Purpose and framing of the question: To study how Aftonbladet’s news values and news selection have changed in the last two decades. Method and material: Quantitative study in form of a coding scheme covering Aftonbladet’s front pages in the month of march of 1995, 2000, 2005, 2010 and 2015. Main result: Both news selection and news value remains in the bigger perspective unchanged, indicating that the newspaper print version is rather unaffected by the change of online journalism. That in turn indicates that the gatekeeper role more or less remains the same for the print version of Aftonbladet.

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O objetivo geral desta pesquisa é compreender o ethos discursivo (imagem de si) das revistas semanais de informação brasileiras Veja, Época, IstoÉ e CartaCapital construído nas capas e nos editoriais. Partimos do pressuposto de que o discurso jornalístico funciona por meio de um contrato de comunicação entre os seus interlocutores, sendo o ethos discursivo constitutivo da condição de identidade (“quem fala para quem”) desse contrato. A questão que buscamos responder é: que imagens de si as revistas semanais de informação constroem em suas capas e seus editoriais e o que isso significa na afirmação do contrato de comunicação? Para respondê-la, analisamos 96 textos coletados durante um ano. Adotamos a perspectiva teórico-metodológica da análise do discurso, desenvolvendo estes aspectos da problematização: a) identificamos os sentidos sobre si construídos na relação com o outro (o leitor, os atores de outros campos sociais, as revistas concorrentes e os demais sujeitos do campo jornalístico); b) mapeamos os sentidos sobre si que remetem à linha editorial e aos princípios e valores do jornalismo; c) refletimos sobre a importância do ethos discursivo na afirmação do contrato de comunicação. Como resultado, identificamos sete núcleos de sentidos que as revistas constroem sobre si mesmas: 1. Sei o que é o “bom jornalismo” e o “mau jornalismo”; 2. Sei o que é do seu/nosso interesse; 3. Sei o que é novo e atual; 4. Sei, porque fiz um trabalho rigoroso; 5. Sei, porque estava lá; 6. Sei, porque busquei o melhor especialista; 7. Sei como expressar diversos temas. Concluímos que há dois núcleos de sentidos predominantes em todas as revistas, nesta ordem: 7. Sei como expressar diversos temas e 5. Sei, porque estava lá. Outro núcleo predominante em duas revistas (Veja e IstoÉ) é 3. Sei o que é novo e atual. Três núcleos predominam em apenas uma das revistas: 2. Sei o que é do seu/nosso interesse (Época), 1. Sei o que é “bom jornalismo” e o “mau jornalismo” (CartaCapital) e 4. Sei, porque fiz um trabalho rigoroso (IstoÉ). Ao fim da pesquisa, nos questionamos sobre o significado do ethos discursivo na afirmação do contrato de comunicação e percebemos que ele está presente não somente na condição de identidade (“quem fala para quem”) do contrato, como também nas condições de finalidade (“para quê se diz”), de propósito (“o que se diz”) e de dispositivo (“em que condições se diz”), além dos modos de dizer, o “como se diz”. Ethos discursivo e contrato de comunicação são constitutivos um do outro e estão interligados pela situação de comunicação. A pesquisa mostra que as revistas semanais de informação brasileiras constroem, sobre si mesmas, sentidos que reafirmam dois compromissos principais com os leitores: narrar a realidade e autenticá-la (sei, porque estava lá) e tratar de modo criativo e adequado (sei expressar diversos temas) a ampla gama de assuntos que, segundo o contrato de comunicação, deve fazer parte de uma revista semanal. / The main purpose of this research is to understand the discursive ethos (self-image) constructed on the front pages and on the editorials of the Brazilian weekly news magazines Veja, Época, IstoÉ and CartaCapital. Our premise is that the journalistic discourse works by means of a communication contract established between its interlocutors, being the discursive ethos constitutive of the condition of identity (“who speaks to whom”) of this contract. The question we seek to answer is: what self-images do weekly news magazines construct on their front pages and on their editorials and what does it mean for the affirmation of the communication contract? To answer this question, we analyzed 96 texts collected during a year. We adopt the theoretical and methodological perspective of discourse analysis, developing these aspects of the problematization: a) we identify the meanings constructed about themselves in the relation with to others (the reader, the actors of other social fields, competing magazines and other subjects of the journalistic field); b) we mapped the meanings about themselves that refer to the editorial line and to the principles and values of journalism; c) we reflect on the importance of the discursive ethos in the assertion of the communication contract. As a result, we identified seven core meanings that magazines construct about themselves: 1. I know what is "good journalism" and "bad journalism"; 2. I know what is of your/our interest; 3. I know what is new and current; 4. I know because I've done a thorough work; 5. I know because I was there; 6. I know because I sought the best specialist; 7. I know how to express various themes. We concluded that there are two core meanings prevalent in all the magazines, in this order: 7. I know how to convey various themes and 5. I know because I was there. Another predominant core meaning in two magazines (Veja and IstoÉ) is 3. I know what is new and current. Three core meanings predominate in only one of the magazines: 2. I know what is of your/our interest (Época), 1. I know what is "good journalism" and "bad journalism"; (CartaCapital) and 4. I know because I've done a thorough work (IstoÉ). At the end of the research, we question ourselves on the significance of the discursive ethos in the assertion of the communication contract and we realize that it is present not only in the condition of identity (“who speaks to whom”) of contract, but also in the conditions of purpose (“why say so”), of content (“about what”) and of device (“in what circumstances”), besides the manners of speaking, the “how to say it”. Discursive ethos and communication contract are constitutive of each other and are interconnected in a communication situation. Research shows that Brazilian weekly news magazines constructed, about themselves, meanings that reaffirm two main commitments with readers: to narrate the reality and authenticate it (I know because I was there) and to convey a range of themes creatively and properly (I know how to express various themes) which, under the contract communication, must be part of a weekly magazine.

O objetivo geral desta pesquisa é compreender o ethos discursivo (imagem de si) das revistas semanais de informação brasileiras Veja, Época, IstoÉ e CartaCapital construído nas capas e nos editoriais. Partimos do pressuposto de que o discurso jornalístico funciona por meio de um contrato de comunicação entre os seus interlocutores, sendo o ethos discursivo constitutivo da condição de identidade (“quem fala para quem”) desse contrato. A questão que buscamos responder é: que imagens de si as revistas semanais de informação constroem em suas capas e seus editoriais e o que isso significa na afirmação do contrato de comunicação? Para respondê-la, analisamos 96 textos coletados durante um ano. Adotamos a perspectiva teórico-metodológica da análise do discurso, desenvolvendo estes aspectos da problematização: a) identificamos os sentidos sobre si construídos na relação com o outro (o leitor, os atores de outros campos sociais, as revistas concorrentes e os demais sujeitos do campo jornalístico); b) mapeamos os sentidos sobre si que remetem à linha editorial e aos princípios e valores do jornalismo; c) refletimos sobre a importância do ethos discursivo na afirmação do contrato de comunicação. Como resultado, identificamos sete núcleos de sentidos que as revistas constroem sobre si mesmas: 1. Sei o que é o “bom jornalismo” e o “mau jornalismo”; 2. Sei o que é do seu/nosso interesse; 3. Sei o que é novo e atual; 4. Sei, porque fiz um trabalho rigoroso; 5. Sei, porque estava lá; 6. Sei, porque busquei o melhor especialista; 7. Sei como expressar diversos temas. Concluímos que há dois núcleos de sentidos predominantes em todas as revistas, nesta ordem: 7. Sei como expressar diversos temas e 5. Sei, porque estava lá. Outro núcleo predominante em duas revistas (Veja e IstoÉ) é 3. Sei o que é novo e atual. Três núcleos predominam em apenas uma das revistas: 2. Sei o que é do seu/nosso interesse (Época), 1. Sei o que é “bom jornalismo” e o “mau jornalismo” (CartaCapital) e 4. Sei, porque fiz um trabalho rigoroso (IstoÉ). Ao fim da pesquisa, nos questionamos sobre o significado do ethos discursivo na afirmação do contrato de comunicação e percebemos que ele está presente não somente na condição de identidade (“quem fala para quem”) do contrato, como também nas condições de finalidade (“para quê se diz”), de propósito (“o que se diz”) e de dispositivo (“em que condições se diz”), além dos modos de dizer, o “como se diz”. Ethos discursivo e contrato de comunicação são constitutivos um do outro e estão interligados pela situação de comunicação. A pesquisa mostra que as revistas semanais de informação brasileiras constroem, sobre si mesmas, sentidos que reafirmam dois compromissos principais com os leitores: narrar a realidade e autenticá-la (sei, porque estava lá) e tratar de modo criativo e adequado (sei expressar diversos temas) a ampla gama de assuntos que, segundo o contrato de comunicação, deve fazer parte de uma revista semanal. / The main purpose of this research is to understand the discursive ethos (self-image) constructed on the front pages and on the editorials of the Brazilian weekly news magazines Veja, Época, IstoÉ and CartaCapital. Our premise is that the journalistic discourse works by means of a communication contract established between its interlocutors, being the discursive ethos constitutive of the condition of identity (“who speaks to whom”) of this contract. The question we seek to answer is: what self-images do weekly news magazines construct on their front pages and on their editorials and what does it mean for the affirmation of the communication contract? To answer this question, we analyzed 96 texts collected during a year. We adopt the theoretical and methodological perspective of discourse analysis, developing these aspects of the problematization: a) we identify the meanings constructed about themselves in the relation with to others (the reader, the actors of other social fields, competing magazines and other subjects of the journalistic field); b) we mapped the meanings about themselves that refer to the editorial line and to the principles and values of journalism; c) we reflect on the importance of the discursive ethos in the assertion of the communication contract. As a result, we identified seven core meanings that magazines construct about themselves: 1. I know what is "good journalism" and "bad journalism"; 2. I know what is of your/our interest; 3. I know what is new and current; 4. I know because I've done a thorough work; 5. I know because I was there; 6. I know because I sought the best specialist; 7. I know how to express various themes. We concluded that there are two core meanings prevalent in all the magazines, in this order: 7. I know how to convey various themes and 5. I know because I was there. Another predominant core meaning in two magazines (Veja and IstoÉ) is 3. I know what is new and current. Three core meanings predominate in only one of the magazines: 2. I know what is of your/our interest (Época), 1. I know what is "good journalism" and "bad journalism"; (CartaCapital) and 4. I know because I've done a thorough work (IstoÉ). At the end of the research, we question ourselves on the significance of the discursive ethos in the assertion of the communication contract and we realize that it is present not only in the condition of identity (“who speaks to whom”) of contract, but also in the conditions of purpose (“why say so”), of content (“about what”) and of device (“in what circumstances”), besides the manners of speaking, the “how to say it”. Discursive ethos and communication contract are constitutive of each other and are interconnected in a communication situation. Research shows that Brazilian weekly news magazines constructed, about themselves, meanings that reaffirm two main commitments with readers: to narrate the reality and authenticate it (I know because I was there) and to convey a range of themes creatively and properly (I know how to express various themes) which, under the contract communication, must be part of a weekly magazine.

O objetivo geral desta pesquisa é compreender o ethos discursivo (imagem de si) das revistas semanais de informação brasileiras Veja, Época, IstoÉ e CartaCapital construído nas capas e nos editoriais. Partimos do pressuposto de que o discurso jornalístico funciona por meio de um contrato de comunicação entre os seus interlocutores, sendo o ethos discursivo constitutivo da condição de identidade (“quem fala para quem”) desse contrato. A questão que buscamos responder é: que imagens de si as revistas semanais de informação constroem em suas capas e seus editoriais e o que isso significa na afirmação do contrato de comunicação? Para respondê-la, analisamos 96 textos coletados durante um ano. Adotamos a perspectiva teórico-metodológica da análise do discurso, desenvolvendo estes aspectos da problematização: a) identificamos os sentidos sobre si construídos na relação com o outro (o leitor, os atores de outros campos sociais, as revistas concorrentes e os demais sujeitos do campo jornalístico); b) mapeamos os sentidos sobre si que remetem à linha editorial e aos princípios e valores do jornalismo; c) refletimos sobre a importância do ethos discursivo na afirmação do contrato de comunicação. Como resultado, identificamos sete núcleos de sentidos que as revistas constroem sobre si mesmas: 1. Sei o que é o “bom jornalismo” e o “mau jornalismo”; 2. Sei o que é do seu/nosso interesse; 3. Sei o que é novo e atual; 4. Sei, porque fiz um trabalho rigoroso; 5. Sei, porque estava lá; 6. Sei, porque busquei o melhor especialista; 7. Sei como expressar diversos temas. Concluímos que há dois núcleos de sentidos predominantes em todas as revistas, nesta ordem: 7. Sei como expressar diversos temas e 5. Sei, porque estava lá. Outro núcleo predominante em duas revistas (Veja e IstoÉ) é 3. Sei o que é novo e atual. Três núcleos predominam em apenas uma das revistas: 2. Sei o que é do seu/nosso interesse (Época), 1. Sei o que é “bom jornalismo” e o “mau jornalismo” (CartaCapital) e 4. Sei, porque fiz um trabalho rigoroso (IstoÉ). Ao fim da pesquisa, nos questionamos sobre o significado do ethos discursivo na afirmação do contrato de comunicação e percebemos que ele está presente não somente na condição de identidade (“quem fala para quem”) do contrato, como também nas condições de finalidade (“para quê se diz”), de propósito (“o que se diz”) e de dispositivo (“em que condições se diz”), além dos modos de dizer, o “como se diz”. Ethos discursivo e contrato de comunicação são constitutivos um do outro e estão interligados pela situação de comunicação. A pesquisa mostra que as revistas semanais de informação brasileiras constroem, sobre si mesmas, sentidos que reafirmam dois compromissos principais com os leitores: narrar a realidade e autenticá-la (sei, porque estava lá) e tratar de modo criativo e adequado (sei expressar diversos temas) a ampla gama de assuntos que, segundo o contrato de comunicação, deve fazer parte de uma revista semanal. / The main purpose of this research is to understand the discursive ethos (self-image) constructed on the front pages and on the editorials of the Brazilian weekly news magazines Veja, Época, IstoÉ and CartaCapital. Our premise is that the journalistic discourse works by means of a communication contract established between its interlocutors, being the discursive ethos constitutive of the condition of identity (“who speaks to whom”) of this contract. The question we seek to answer is: what self-images do weekly news magazines construct on their front pages and on their editorials and what does it mean for the affirmation of the communication contract? To answer this question, we analyzed 96 texts collected during a year. We adopt the theoretical and methodological perspective of discourse analysis, developing these aspects of the problematization: a) we identify the meanings constructed about themselves in the relation with to others (the reader, the actors of other social fields, competing magazines and other subjects of the journalistic field); b) we mapped the meanings about themselves that refer to the editorial line and to the principles and values of journalism; c) we reflect on the importance of the discursive ethos in the assertion of the communication contract. As a result, we identified seven core meanings that magazines construct about themselves: 1. I know what is "good journalism" and "bad journalism"; 2. I know what is of your/our interest; 3. I know what is new and current; 4. I know because I've done a thorough work; 5. I know because I was there; 6. I know because I sought the best specialist; 7. I know how to express various themes. We concluded that there are two core meanings prevalent in all the magazines, in this order: 7. I know how to convey various themes and 5. I know because I was there. Another predominant core meaning in two magazines (Veja and IstoÉ) is 3. I know what is new and current. Three core meanings predominate in only one of the magazines: 2. I know what is of your/our interest (Época), 1. I know what is "good journalism" and "bad journalism"; (CartaCapital) and 4. I know because I've done a thorough work (IstoÉ). At the end of the research, we question ourselves on the significance of the discursive ethos in the assertion of the communication contract and we realize that it is present not only in the condition of identity (“who speaks to whom”) of contract, but also in the conditions of purpose (“why say so”), of content (“about what”) and of device (“in what circumstances”), besides the manners of speaking, the “how to say it”. Discursive ethos and communication contract are constitutive of each other and are interconnected in a communication situation. Research shows that Brazilian weekly news magazines constructed, about themselves, meanings that reaffirm two main commitments with readers: to narrate the reality and authenticate it (I know because I was there) and to convey a range of themes creatively and properly (I know how to express various themes) which, under the contract communication, must be part of a weekly magazine.

No description available.

This master's thesis deals with the cultural-political weekly magazine Literární noviny. The first part is dedicated to the forms of the Literární noviny from 1927, when the magazine emerged, to 1969, when it ceased to be published for twenty-one years. The main focus of the thesis is its second part, which explores the life of the Literární noviny in the 90s. On 5 April, 1990 the weekly was renewed as an appendix of the Lidové noviny, and two years later it became an independent magazine. Its chief editor was Vladimír Karfík until 1999. I did an interview with Vladimír Karfík, which is attachment of this thesis. I concentrated on the weekly's editorial composition, especially on the sections and its thematic structure, but also on the social and cultural context of the 90s. The main research method used for analysing the composition of the thematic structure is quantitative content analysis. The research questions are related both to the topics that formed the content of the Literární noviny in the 90s, and their transformation within that decade. I also used the elements of qualitative analysis, to compare the transformation of the front page of the weekly magazine in the above mentioned period. The third section is dedicated to the feuilletons of Ludvík Vaculík. I focused on author's feuilletons...

<p>Syftet med den här studien är att jämföra Aftonbladets och Expressens förstasidor under fyra olika år för att se vilka förändringar som har skett. I kontext till detta har vi även undersökt mediemarknadens utveckling. Åren vi har undersökt är 1977, 1987, 1997 och 2007.</p><p>Undersökningsmaterialet är 182 förstasidor som är väl utspridda under de fyra åren. Vi har använt oss av en syntetisk vecka där man till exempel undersöker måndagen från en vecka, tisdagen veckan därpå osv. Vår främsta utgångspunkt har varit Marina Ghersettis forskning om den alltmer utbredda sensationsjournalistiken samt andra teoretiker som forskar inom samma område.</p><p>Den kvantitativa studien visade att brott förekommer mest som huvudnyhet på förstasidorna samt att det förekommer mer nyheter om kändisar än vad det gjorde för 30 år sedan. Den vanligaste huvudaktören är den ”vanliga människan” och huvudnyhetens ursprung och källa är oftast från Sverige.</p><p>Den kvalitativa analysen pekade ut att det har skett en förändring på tidningarnas förstasidor. Bilderna har blivit mindre i storlek men fler samt att reklam på tidningarna förekommer i allt högre utsträckning nu än för 30 år sedan. Undersökningen visade också att tidningarnas förstasidor liknade varandra mer utseendemässigt för varje år som gick.</p> / <p>The purpose of this study is to compare the front pages of Aftonbladet and Expressen in four different years within a period of 30 years to see what changes have been done. We have also examined the development of the media over time. Our examined years are 1977, 1987, 1997 and 2007.</p><p>The material of examination consists of 182 front pages which are well spread over the four years. We have employed a so called synthetic week, meaning that you examine Monday one week, Tuesday the following week, and so forth. Our main starting point has been the research of Marina Chersetti about the increasingly widespread journalism of sensation, as well as other theorists carrying out research within the same area.</p><p>The quantitative study showed that crimes are the most frequently occurring head news on the front pages and that there are more news about celebrities today than 30 years ago. The most common main figure is the “ordinary individual” and the origin of the head news, as well as the source, is mostly Swedish.</p><p>The qualitative analysis pointed out that the front pages have changed. The pictures have become smaller but more numerous, and compared to 30 years ago, advertising occur to a greater extent today. The study also showed that the front pages became more similar in appearance every year.</p>

Syftet med den här studien är att jämföra Aftonbladets och Expressens förstasidor under fyra olika år för att se vilka förändringar som har skett. I kontext till detta har vi även undersökt mediemarknadens utveckling. Åren vi har undersökt är 1977, 1987, 1997 och 2007. Undersökningsmaterialet är 182 förstasidor som är väl utspridda under de fyra åren. Vi har använt oss av en syntetisk vecka där man till exempel undersöker måndagen från en vecka, tisdagen veckan därpå osv. Vår främsta utgångspunkt har varit Marina Ghersettis forskning om den alltmer utbredda sensationsjournalistiken samt andra teoretiker som forskar inom samma område. Den kvantitativa studien visade att brott förekommer mest som huvudnyhet på förstasidorna samt att det förekommer mer nyheter om kändisar än vad det gjorde för 30 år sedan. Den vanligaste huvudaktören är den ”vanliga människan” och huvudnyhetens ursprung och källa är oftast från Sverige. Den kvalitativa analysen pekade ut att det har skett en förändring på tidningarnas förstasidor. Bilderna har blivit mindre i storlek men fler samt att reklam på tidningarna förekommer i allt högre utsträckning nu än för 30 år sedan. Undersökningen visade också att tidningarnas förstasidor liknade varandra mer utseendemässigt för varje år som gick. / The purpose of this study is to compare the front pages of Aftonbladet and Expressen in four different years within a period of 30 years to see what changes have been done. We have also examined the development of the media over time. Our examined years are 1977, 1987, 1997 and 2007. The material of examination consists of 182 front pages which are well spread over the four years. We have employed a so called synthetic week, meaning that you examine Monday one week, Tuesday the following week, and so forth. Our main starting point has been the research of Marina Chersetti about the increasingly widespread journalism of sensation, as well as other theorists carrying out research within the same area. The quantitative study showed that crimes are the most frequently occurring head news on the front pages and that there are more news about celebrities today than 30 years ago. The most common main figure is the “ordinary individual” and the origin of the head news, as well as the source, is mostly Swedish. The qualitative analysis pointed out that the front pages have changed. The pictures have become smaller but more numerous, and compared to 30 years ago, advertising occur to a greater extent today. The study also showed that the front pages became more similar in appearance every year.

According the research there were noticed few interesting elements of simulacra "comportment" and about the nature of hyperreality itself. First of all there was described, that the nature of hyperreality is very different compared to realities of lower levels. Hyperreality is a semantic space which is filled with simulacra. Those simulacra are holding very strong meaning, which is technically one of the basic elements of their nature. At the other hand not every meaning did pass to the hyperreal stadium. It means that in the end hyperreality suffers the lack of meanings. Its spectre of meanings is simply very limited. Although simulacrum holds a very strong meaning, it can disappear. In this paper there were described two ways, how it can happen. Both ways are directly connected with interest of audience, which mean in this case the interest of public. Simulacra can simply disappear when the audience forget them because of change of the cultural rules. The other way is a kind of simulacra duel. Against older simulacrum is putted a new one. If audience because of any reason decide, that the new simulacrum fits better to their needs, that the old one, the old one disappears. It was described, that there is wide spectre of objects which are able to pass through simulation and become simulacrum. In the...