and literary. For works of the corpus, we first study the plot, the characters, the textual structure and narrative techniques. We examine in parallel two fictions by renowned writers who portrayed the working world of the early and late 1980s, respectively, and two fictions in the “guanchang” and the “shangchang” genres at the turn of the century or contemporary with “zhichang xiaoshuo”. The economic, political and cultural context in which the phenomenon appeared is widely studied. We also analyze the adaptations as variants of the literary work, and try to explain their differences. Finally, we explore the functions of this popular literature in twenty-first century Chinese society which is, on the one hand, proud of its prosperity and enjoying the benefits of new technologies; and on the other hand, marked by the trauma of its past and by a general loss of bearings.

This thesis deals with the nowadays largely unknown Austrian author Raoul Auernheimer (1876-1948). It is an attempt at a presentation of his life and work, the main part dealing with four of his works, the play Talent (1900), the long story Laurenz Hallers Praterfahrt (1913), the novel Das Kapital (1923) and the autobiographical report Die Zeit im Lager (1939). My purpose is to investigate to what extent his works reflect time, Auernheimers life and the city of Vienna. An introductory chapter on life and work deals with the most important events in his life. It is clear, that he was one of the major personalities in the field of culture in Vienna before and after World War I and an outstanding intellectual who stood for democratic values. When he was 61 the Nazis forced him to leave Austria, after first having put him into the concentration camp Dachau for five months. He was then in exile in the USA where, in spite of a heart condition, he lived on for nine more years. A section on secondary literature and an almost complete catalogue of his works show their versatility, scope and scale. In this context, his significant role as a drama critic, journalist and essayist becomes evident. The city of Vienna is a central theme in the four works I examined and each date of origin (1900, 1913, 1923, 1939) is significant for the work itself. Work and date indicate radical changes in his literary production and constitute a step in the direction of becoming a person who thinks politically. However these changes meant very little to his literary style, which shows continuity. In his works he basically remains a Feuilletonist and playwright. More and more Auernheimer shows his solidarity with the vulnerable groups of society. This is conveyed indirectly, virtually through ‘participating observation‘. By each time describing conditions accurately and exactly, he criticizes current deficiencies. Concerning language it is apparent, that irony is important to his style. Since he views his world critically, he uses it to make social conditions clear. The style of the Feuilleton, in which linguistic brilliance and harmony of text are important components, is characteristic of this author. It is the style of the journalist and critic. Keywords: Raoul Auernheimer, continuity, change, life, work, journalist, critic, Talent, Laurenz Hallers Praterfahrt, Das Kapital, Die Zeit im Lager, time influence, social conditions, participating observation, criticism of current deficiencies, city of Vienna, style of the Feuilleton, irony   Lennart Weiss, Department of Modern Languages, Box 636, Uppsala University, SE-751 26 Uppsala, Sweden   © Lennart Weiss 2010