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Thesis (M.Phil.)--Murdoch University, 2008. / Thesis submitted to the Faculty of Arts and Education. Includes bibliographical references (leaves 206-208)

The development of literary journalism has, in part, been a reaction to the strictures on employing the writer's own voice in conventional journalism. A number of students of the genre have identified voice as a characteristic of literary journalism, but voice has not been viewed—or used—as an important object of critical investigation. The neglect of voice is due partly to its confusion with point-of-view but mainly, this thesis argues, to an overriding emphasis on the analysis of the use of fictional techniques by writers of literary journalism. Tom Wolfe argued famously in The New Journalism that four techniques distinguished the work of literary journalists: the writing of scenes, the capturing of dialog, the use of third-person point-of-view, and the reporting of “status” details. Subsequent students of literary journalism have tended to focus on the use of those techniques in the works they analyze. This study of Tracy Kidder's work illuminates the gradual maturation of technique in one of the most successful practitioners of literary journalism. Kidder's voice developed over the course of a writing career that had, at the time of this writing, produced seven books. From a halting first-person narrative to a narrative that employed the first person rarely and unobtrusively, Kidder moved in this third and subsequent books until his last to an authoritative voice that permitted him to deepen his narratives and explore the broader implications that resonated in the particular subjects he chose. Close examination of his books also reveals a voice that, in many places, employs in description and characterization a metaphoric imagination generally associated with the poet rather than the journalist. Most readings of Kidder's work have focused on his achievement in exhaustively researching a subject, in rendering scenes with accurate dialog and vivid description, in portraying characters in rich detail, and in adopting points-of-view that offer illuminating perspectives. This study denigrates none of that achievement but contends that the analysis of his narrative voice leads to both increased understanding of journalistic technique and richer readings of the individual works.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Maxwell E. McCombs. Vita. Includes bibliographical references.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed July 09, 2007). PDF text: 276 p. UMI publication number: AAT 3252839. Includes bibliographical references. Also available in microfilm and microfiche formats.

The rapid expansion of the mass press in late nineteenth and early twentieth-century France, along with the concurrent rise of an information-driven style of journalism known as reportage, coincided with a shift in literary portrayals of the press. Early to mid-nineteenth-century novels of journalism such as Balzac’s Illusions perdues consistently depict the world of journalism in intensely hostile tones, as do many later novels and works of poetry, at times with even greater vitriol. By contrast, from Baudelaire onwards, some French authors including Mallarmé, Apollinaire, and Proust took a more ambivalent approach to the press, pivoting between antipathy and enthusiasm for what became a truly massified and ubiquitous cultural phenomenon during their lifetimes. Their equivocal portrayals of the press in poetry and prose fiction epitomize their broader ambivalence towards modernity itself – a trait that distinguishes these modernist authors from their avant-garde contemporaries, who advocated a radical break with tradition and tended to be more consistently hostile or enthusiastic towards journalism. The thematic prominence of journalism in late nineteenth and early twentieth-century French literature reflects its ongoing role as what Marie-Ève Thérenty calls “the laboratory of literature,” whereby authors published poetry and prose fiction in the mass press, for which they also wrote opinion columns, criticism, and other forms of journalism that they then frequently recycled in their literary works. Belying the account of literature’s autonomization found in the work of Pierre Bourdieu, who argues that literature and the mass press had grown apart by the end of the nineteenth century, modernist poetry and prose fiction continued to appear in large-circulation, commercially oriented newspapers and magazines into the twentieth century. From the 1880s onwards, the growth of the mass press was paralleled by the emergence of a wave of little magazines known as petites revues that became the primary literary laboratory of literary modernism. These petites revues had many material links to the mass press. Authors often wrote simultaneously for both newspapers and petites revues. Many of the latter courted publicity in the former, even as they denounced those very same publications as the antithesis of true literature. And petites revues published many pieces of reportage – a style of journalism associated with the mass press. These connections to the mass press left their mark on the literary works published in petites revues, which often draw on newspaper articles and confront topical journalistic subjects. Moreover, several petites revues evolved into major publishing houses, including Éditions Gallimard, whose extensive commercial interactions with the mass press further shaped the works they published as modernist authors themselves became intimately involved in publicizing their books. Early to mid-nineteenth-century authors consistently avoid confronting their debts to journalism in their literary works. They thunder against the press but cannot live without it. Anti-journalistic thunder underlain by various kinds of dependence on the press remains a dominant feature of late nineteenth and early twentieth-century French literature and cultural criticism. By contrast, Mallarmé, Apollinaire, and Proust as well as Gide and Péguy all allude to the ambiguous position of journalism within their prose poetry, poetry, novels, and essays. These authors at once draw on journalism in their literary works and reflect on the significance of their journalistic borrowings within those works themselves. The self-conscious modernist spirit of their writing thus allows them, unlike their precursors and most of their contemporaries, to finally come to terms with the challenge posed by the mass press to literary creation.

Thesis (Ph.D.)--Brown University, 2008. / Vita. Advisor : Wadda Ríos-Font. Includes bibliographical references (leaves 159-184).

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-07-31Bitstream added on 2014-06-13T19:14:16Z : No. of bitstreams: 1 silvestre_fmm_me_assis.pdf: 1994410 bytes, checksum: 77b22cecae3d86e50e8bc4d18ba2eea1 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Assim como a maioria dos escritores nacionais, que participaram efetivamente de periódicos no século XIX, Olavo Bilac estendeu sua trajetória jornalística entre 1890 e 1908 em diferentes periódicos paulistas e cariocas. Dentre essas contribuições jornalísticas desenvolvidas pelo poeta, o estudo faz um recorte enfocando as revistas A Cigarra (1895) e A Bruxa (1896-1897), nas quais Bilac transpõe uma multiplicidade de temas, cumprindo uma proposta moldada de acordo com o que o gênero requer: a leveza e o humor. Em A Cigarra, o cronista destaca-se como redator responsável por um periódico voltado à crítica literária, à política e à vida artística do período. Na revista, que era inspirada na fábula de La Fontaine, as formigas representavam os políticos, os diplomatas, comerciantes e banqueiros do Rio de Janeiro e as cigarras eram os artistas, literatos e jornalistas. Pouco mais de três meses depois de deixar a revista, Bilac transfere-se para A Bruxa, que tinha um estilo gótico de diagramação e era confeccionada em papel especial para encadernação de suas edições em volumes anuais. Esse periódico não se destacava pelo espírito crítico ou pela combatividade de seus idealizadores, mas tinha o intuito de atrair os leitores pelo requinte de seu acabamento gráfico. Semanalmente, a revista era publicada com oito páginas impressas em três cores e adotava um estilo gótico representado por bruxos, diabos e duendes que ilustravam as páginas d´A Bruxa, além de serem adotados como pseudônimos por Olavo Bilac. A partir dessas revistas, o trabalho faz um estudo das crônicas de Bilac na seção “Crônica”, que serve de editorial, levantando os pontos relevantes desses textos publicados pelo parnasiano. / As well as the majority of the national writers, who had participated effectively of periodics in century XIX, Olavo Bilac extended his journalistic trajectory between 1890 and 1908 in different periodics from São Paulo and Rio de Janeiro. Among these journalistic contributions developed by the poet, the study makes a clipping focusing the magazines A Cigarra (1895) and A Bruxa (1896-1897), in which Bilac transposes a multiplicity of subjects, fulfilling a proposal molded according to what the genre requires: the slightness and mood. In A Cigarra, the short story writer stands out as the responsible writer of a periodic related to the literary criticism, to the politics and to the artistic life of the period. In the magazine, that was inspired by the La Fontaine fable, the ants represented the politicians, the diplomats, traders and bankers of Rio de Janeiro and the cicadas were the artists, the literati and the journalists. Little more than three months after leaving the magazine, Bilac moves to A Bruxa, that had a gothic style of diagramming and was confectioned in special paper for binding of its editions in annual volumes. This periodic was not distinguished by the critical spirit or the combativeness of its idealizers, but it was intended to attract the readers by its fancy graphical finishing. Weekly, the magazine was published with eight pages printed in three colors and adopted a gothic style represented by wizards, devils and goblins that illustrated the pages of A Bruxa, besides being adopted as pseudonymous by Olavo Bilac. From these magazines on, the work makes a study of the Bilac chronicles in the “Chronic” section, that is used as an editorial, raising the relevant issues of these texts published by the “parnasiano”.

Orientador: Marcelo Magalhães Bulhões / Banca: Mauro de Souza Ventura / Banca: Dulcilia Helena Schroeder Buitoni / Resumo: O objetivo desta dissertação é estudar as relações entre o jornalismo e a literatura na confecção do romance-reportagem. Para tanto, tomamos como corpus de estudo a obra Cidade Partida do jornalista e escritor Zuenir Ventura. Para tal estudo nos utilizamo-nos do método comparativo procurando demonstrar como alguns autores como João do Rio, por exemplo, já se servia de uma linguagem mesclada de factual e ficcional, a fim de produzir suas obras. Desse modo, verificamos o ofício do jornalista em sua atividade de investigação e captação dos fatos, e o trabalho da composição linguística desses fatos dão forma a esse complexo do hibridismo nesse tipo de romance. São estudados também como narrador de Cidade Partida, criado por Ventura se apropria de alguns recursos da literatura para tornar esses elementos factuais atraentes aos olhos do leitor que, numa posição de voyeur (pessoa que assiste algo por curiosidade) afeito a acontecimentos reais, mas com um quê de ficção. Pretendemos entender também a posição de flâneur do Jornalista Zuenir Ventura comparando-o a João do Rio e João Antonio, que, ao seu tempo e de sua maneira própria, desempenharam características singulares e, ao mesmo tempo comuns, de fazer reportagem / Abstract: The objective of this thesis is to study the relationship between journalism and literature in making the novel-report. So, we as a corpus to study the work of the Departure City of the journalism and writer Zuenir Ventura. For this study we use the comparative method of us trying to demonstrate how some authors as John River, for example, has already served as a language of mingled fact and fiction in order to produce their works. Thus, the craft of the journalist in his research activity and uptake of facts, and the work of linguistic composition of these facts form the complex hybridity in that kind of romance. Are studied as well as the narrator of City Match, created by Ventura takes some literature resources to make these facts attractive to the reader in a position of voyeur (person watching something out of curiosity) accustomed to real events, but whith that of fiction. We intend to also understand the position of the flâuner Zuenir Ventura journalist comparing him to John and John Antonio River, which, in his own time and way, played and unique characteristics, while common, making the entry / Mestre

Made available in DSpace on 2014-06-11T19:24:05Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-10-28Bitstream added on 2014-06-13T20:30:59Z : No. of bitstreams: 1 oliveira_ic_me_bauru.pdf: 375802 bytes, checksum: 9bafc54a1f05c5c358572629f15d1ce8 (MD5) / Universidade Estadual Paulista (UNESP) / O objetivo desta dissertação é estudar as relações entre o jornalismo e a literatura na confecção do romance-reportagem. Para tanto, tomamos como corpus de estudo a obra Cidade Partida do jornalista e escritor Zuenir Ventura. Para tal estudo nos utilizamo-nos do método comparativo procurando demonstrar como alguns autores como João do Rio, por exemplo, já se servia de uma linguagem mesclada de factual e ficcional, a fim de produzir suas obras. Desse modo, verificamos o ofício do jornalista em sua atividade de investigação e captação dos fatos, e o trabalho da composição linguística desses fatos dão forma a esse complexo do hibridismo nesse tipo de romance. São estudados também como narrador de Cidade Partida, criado por Ventura se apropria de alguns recursos da literatura para tornar esses elementos factuais atraentes aos olhos do leitor que, numa posição de voyeur (pessoa que assiste algo por curiosidade) afeito a acontecimentos reais, mas com um quê de ficção. Pretendemos entender também a posição de flâneur do Jornalista Zuenir Ventura comparando-o a João do Rio e João Antonio, que, ao seu tempo e de sua maneira própria, desempenharam características singulares e, ao mesmo tempo comuns, de fazer reportagem / The objective of this thesis is to study the relationship between journalism and literature in making the novel-report. So, we as a corpus to study the work of the Departure City of the journalism and writer Zuenir Ventura. For this study we use the comparative method of us trying to demonstrate how some authors as John River, for example, has already served as a language of mingled fact and fiction in order to produce their works. Thus, the craft of the journalist in his research activity and uptake of facts, and the work of linguistic composition of these facts form the complex hybridity in that kind of romance. Are studied as well as the narrator of City Match, created by Ventura takes some literature resources to make these facts attractive to the reader in a position of voyeur (person watching something out of curiosity) accustomed to real events, but whith that of fiction. We intend to also understand the position of the flâuner Zuenir Ventura journalist comparing him to John and John Antonio River, which, in his own time and way, played and unique characteristics, while common, making the entry