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Can journalism be avant-garde? This question arises from the body of work produced by the New Journalists, whose leading figures include Truman Capote, Tom Wolfe, Joan Didion, and Norman Mailer. Today, this question is urgent for considerations of the journalist’s role within a political landscape increasingly hostile to the news media. Yet it is a question that has not been sufficiently explored in the field of literary study. Scholars of literary journalism have identified the features of an experimental journalism, traced its historical origins, and made claims about how to situate the New Journalism generically. While important, this scholarship overlooks the relationship between experimentation with conventional journalistic form and similar experimentations in other artistic fields. As a result, the stakes of the New Journalism’s experimentations with conventional reporting have not been sufficiently mined. In order to remedy this, I place the New Journalism within a broader history of avant-garde art. The agitation of mainstream journalistic practice undertaken by each of the writers above was spurred by a questioning of a foundational journalistic practice: objectivity. The New Journalists challenged the authority of fact and its capacity to represent the human condition. This challenge to objectivity drove an experimentation with journalistic form that produced a deeply innovative body of work; however, these innovations are not merely formal. They also call into question the epistemological assumptions that tether journalism to a phenomenal world assumed to be fully representable. Significantly, the challenges to objectivity posed by the New Journalists parallel the challenges to representation posed by avant-garde artists like Paul Cezanne and Karel Appel. My dissertation thus situates the challenges to journalistic form undertaken by the New Journalists within a broader history of artistic experimentation and demonstrates that the significance of these experimentations exceeds the fields in which they occur. These arguments provide a framework for understanding not only the formal innovations of avant-garde artists, but also the epistemological consequences, and ethical imperatives, inherent in these innovations. My understanding of avant-garde art is informed by the work of Jean-Francois Lyotard. Over the course of his career, Lyotard illuminated the philosophical dimensions of artistic innovation. For Lyotard, one of the hallmarks of avant-garde experimentation is its ability to confront and redress problems across a variety of discursive fields. That is, Lyotard values avant-garde experimentation because it responds to discourses beyond its own, and much of Lyotard’s writing about avant-garde art establishes connections between artistic innovation and broader issues of ethics, politics, and justice. Over the course of this dissertation, I demonstrate how the New Journalism participates in this tradition by asking questions about the role and responsibility of the reporter through the self-conscious development of an experimental journalistic aesthetic. / English

Creative nonfiction is abundant and popular. There are many names and definitions for this fluid, multimodal genre, which has played a role in its marginality in academia. This dissertation examines creative nonfiction in composition, creative writing, and journalism. I argue that distinct beliefs and values of each discipline have led to compartmentalized, disciplinary-specific definitions and uses of creative nonfiction. To understand why this is, and to develop and a cross-disciplinary understanding, I use Amy Devitt's rhetorical genre theory to illuminate cultural beliefs and values that influence the names, definitions, subgenres, and views of the genre in each field. A rhetorical understanding of genre reveals the purpose of creative nonfiction, the themes it conveys, and perhaps why it is so persuasive and powerful. In examining composition I analyze the historical development of creative nonfiction, its definitions, and current beliefs and values about teaching composition. I argue composition limits its view of creative nonfiction by too often equating it with the personal essay. A personal-expressive pedagogy would help teach creative nonfiction. In creative writing I analyze the definitions of creative nonfiction and the AWP's statements about creative writing education. I argue creative writing has inclusive definitions, if not rhetorical, but the culture of literature limits the genre for students. A strength of creative writing is the teaching of craft that I argue is beneficial for teaching creative nonfiction. In journalism I analyze the culture of objectivism from which literary journalism emerged. I argue literary journalists have developed definitions that identify the purpose of literary journalism and narrative form. I express concerns about the separation of journalism from composition and creative writing that has limited discussions about creative nonfiction and literary journalism. Finally, I argue each discipline should value one another's views and agree on dissensus instead of focusing on denying one another or trying to find a single name and definition. I suggest narrative nonfiction as a subset of creative nonfiction that would benefit students in composition. Creative nonfiction engages students in writing and examining the sociopolitical world from a personal perspective, which aids them in becoming writers for life.

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Leon Dash and Ted Conover have modeled an ethnographic approach to literary journalism. This approach combines literary journalism's compelling narrative techniques with ethnographic “naturalist-like” (Brewer, 2000) thoroughness and trustworthiness. Rosa Lee: A Mother in Urban America, by Leon Dash, and Newjack: Guarding Sing Sing, by Ted Conover, exemplify this painstaking method that skillfully uses the narrative craft, generates trustworthy data, and contributes to an academic body of knowledge as well as exposing findings to the general public. Dash, Conover, and others have demonstrated the synergy and problem-solving potential of merging anthropology with literary journalism, yet there is no typology, no common name and no set of ground rules describing this work. Identifying Dash's and Conover's methods may advance cross-pollination between anthropology and literary journalism, fields that share the role of reporting on contemporary culture. This cross-pollination serves both disciplines. Ethnography stands to increase its numbers of readers by enlisting the writing techniques of literary journalists and by publishing “more public-spirited” (Fillmore, 1987, p. 1) findings in more public venues. Literary journalism stands to be seen and applied as a credible form of qualitative science by enlisting trustworthy naturalistic methods and aiming to contribute to an academic body of knowledge. This thesis explores the promise of ethnographic naturalism in narrative form, as “scholarship for real readers” (S. Olsen, March 2, 2009, personal communication) by examining how practitioners meet rigorous naturalistic criteria for trustworthiness (Lincoln & Guba, 1985) and how they present findings in narrative forms and public venues. This exploration draws on personal interviews with Dash and Conover and analyses of their long-form narrative research texts in the context of other scholars' outlooks. Key findings include the discovery that although Dash and Conover were not consciously using naturalistic criteria for trustworthiness, their work meets these criteria. Another key finding is that while both writers consider themselves primarily journalists, they both have read anthropology extensively. A notable finding is the fact that Dash and Conover rely on time-invested “unfettered inquiry,” (Dash, 1996) the mind-set of insatiable curiosity, caring and the liberty to apply practices of other disciplines to conduct research, free from external controls.

Esta pesquisa tem como objetivo a reunião de crônicas do historiador e crítico da literatura José Brito Broca (1903-1961), divulgadas entre 1921 e 1931, em periódicos de Guaratinguetá, no Rio de Janeiro e São Paulo. A documentação pertence à Coleção Brito Broca, no Centro de Documentação Cultural Alexandre Eulálio, no Instituto de Estudos da Linguagem da Unicamp. A dissertação ressalta três vertentes temáticas da produção inicial do jornalista: o memorialismo, a ficção e os aforismos. / This research is related to the gathering of chronicles by the historian and literature critic José Brito Broca (1903-1961) publicized between 1921 and 1931 in periodicals of Guaratinguetá, Rio de Janeiro and São Paulo. The documentation belongs to Brito Broca Collection, Cultural Documentation Center Alexandre Eulálio at Institute of Language Studies, Unicamp. The dissertation emphasizes three discussed thematics from the initial production of the jornalist: memorials, fiction and propositions (thoughts).

Esta dissertação discute os fenômenos que ocorrem na troca entre os jornalistas e as pessoas que narram suas histórias a eles. Ao lançar luzes sobre a viagem que cada um desses sujeitos pode fazer a partir daí, a hipótese é de que uma relação mais próxima entre jornalistas e fontes favorece a construção de uma narrativa diferenciada, que pode, inclusive, atingir um patamar artístico literário. Acompanhando a reflexão teórica, apresento uma narrativa experimental que fiz e resultou na elaboração de um perfil, seguindo as especificações do Jornalismo Literário Avançado. Realizo deduções e reflexões, tendo como âncora o experimento de campo, buscando trazer contribuições para a prática jornalística. Por isso, a Dissertação é um trabalho qualitativo, com certo grau de característica fenomenológica. Respeitando as esferas próprias de atuação do jornalismo, busco apoiar a reflexão teórica em conceitos da filosofia, da psicologia e da estética. Proponho também que essa questão seja abordada de maneira mais consistente nos cursos de graduação, durante o processo de formação dos futuros jornalistas. / This essay discusses the phenomena which take place on exchanges between journalists and those who tell them their own stories. On casting a light upon the journey that each of these individuals may make from thereon, the hypothesis is that a closer bond between journalists and their sources favours the building of a narrative of distinction, which may also reach a literary artistic level. Following the theoretical reflections, I hereby present an experimental narrative I have written and which lead to the establishment of a profile in accordance with the specifications of Advanced Literary Journalism. I have made deductions and reflections based on the field study, seeking to bring contributions to the practise of journalism. The essay have the aspect of a qualitative study with some degree of phenomenological characteristics. Respecting the spheres pertinent to the conduction of journalism, this essay seeks to uphold the theoretical reflection in philosophical, psychological and aesthetic concepts. I have also proposed that this question be addressed in the most in consistent manner in journalism courses, in the development process of future journalists.

Finley Peter Dunn, a reporter and editor, started a syndicated newspaper column in 1893, and Robert Louis Burns, a Presbyterian Minister, started one in 1966. Why were they both remembered a humorists? Was Burns influenced by Dunne's work? Why did they use Ethnic Humor in their columns? What impact did their columns have on their readers? I found that both writers fit the criteria of literary journalists. They used humor in their writing to make their readers laugh, but also to make their points. Dunne wanted to sell newspapers, and Burns wanted to make people forget their cares. Dooley, the bartender in Dunne's column, was Burns' nickname. Presidents, governors, and your next door neighbor read the columns, which accurately mirrored the pulse of the nation and our human frailties. / Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, the Elliott School of Communication

Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2018-01-26T14:56:32Z No. of bitstreams: 1 arquivototal.pdf: 886649 bytes, checksum: 877552ae5165be36989e1d51525aeb1e (MD5) / Made available in DSpace on 2018-01-26T14:56:32Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 886649 bytes, checksum: 877552ae5165be36989e1d51525aeb1e (MD5) Previous issue date: 2017-08-29 / This work consists of a profile designed in the mold of literary journalism, about the trajectory of the journalist of João Pessoa Hilton Gouvêa, who has been in the press of Paraiba for more than four decades and is considered one of the resisters in the art of reporting in the state. The report-profile was drafted in a diary format, telling the insecurities of a first-time reporter and her involvement with the agenda. To reconstruct the main passages of the story of the character, features such as flashbacks, scene-by-scene descriptions, perspective changes, worked dialogues, life status, and even stream of consciousness were used in the narrative. During the investigation into an attack that the personal reporter suffered in the 1990s, due to a journalistic coverage that he did at the time, the researcher ended up coming to the details of a tragic murder in her own family, occurred when she was still a child, that influenced her entire life trajectory. The narrative, therefore, also gained an autobiographical outline. / Este trabalho consiste em um perfil concebido nos moldes do jornalismo literário, sobre a trajetória do jornalista pessoense Hilton Gouvêa, que atua na imprensa paraibana há mais de quatro décadas e é considerado um dos resistentes na arte da reportagem no estado. A reportagem-perfil foi elaborada em formato de diário, contando as inseguranças de uma repórter de primeira viagem e o seu envolvimento com a pauta. Para reconstruir as principais passagens da história do personagem, foram utilizados na narrativa recursos como flashbacks, descrições cena a cena, mudanças de perspectiva, diálogos trabalhados, status de vida e até mesmo fluxo de consciência. Durante a investigação acerca de um atentado que o repórter pessoense sofreu nos anos 1990, em virtude de uma cobertura jornalística que ele fazia na época, a pesquisadora acabou chegando a detalhes de um trágico assassinato em sua própria família, ocorrido quando ela era ainda uma criança e que influenciou toda sua trajetória de vida. A narrativa, portanto, acabou ganhando também contornos autobiográficos.

Submitted by Vasti Diniz (vastijpa@hotmail.com) on 2017-10-02T12:48:32Z No. of bitstreams: 1 arquivototal.pdf: 2144800 bytes, checksum: 85bef00cdcbaf033ae94751b6d93556a (MD5) / Made available in DSpace on 2017-10-02T12:48:32Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2144800 bytes, checksum: 85bef00cdcbaf033ae94751b6d93556a (MD5) Previous issue date: 2016-08-27 / This work proposes the production of an independent journalism website whose articles are written in the light of the Literary Journalism aesthetics, which aims to unite modalities that envisage the new, either in journalism or in the digital world – the website ARRUAR. For this purpose, studies both bibliographical and documental were conducted on the following topics: webjournalism, independent journalism and Literary Journalism. We seek to understand the new possibilities brought by the Internet in Journalism and how it affects the journalistic practice. At the same time, with the emergence of both the digital and independent journalism, we analyse the disruptor movement (CHRISTEN, 2012) attempted by these new journalistic practices. Taking into account the map of independent journalism in Brazil released by Agência Pública, we think about a business model for the website Arruar. Regarding the literary journalism, we present the characteristics of this genre (PENA, 2006; WOLF, 2005) and a brief historical background on the relationship between Journalism and Literature in Brazil and the world. In the methods, we explain the sections held on the website (investigative reporting, profiles, photojournalism and social media content curation) as well as the procedures applied (name choice, site domain, colour, typography, logo, Wordpress use, social media, funding and business model canvas). At last, we present a report about the first articles, as well as layout production, making some considerations on the trodden path and possibilities arising from this new perspective. / Este trabalho propõe a produção de um site de jornalismo independente que tenha suas matérias escritas utilizando a estética do Jornalismo Literário, com o intuito, portanto, de unir algumas das modalidades que vislumbram o novo, seja no jornalismo, seja no mundo digital – o site ARRUAR. Para isso, realizamos um estudo bibliográfico e documental sobre os seguintes temas: webjornalismo, jornalismo independente e Jornalismo Literário. Buscamos apreender as novas possibilidades que a Internet trouxe para o mundo do jornalismo e quais mudanças essa realidade trouxe à prática da profissão. Observamos a emergência do jornalismo digital e do jornalismo independente, analisando o movimento disruptor (CHRISTEN, 2012) empreendido por essa nova forma de prática jornalística. Parte-se do mapa do jornalismo independente no Brasil lançado pela Agência Pública para pensar um modelo de negócio para o site Arruar. Em relação ao jornalismo literário, apresentamos as características do gênero (PENA, 2006; WOLF, 2005), e uma breve trajetória histórica da união entre Jornalismo e Literatura no Brasil e no mundo. Na parte metodológica do projeto, explicamos as seções que irão conter o site (grandes reportagens, perfis, fotojornalismo e curadoria das redes sociais) assim como os procedimentos metodológicos utilizados para sua produção (escolha do nome, domínio do site, escolha das cores, escolha da tipografia, criação da logo, uso do Wordpress, redes sociais, métodos de financiamento e método canvas business). Por fim, apresentamos o relatório das primeiras reportagens produzidas, assim como da produção do layout, fazendo algumas considerações sobre o caminho trilhado e as possibilidades que surgem para essa nova perspectiva de atuação.