This dissertation addresses the industrial history of American-based celebrity gossip over century, beginning with the first Hollywood stars in the 1910s and reaching into “celebrified” culture of the 2010s. Gossip, broadly defined as discourse about a public figure produced and distributed for profit, can operate within the star’s good graces or completely outside of the Hollywood machine; it can be published in “old media” print and broadcast forms or online and on a phone. Regardless of form, tone, and content, gossip remains a crucial component of the ways in which star images are produced and consumed. The dissertation thus asks: how has the relationship between the gossip industry and Hollywood in general changed over the last century? And what implications do those changes have for stars, those who exploit their images, and media industries at large? / Not available / text

The subject of this master thesis is the comparison of the way of writing about celebrities in two time periods, namely 1930-1938 and 2000-2008. Thesis are based on two first-republic social magazines, Eva and List paní a dívek, and two magazines from the turn of the century - Cosmopolitan and Rytmus života. The first part of the thesis introduces primarily a theme of the social magazines and celebrities, it also touches the tabloid and the mass media. It also deals with the characteristics of selected social magazines. At the same time, the theoretical part explains the basic knowledge from the history of the two examined periods, which allows a better understanding of context of the periods. The second part of the master thesis is focused on own empirical research, which consists of exploratory and descriptive phase of research. It is therefore the most important part of the thesis, which brings new knowledges. The exploratory phase includes a research sample and presents article entries. The descriptive phase includes an analysis of relationships between celebrities and themes, emotions and sentiment in relevant articles. Part of this section contains research questions and answers.

Cette thèse présente une réflexion sur les multiples figures du romancier américain qui émergent des entretiens littéraires de The Paris Review entre 1953 et 1973, soit les deux premières décennies d'existence de la revue. Afin de mieux saisir les spécificités et l'impact du modèle d'entretien littéraire créé par une poignée de rédacteurs aussi inspirés que débutants, cette étude revient tout d'abord sur l'histoire des little magazines, sur le contexte de la création et le fonctionnement interne de The Paris Review, avant de retracer l'histoire complexe de l'entretien littéraire. Grâce à l'analyse des archives de la revue, elle met en évidence la collaboration de l'équipe de rédacteurs et des romanciers interviewés dans un processus novateur de réécriture des entretiens. Car l'entretien littéraire est un lieu de négociation de différentes autorités, entre l'« ethos préalable » de l'écrivain utilisé par l'interviewer et les diverses stratégies (scénographies auctoriales, postures, « prêt à être écrivain ») déployées par le romancier pour asseoir sa légitimité. Derrière le portrait à deux voix que semble être l'entretien littéraire apparaît bientôt l'autoportrait de l'écrivain. L'entretien littéraire de The Paris Review donne lieu à une forme de fiction biographique, à travers laquelle l'écrivain que The Paris Review était venu interroger sur « l'art de la fiction » laisse la parole à l'auteur pour construire et défendre son image. / This dissertation examines the various figures of the American novelist which takes form in the famous literary interviews published by The Paris Review during the first two decades of its existence (1953-1973). In order to analyze the specificities and the impact of the new model of literary interview created by the inspired, yet inexperienced editors and interviewers of the review, this dissertation first traces the history of "little magazines" as well as the context in which the Paris Review interviews were shaped and polished, and then analyzes the complex history of the literary interview as a genre. Through the study of the archives of the review, the author casts a light on the collaboration between the editorial board and the interviewed novelists during the demanding rewriting process of the literary interviews. The literary interview thus appears as a space where negotiations take place, opposing the preconceptions of the interviewer to the various strategies displayed by the novelist in order to assert his legitimacy. What was originally designed as a single portrait composed by two instances actually turns into the novelist's controlled self-portrait.Ultimately The Paris Review literary interview becomes a form of biographical fiction, in which the writer, initally questioned on "the art of fiction", leaves center stage to the author, who takes great care of his own public persona.

The purpose of this project centered on the influential literary magazine Timothy McSweeney’s Quarterly Concern. Using Bruno Latour’s network theory as well as the methods put forth by Robert Scholes and Clifford Wulfman to study modernist little magazines, I analyzed the influence McSweeney’s has on contemporary little magazines. I traced the connections between McSweeney’s and other paradigmatic examples of little magazines—The Believer and n+1—to show how the McSweeney’s aesthetic and business practice creates a model for more recent publications. My thesis argued that The Believer continues McSweeney’s aesthetic mission. In contrast, n+1 positioned itself against the McSweeney’s aesthetic, which indirectly created a space within the little magazines for writers, philosophers, and artists to debate the prevailing aesthetic theories of the contemporary period. The creation of this space connects these contemporary magazines back to modernist little magazines, thereby validating my decision to use the methods of Scholes and Wulfman.

Cette thèse examine l’image de mode éditoriale en contexte(s), au sein de la presse magazine américaine entre les années 1960 et les années 1980, à travers une étude de cas sur les publications mainstream Vogue, Harper’s Bazaar et un nouveau magazine, Interview. On postule que la production photographique de ces trois titres représente à la fois le cœur de leur activité et de ces objets matériels, en raison de leur positionnement, de leurs codes et de leurs objectifs. On étudiera comment, dans ce cœur et à travers ses « grandes » séries éditoriales, se dégage un certain rapport à l’image comme plateforme entre une production collaborative et des réceptions, ainsi qu’une fonction de négociation par rapport au contexte historique. A travers l’étude des conditions de production des images, puis à travers leur analyse, et enfin par l’examen de leurs circulations, on démontrera l’existence d’une norme mainstream manifestant un certain conservatisme. Puis nous nous interrogerons sur les négociations éventuelles avec cette norme, sans cesse contestée, changeante en surface mais tenace.Un examen attentif de l’ensemble des tensions et des compromis au fil des moments de flottement que sont les décennies 1960 à 1980 nous permettra d’aboutir, sur la période étudiée, au constat qu’il existe bien un système articulé autour d’un discours hégémonique très difficile à questionner tant il est puissant et, en fin de compte, fermé. Ainsi, de manière transversale à tout notre travail, il émergera que l’ensemble des images de mode éditoriales est varié, mais lissé par un discours des magazines construit sur le long terme. Pourtant, il offre aussi bien des modèles que des contre-modèles, des contre-discours et des contre-points qui tous se déploient dans un cadre strict et souple, fermement orienté et adaptable, même s’il comporte quelques possibilités de subversion, toujours exercées à la marge. On conclura, en définitive, à la puissance de ce système, normé quoique toujours à l’équilibre entre des tensions contradictoires, structuré autour d’un format très fort, se nourrissant et s’exprimant par l’image de mode qui reste son fleuron. / This doctoral thesis examines fashion editorials through a case study of three American magazines in context, from the 1960s to the 1980s: Vogue and Harper’s Bazaar, two mainstream publications, and a new magazine then, Interview. It is postulated that the photographic editorial production of those magazines is central to them – as material objects, and as the core of their activity as well, both aspects enabling and unfolding their positions, their codes and their purposes. By looking at major editorial series, I explore how these images stand out as "contact zones" between a highly collaborative production process and their receptions, and how their function is also one of negotiation with regards to its context.A close analysis of the conditions of production, the content and the circulations of these images demonstrates that magazines express undeniable conservatism through the perpetuation of a mainstream norm. However, as this norm constantly changes on the surface, I argue that conditions regularly emerge for it to be negotiated. An attentive study of the tensions and compromises unfolding in the « uncertain moments » that characterize the period running from the 1960s through the 1980s demonstrates the existence of a powerful system. Structured around a coherent and hermetic narrative, it proves indeed hard to challenge. Yet, as this thesis argues, the ensemble of editorial fashion images homogenized by these long-term processes is in fact varied and diverse. If these images construct models, they also offer counter-models, counter-narratives and counter-points. All these possibilities converge into a strict but agile framework, firmly oriented by its producers but adaptable, even though its subversive potential is only realized at the margins.This system—structured around a powerful format—is highly restrictive yet it still performs a constant balancing act between conflicting tensions and goals, fueled by and unfolded in the fashion images at its core.

The subject of this diploma thesis is the analysis of statements about the authors and works of the Brussels World Exhibition in 1958 in the Czechoslovak specialized, cultural and professional press. As the first world exhibition after World War II, EXPO 58 was also the first cultural confrontation of the newly organized world. But in the turbulent year of 1958, standing at the very top of the "atomic age", it wasn't a superpower, but Czechoslovakia who was unexpectedly awarded the highest competition award and recognition. This success was one of the greatest breakthroughs of domestic cultural history, and fundamentally influenced the lifestyle and aesthetics of the following decades. The thesis focuses on magazines whose specialized focus informed the professional public about the events of the exhibition, while the selection of fields of these magazines copies the award-winning parts of the pavilion and program. The thesis also includes a historical excursion focusing on cultural and political events between the years 1948-1958 and setting the analyzed event in the context of world exhibitions with an emphasis on the 20th century. The detailed research of the articles follows the method of qualitative content analysis in the texts firstly reflecting on the success of Czechoslovak participation. It also...

The diploma thesis Development of topics in selected Czech women's and lifestyle magazines in the years 1918-2018 brings a unique research of a century-old development of selected contents from magazines for women. The introductory chapter states the theoretical framework of media research and its effects and explains the methodology of the research. As its basic platform, it uses the history of the republic, which at first divides into several separate stages bounded by the so-called "eight years" (1918, 1938, 1948, 1968, 1988-89, 2008 and 2018), in which it introduces selected key events of these years. The individual historical parts are followed by a presentation of the influences of these historical milestones on the work and function of the media and the development of emancipation and everyday life of women. It concludes each historical chapter with an analysis of the structure of topics published in the magazines Ženský svět (Women's World) from 1908-1928, Eva (Catholic review) from 1918, Eva (magazine of modern or educated women) from 1928 and 1938, Hvězda československých paní a dívek (Star of Czechoslovak ladies and girls) from 1928 and 1938, Vlasta from 1948 to 2018 and Žena a život (Woman and Life) from 1998-2018. In the context of the entire period under review, in addition to the...

Ce mémoire porte sur la réception des magazines féminins québécois chez des lectrices issues de la génération Y, à laquelle s’adresse notamment cette presse. En approfondissant l’étude du magazine féminin et son évolution, on distingue la complexité relationnelle qu’il entretient avec la gent féminine. Cette recherche qui se veut exploratoire se propose donc d’analyser, au moyen de groupes de discussions, les effets directs de la consommation de cette presse et son effet de socialisation sur les lectrices elles-mêmes. Trois entretiens comprenant de quatre à cinq participantes pour un total de treize lectrices, toutes âgées entre 25 et 35 ans, ont été menés afin de connaître l’opinion de ces dernières sur les représentations des identités féminines contenues dans les magazines féminins québécois qu’elles consomment. Ma recherche prend assise sur les travaux de différents chercheurs dans le domaine, ainsi que sur des études provenant des Cultural studies, des études féministes en communication et de la sociologie des générations. Je dégage de mon analyse quelques hypothèses interprétatives. De prime abord, précisons que les constats émergeant du discours des participantes laissent entrevoir à certains moments leurs propres contradictions, ce qu’elles admettent jusqu’à un certain point. D’une part, les lectrices ont tendance à dénigrer le contenu de cette presse et sa faible crédibilité, en employant des discours entendus et parfois généralisant et, d’autre part, elles apprécient les thématiques abordées. Néanmoins, les lectrices interrogées dans cette étude se sont montrées critiques envers certaines représentations des identités féminines. Même si elles n’approuvent pas le caractère stéréotypé des modèles présentés, elles admettent toutefois qu’elles se conforment personnellement aux normes corporelles et esthétiques. Par ailleurs, le phénomène de la superwoman leur semble constituer le modèle féminin le plus véhiculé et valorisé actuellement, ce qui contribue à susciter une pression sociale. Ceci dit, elles témoignent également de la fierté envers l’autonomie des femmes et les possibilités offertes à leur génération, qu’elles considèrent illimitées. D’ailleurs, les idéaux et les objectifs du féminisme que les magazines féminins participent à « accélérer » semblent les interpeller personnellement, et ce, de façon positive. Enfin, elles ont affirmé le besoin de se responsabiliser en se montrant critiques envers les messages et les modèles présentés, de ne conserver que ce qui leur ressemble ou leur convient, créant ainsi un espace de négociation dans leur lecture.

Το περιοδικό "Μπουκέτο" κυκλοφόρησε για πρώτη φορά τον Απρίλιο του 1924 και συνέχισε χωρίς διακοπή μέχρι το 1946. Πρόκειται για ένα περιοδικό ποικίλης ύλης με πλούσιο λογοτεχνικό περιεχόμενο, με το οποίο συνεργάστηκαν σημαντικά ονόματα της νεοελληνικής φιλολογίας: ο Μήτσος Παπανικολάου, ο Ναπολέων Λαπαθιώτης, ο Παύλος Νιρβάνας, ο Γρηγόριος Ξενόπουλος, ο Σταμάτης Σταματίου και πολλοί άλλοι. Στο εισαγωγικό μέρος της εργασίας παρουσιάζονται τα στοιχεία ταυτότητας του περιοδικού και οι συνεργασίες του, επιχειρείται μια γενική ανάλυση του περιεχομένου και της θεματολογίας του και μια σύντομη εξέταση της σχέσης του με το αναγνωστικό κοινό. Το κύριο μέρος αποτελούν τα ευρετήρια των περιεχομένων, αρχικά κατά τεύχος και ακολουθούν τα ευρετήρια των ονομάτων. / The "Bouketo" magazine was first released in April 1924 and continued to be published without interruption until 1946. It is a magazine with a rich literary content, with which important names of modern Greek literature were affiliated, such as Mitsos Papanikolaou, Napoleon Lapathiotis, Pavlos Nirvanas, Grigorios Xenopoulos, Stamatis Stamatiou and many others. In the introductory part of the study, there is a presentation of the magazine’s identity and collaborations as well as a general analysis of its content and themes presented and, also, a brief examination of its relationship with the audience. The main part consists of the contents indexes, first by issue, followed by the names indexes.

<p>ABSTRACT</p><p>Title: Elle & Café – a study of fashion magazines cover pages.</p><p>Number of pages: 38</p><p>Author: Greta Simonsson</p><p>Tutor: Amelie Hössjer</p><p>Course: Media and Communication Studies D</p><p>Period: Spring Semester 2008</p><p>University: Division of Media and Communication, Department of Information Science, Uppsala University</p><p>Aim: The purpose of this essay is to:</p><p> Analyze the cover images from the 2007 editions of the magazines Elles and Café, using semiotic analysis.</p><p> Analyzes eventual resemblances or differences between the two magazine's cover images based upon the result of the semiotic analysis.</p><p>Material and methods: The study of Elles's and Café's cover pages has been done using a model built upon semiotic analysis, developed with the purpose of suiting observation and examination of cover pages of fashion magazines. The cover pages were analyzed from the categories character, context, and environment.</p><p>Main results: The main results include the observation that both Elles and Café chooses well-known figures from women's fashion industry as prime characters on their covers. In Elles, all main characters are famous women emerging from the music, television and fashion industries. The women in Café are known for similar professions. However, the men in Café are associated with politics, sports and music. Men and women are, through the ideals and styles conveyed in the magazines, associated with gender-specific roles, contrasting and contributing to, a problematic contemporary definition of gender, identity and ideal.</p><p>Keywords: Fashion magazines, semiotic analysis, identity, gender ideal and information society.</p>