Dans Les Règles de l'art, Bourdieu propose une science des œuvres. A l'aide des concepts de champ, d'habitus, d’espace des possibles, il tente de faire le lien entre la littéraire et le social. Son approche récuse toute tentation psychologisante et ferme la porte à toute explication du processus créatif en termes de génie, de sensibilité ou d’inspiration. La littérature est d’abord au carrefour des faits sociaux. Les textes sont des faits sociaux, comme apparition mais aussi comme expression. Ils ne sont ni à sacraliser ni à désacraliser. Bourdieu tente de rendre intelligible l’espace littéraire des auteurs. Il veut mettre en lumière ce qui rend l’œuvre d’art nécessaire, c’est-à-dire sa formule informatrice, son principe générateur, sa raison d’être. Il affirme qu'au fond l'écrivain, quelle que soit son orientation, n'a pas d'autres choix que d'être traversé par la sociologie de son époque. Il suggère même que tout effort de distanciation formelle, supposant que l'œuvre soit un ailleurs du réel, est signe de cette connaissance intuitive du réel lui-même. L’Education Sentimentale de Flaubert se prête particulièrement bien à ce paradigme analytique. En s’arrêtant sur la deuxième moitié du XIXe siècle, Bourdieu décrit la genèse et le processus d’autonomisation de l’espace littéraire qui entérine le fonctionnement du champ. Il essaie alors de montrer comment les règles sont articulées par/dans une configuration sociale, politique, économique, culturelle et quelle place nouvelle occupe, dans cette modernité, l'artiste. / I have used Pierre Bourdieu’s sociological approach as a critical tool for the study of literary texts. As a sociologist, Bourdieu is not satisfied with the notion that the literary text would be isolated from the world and considers the writer as a product of economic, social, religious or political circumstances that may be recovered through analysis. According to Bourdieu, the development of literature as an independent field goes hand in hand with the expansion of a liberal politics, a connection critics refuse to recognize as they will believe in the myth of inspired creation. Bourdieu retraces to the nineteenth century the moment when literature became independent and describes how twentieth-century literature is but a perpetuation of nineteenth-century literary myths. I also look at the ways the specialists of Flaubert responded to the publication of Les Règles de l’art as the book provoked heated debates when it was issued. I have especially examined the arguments of critics hostile to Bourdieu in order to demonstrate how such an emblematic figure as Flaubert embodies what is at stake when one questions the notion of literature. How can Bourdieu fit in literary studies? One has to be careful interpreting the title of Bourdieu’s book. Les Règles de l’art is no prescriptive book : Bourdieu is not the one who sets the rule nor does he suggest that there were no rules before the advent of the modern age. He is simply trying to show how, from the start of this period, the literary world is determined by specific social, political, economic and cultural conditions and questions the particular role played by the artist in this new state of things.

Orientador: Silvana Mabel Serrani / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T11:34:43Z (GMT). No. of bitstreams: 1 Pinheiro_MarcioLuizOliveira_M.pdf: 1361639 bytes, checksum: a351714a382e60f9382d07aefbcc560c (MD5) Previous issue date: 2014 / Resumo: Esta dissertação aborda a obra poética de Jorge Ricardo Aulicino, considerando elementos do Objetivismo argentino e marcas específicas da poética do autor. Dentre elas, a dissertação enfoca o cruzamento de linguagens com as artes visual e musical. Estudam-se o olhar, a construção de cenas poéticas e de sentidos, examinando planos e focos na poetização, o tom dialogal construído por Aulicino e a articulação de mundos que acontece em seus poemas. Na última seção, é analisado um elemento crucial em sua poesia: o elemento narrativo-ficcional presente na construção da cena poética. Nas conclusões, depreende-se que o elemento dialogal e o polifônico na obra de Aulicino compreendem jogo de vozes. Ele pode se dar com interlocutores concretos, sendo incluído pelo poeta em situações dialogais. Tais situações estão, frequentemente, associadas à autorreflexão do eu lírico ou, a outra voz que pode não ser a de um interlocutor individual, mas uma voz genérica. Ela pode estar incluída no poema em estilo linear ou não, nos termos bakhtinianos. Outro elemento recorrente na obra do Aulicino e que podemos considerar característico de sua poética é a contradição entre a concretude e a intangibilidade/imaterialidade, implícitos ou êxtases no cotidiano. Em Aulicino, a indagação poético-existencial integra a cena, revelando-nos a busca do eu-lírico pela veracidade das formas de captação da realidade. Na obra de nosso poeta, o ponto de injunção em que se dá a representação artística do que se quer expressar na cena poética tem por base a expressão da diversidade de sentimentos demonstrados pelo sujeito-lírico que iluminam o "mundo real" / Abstract: This dissertation is about the poetic works of Jorge Ricardo Aulicino. It considers elements of the Argentinian Objectivism and specific brands of Aulicino¿s poetic. The focus of this work is on intersection of languages with the visual arts and music. The poetic view, the construction of poetic scenes and senses are studied by examining plans and focus in poetry, dialogue tone built by Aulicino and linkage of worlds that happens in his poems. The last part considers a crucial element in his poetry: narrative-fiction element in the construction of the poetic scene. In the conclusion, it is seen that dialogue tone and polyphonic elements in Aulicino¿s poetic work make up a set of voices. It can be actual interlocutors included by the poet in dialogue¿s situations. Such situations are frequently associated with the self-reflection of a persona or, another voice that may not be a single interlocutor, but a generic voice, which may be included on poem in linear style or not, in Bakhtin terms. Others elements in Aulicino¿s work that we can consider characteristic of his poetry are the contradiction between the concreteness and the intangibility/immateriality, as well as ecstasies presents in every day life. In Aulicino, poetic-existential inquiries integrate the scene by revealing to us the persona's search for veracity of ways of sensing reality. In Aulicino's work, the expression of the diversity of feelings demonstrated by the persona who enlightens the "real world" is the point in which the artistic representation of what you want to express in the poetic scene happens / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

L’objectif de ce travail est d’établir des modèles de comportement mécaniques pour les matériaux en grandes déformations. Au lieu des approches classiques en 3D dans lesquelles la notion d'objectivité est ambigüe et pour lesquelles différentes dérivées objectives sont utilisées arbitrairement, le formalisme quadridimensionnel dérivé des théories de la Relativité est appliqué. En 4D, les deux aspects de la notion d’objectivité, l’indépendance du référentiel (ou covariance) et l’invariance à la superposition de mouvement de corps rigide, peuvent désormais être distinguées. En outre, l’utilisation du formalisme 4D assure la covariance des modèles. Pour les modèles incrémentaux, la dérivée de Lie est choisie permettant une variation totale par rapport au temps, tout en étant à la fois covariante et invariante à la superposition des mouvements de corps rigide. Dans ce formalisme 4D, nous proposons également un cadre thermodynamique en 4D pour développer des modèles de comportement en 4D tels que l’hyperélasticité, l’élasticité anisotrope, l’hypoélasticité et l’élastoplasticité. Ensuite, les projections en 3D sont obtenus à partir des modèles en 4D et étudiés en les testant sur des simulations numériques par éléments finis avec le logiciel Zset / The objective of this work is to establish mechanical constitutive models for materials undergoing large deformations. Instead of the classical 3D approaches in which the notion of objectivity is ambiguous and different objective transports may be arbitrarily used, the four-dimensional formalism derived from the theories of Relativity is applied. Within a 4D formalism, the two aspects of notion of objectivity: frame-indifference (or covariance) and invariance to the superposition of rigid body motions can now be distinguished. Besides, the use of this 4D formalism ensures the covariance of the models. For rate-form models, the Lie derivative is chosen as a total time derivative, which is also covariant and invariant to the superposition of rigid body motions. Within the 4D formalism, we also propose a framework using the 4D thermodynamic to develop 4D constitutive models for hyperelasticity, anisotropic elasticity, hypoelasticity and elastoplasticity. Then, 3D models are derived from 4D models and studied by applying them in numerical simulations with finite element methods using the software Zset

It has been roughly 86 years since Gunnar Myrdal’s book “The Political Element in the Development of Economic Theory” was published, in which he declared economic thought and theory as being established by hidden ideological premises. As well as accusing modern economic theory of being the subject of a pseudo-scientific construct. As such, this study seeks to test Myrdal’s critical view on Swedish economic education in upper secondary school. The study also seeks to determine how teachers deal with objectivism in economic teaching, how they themselves view economy as a scientific method and what they feel is the most important to teach the new generation of Swedish citizens. To complement the theoretical standpoint, the study will also emphazise on discussing the problems of objectivism in social sciences. The data presented is the result of conducted observations on four classes in the Swedish upper secondary school, two of the observed classes are based around an economic focus while the two other are based on a social scientific focus. As a compliment to the observations made, the study will also present conducted interviews with the teachers present at said observed occasions. The core questions to be examined are: “How do teachers approach objectivism in economic teaching in classes determined by a social scientific- and economic focus?”; “Which aspects of economy and economic history are highlighted- and valued in (economic) education?” and “How is the relationship between economics and science viewed upon?”

It has been roughly 86 years since Gunnar Myrdal’s book “The Political Element in the Development of Economic Theory” was published, in which he declared economic thought and theory as being established by hidden ideological premises. As well as accusing modern economic theory of being the subject of a pseudo-scientific construct. As such, this study seeks to test Myrdal’s critical view on Swedish economic education in upper secondary school. The study also seeks to determine how teachers deal with objectivism in economic teaching, how they themselves view economy as a scientific method and what they feel is the most important to teach the new generation of Swedish citizens. To complement the theoretical standpoint, the study will also emphazise on discussing the problems of objectivism in social sciences. The data presented is the result of conducted observations on four classes in the Swedish upper secondary school, two of the observed classes are based around an economic focus while the two other are based on a social scientific focus. As a compliment to the observations made, the study will also present conducted interviews with the teachers present at said observed occasions. The core questions to be examined are: “How do teachers approach objectivism in economic teaching in classes determined by a social scientific- and economic focus?”; “Which aspects of economy and economic history are highlighted- and valued in (economic) education?” and “How is the relationship between economics and science viewed upon?”

La civilisation chinoise est généralement comparée à un monolithe ayant traversé les âges. Elle jouit d’une grande réputation et se caractérise elle-même par une idéologie holiste. Cette vision synoptique implique incidemment une notion de groupe, c’est-à-dire qu’existerait à travers l’espace et le temps un immense ensemble humain identifié par sa « sinité ». Cette thèse s’interroge sur les éléments et les étapes historiques de la construction de la nation contemporaine chinoise. Elle cherche à discerner précisément le moment où ce groupe commence à se percevoir en tant que tel et à comprendre les motifs sous-jacents à sa fondation consciente et volontaire. Afin de mettre en lumière les identités chinoises, cette étude anthropologique du politique brise les barrières des définitions, articule les différentes notions de groupe, et use d’une comparaison entre perspectives historiques de groupe de la France et de la Chine. Animée par l’ambition de s’émanciper de schémas interprétatifs parfois trop stéréotypés à l’égard de l’histoire et des politiques contemporaines chinoises et en vue d’en proposer une compréhension renouvelée, cette entreprise analytique porte une attention accrue sur la conscience d’appartenance au groupe. / The Chinese civilisation is generally likened to a block of stone which has travelled through time. It enjoys a widespread reputation and is itself characterised by an holistic ideology. This summary vision implies incidentally a notion of group, which questions through space and time the existence of a huge group of human identified by its “Sinitic” character.This PhD thesis will interrogate the elements and the historical steps of the construction of a contemporary Chinese nation. It seeks precisely to discern the moment when this group began to perceive as such, and to understand the reasoning behind its conscious and voluntary foundation. In order to reveal these Chinese identities, this anthropological study in politics will break down the barriers of definitions, articulate the different concepts of group, and compare thoroughly different perspectives of some French historical groups and that of Chinese. Driven by the ambition to release the interpretative schemas, sometimes too stereotyped, regarding the history and the politics in modern China, and to propose a renewed understanding, this analytical work pays greater attention on the awareness belonging to the group.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Cause principale du malaise moderne, l’aliénation désigne l’état de l’être humain qui est pris entre ce qu’il est et ce qu’il devrait être. Ma thèse démontre que la représentation de cette déficience ontologique dans l’art vocal connaît des modalités subjective et objective. Séduit par une oeuvre de la première modalité, l’auditeur en subit l’ensorcellement et sympathise avec le protagoniste aliéné. Se heurtant à la seconde modalité, le spectateur se trouve aux prises avec une oeuvre qui vise à empêcher tout effet d’identification émotif avec le personnage principal. Tout en prenant position par rapport aux traditions herméneutique et critique, je cherche à approfondir la question de l’aliénation dans la musique de la modernité germanique (comprise dans les limites des XIXe et XXe siècles), et ce, sous ses différentes formes. Le Winterreise de Franz Schubert (et Wilhelm Müller) et le ballet chanté, Die sieben Todsünden, de Kurt Weill (et Bertolt Brecht) exemplifient les différentes modalités de l’aliénation, subjective et objective, respectivement. Ma thèse aborde le concept d’aliénation à partir de différentes perpectives : le premier chapitre en retrace le développement dans l’histoire des idées (philosophie, théologie, esthétique, sciences sociales, psychanalyse); les chapitres 2, 3 et 5 étudient l’expression de ses différentes modalités en examinant la genèse et la réception du Winterreise et de Die sieben Todsünden; les chapitres 4 et 6 offrent des analyses approfondies de chaque oeuvre en rapport avec ces modalités. Dans le Winterreise, la présence du double (le joueur de vielle), la narration à la première personne et l’anonymat du narrateur, par ailleurs expressif, se conjuguent au caractère « phénoménologique » de la musique, au sens d’une mimesis de l’espace intérieur, afin d’attirer la sympathie du spectateur. Plusieurs éléments musicaux contribuent à cette impression : figures rhétoriques (tropes de distance, figures de marche, Seufzerfigur, etc.), usage significatif des modes majeur et mineur, subversion sémantique différents genres (valse, Volkslied, opéra, etc.), qualité subjective des ambivalences métriques et formelles, aspect médiatisé des sons qu’entend ou que s’imagine le voyageur, etc. L’effet d’aliénation (Verfremdungseffekt) provoqué par Die sieben Todsünden oeuvre dans un tout autre sens : il amène l’auditeur à adopter une attitude critique face à l’aliénation de la protagoniste « Anna ». Le ton narratif, la perversion des lieux communs (textuels et musicaux), l’aridité de la mélodie, l’ironie stylistique (usage sarcastique du style barbershop, du Choral protestant, du shimmy, du moto perpetuo, de la valse, etc.) et la tonalité élargie participent au ton narquois de l’oeuvre, incitant délibérément à une prise de distance critique. / Alienation, the principal source of the modern malaise, denotes the state of a human being who is caught between what he is and what he ought to be. My dissertation will demonstrate that the depiction of this ontological deficiency in vocal music exists under different modalities, subjective and objective. Beguiled by a work dealing with the topic of alienation within the subjective mode, the listener is made vulnerable to its charm and sympathizes with its alienated protagonist. Colliding with a work of the objective type, the spectator discovers that he is confronted by a piece that seeks to prevent any emotional identification with the characters. Starting from, but not limited to, the perspective of traditional hermeneutics and criticism, my research aims at a deeper understanding of alienation in music during the modern Germanic period (within the limits of the 19th and 20th centuries). Franz Schubert’s (and Wilhelm Müller’s) Winterreise and Kurt Weill’s (and Bertolt Brecht’s) ballet-chanté Die sieben Todsünden exemplify the different modalities of alienation, subjective and objective respectively. I approach the concept of alienation from various angles : the first chapter retraces its development within a history of ideas (philosophy, theology, aesthetics, social sciences, psychoanalysis); chapters 2, 3, and 5 begin to study its subjective and objective articulations by investigating the genesis and reception of Winterreise and Die sieben Todsünden; analytical chapters 4 and 6 offer and an in-depth investigation into these works in relation to their particular modality of alienation. In Winterreise, many elements combine to confer a phenomenological quality to the music (understood as the mimesis of an interior, subjective space) in the hopes that it will stir the audience’s sympathy : note the presence of a double (the hurdy-gurdy player), first-person narration by an anonymous, yet expressive, speaker, and so on. Many musical features support the effect : different topoi (tropes of distance, marching and sighing figures, etc.), the symbolic use of major and minor modes, the subversion of meanings attributed to different genres (waltz, Volkslied, opera, etc.), the subjective quality of metrical and formal dissonances, and the mediated aspect of sounds that the wanderer hears or imagines. The alienation-effect (Verfremdungseffekt) caused by Die sieben Todsünden is altogether contrastive. It encourages its listener to take a critical attitude toward the alienation of Anna, the protagonist. The narrative tone, the distortion of commonplaces (literary and musical), the arid melodies, the ironic style (sarcastic use of barbershop music, Protestant chorals, the shimmy, moto perpetuo, the waltz, etc.), and tonal ambiguity contribute to the sardonic tone of a work that urges critical distance. / Als weitgehend anerkannte Quelle des modernen Unbehagens beschreibt die Entfremdung den Zustand menschlichen Daseins in der Schwebe zwischen dem, was er ist, und dem, was er sein sollte. Meine Dissertation zeigt auf, dass die gesangliche Darstellung eines solchen Zustands ontologischer Defizienz sowohl eine subjektive als auch eine objektive Modalität haben kann. Sobald der Zuschauer der ersten, nämlich der subjektiven, Modalität begegnet, wird er durch das Werk verzaubert und sympathisiert mit dem entfremdeten Protagonisten. Sieht er sich wiederum mit der objektiven Modalität konfrontiert, ist es das Werk selbst, welches jeglichen Effekt einer gefühlsmäßigen Identifizierung mit der Hauptfigur verhindert. Bezug nehmend auf die hermeneutischen und kritischen Traditionen strebe ich nach einer Vertiefung des Entfremdungsbegriffs in der Musik der germanischen Moderne (innerhalb Grenzen des 19. und des 20. Jahrhunderts) in ihren verschiedenen Formen. Franz Schuberts (und Wilhelm Müllers„Winterreise“ sowie das gesungene Ballet „Die sieben Todsünden“ von Kurt Weill (und Bertolt Brecht) veranschaulichen jeweils die subjektive und die objecktive Modalität der Entfremdung. Die vorliegende Dissertation beleuchtet das Konzept der Entfremdung von verschiedenen Seiten: Das erste Kapitel vergegenwärtigt die Entwicklung der Ideengeschichte (Philosophie, Theologie, Ästhetik, Gesellschaftswissenschaften, Psychoanalyse); die Kapitel 2, 3 und 5 befassen sich mit dem Ausdruck ihrer verschiedenen Modalitäten in der Entstehung sowie der Rezeption der Winterreise und der Sieben Todsünden; die Kapitel 4 und 6 bieten vertiefende Analysen jedes einzelnen Werkes im Zusammenhang mit diesen Modalitäten. In der „Winterreise“ vereinigen sich die Präsenz des Doppelgängers (der Leiermann), die Ich Erzählung und die Anonymität des ansonsten sehr ausdrucksvollen Erzählers mit dem „phänomenologischen“ Charakter der Musik, im Sinne einer Mimesis des inneren Raums, um die Sympathie des Zuschauers anzusprechen. Mehrere musikalische Elemente tragen zu diesem Eindruck bei: Rhetorische Figuren (z.B. Distanz- und Wandermotive, Seufzerfiguren usw.), der signifikante Gebrauch von Dur und Moll, die semantische Subversion der verschiedenen Genres (Walzer, Volkslied, Oper, usw.), die subjektive Beschaffenheit metrischer und formaler Ambivalenzen, der mediatisierte Aspekt der Töne, die der Reisende hört oder sich vorstellt, usw. Der Verfremdungseffekt, der durch „Die sieben Todsünden“ hervorgerufen wird, ist ein gänzlich anderer: Er drängt den Zuhörer dazu, eine kritische Stellung in Hinblick auf die Entfremdung der Protagonistin „Anna“ zu beziehen. Der narrative Ton, die Pervertierung der textuellen und musikalischen Gemeinplätze, die stilistische Ironie (der sarkastische Gebrauch des barbershop-Stils, des protestantischen Chors, des shimmy, des moto perpetuo, des Walzers, usw.) und die allgemeine tonale sowie stilistische Zweideutigkeit tragen zum spöttischen Ton des Werks bei und führen so zur gewünschten kritischen Distanz.

This study is comprised of two parts: an unauthorised biography of the South African musician David Kramer, as well as a reflective look at the process of writing this biography. In this regard the following aspects were looked at closely: finding an appropriate style, biography versus propaganda, conjecturing, the bilingual nature of the text, problems of research, ethics, influences, make-believe, approach to the subject, intertextuality, and fictionalisation. The central question of the biography is to highlight the success of a fellow Worcester (the author’s hometown) boy. The central research questions of the thesis are the fictionalisation of the nonfiction text, intertextuality, and the question of a text written in both English and Afrikaans. With regard to the aforementioned fictionalisation, a biographical text is classified as “nonfiction”, because it deals with a real person and real events. However, a text such as David Kramer – an unauthorised biography presents an alternative perspective, in that the narrative often moves into fiction, or “creative nonfiction”. Written texts are traditionally divided into two fields: fiction or nonfiction. Nonfiction is deemed to be fact, truth, whereas fiction is the fruit of an author’s imagination. But perhaps the notion of truth versus untruth is too limited, and one should include the words “objectivity” and “subjectivity”. Some texts incorporate both elements, be they newspaper editorials which are mostly opinion, advertisements which are highly subjective, or biographies such as Taraborrelli’s Madonna – An Intimate Biography, which often reads as a novel. This doctoral thesis looks at David Kramer – an unauthorised biography, which is at times “faction”, to illuminate the sections where the text fell somewhere between fiction or nonfiction. In attempting this exercise, intertextuality was useful in two ways. Firstly, to ground the text in a reality the reader could believe, as it brought “real” things to the text, such as song lyrics, photographs, et cetera, all things which brought some credibility to the truth of the text, and secondly to place the events being described in a certain timeframe. The use of English and Afrikaans in the biography was to reflect that Kramer uses both languages in his songs, and furthermore, to give an idea of the South Africa at the time of Kramer’s early success: the divides of English/Afrikaans, white/black, liberal/conservative. / Thesis (PhD)--University of Pretoria, 2011. / Unit for Creative Writing / Unrestricted

This thesis examines the prosaic works of Ladislav Dvo ák (1920-1983), specifically the collection of short stories entitled Šavle me e. It analyses the construction of Dvo ák's texts with regard to two significant aspects. First it deals with the connection between reality and the world depicted in the narrative. With the help of the concept of objectivity', adapted for literary interpretation, it explores the role of facts, description and narrator in the text. The second part treats the function of comedy in the stories, especially the difference between comical and humorous characters and the role of the verbal and situational humor. The analysis is based on the theories of P emysl Blaží ek and Milan Jankovi , who treat the specifics of creating meaning in literature.

Cette recherche a pour objectif de comprendre le rôle des chaînes internationales d’information à l’ère de la mondialisation : la tension et l’harmonisation entre l’objectif de diplomatie publique de la chaîne internationale d’information et les principes journalistiques ; le rôle des chaînes internationales d’information pour l’espace public global dans le monde « trans-nationalisé ». Afin de répondre à ces questions, dans une perspective constructiviste, nous avons analysé les missions annoncées par les chaînes sélectionnées (CNN International, France 24, BBC World News, NHK World TV, Arirang TV et Al-Jazeera English) puis leur contenu réel : la programmation et le contenu journalistique. Les résultats d’analyse nous démontrent que les chaînes considèrent et réalisent implicitement leur rôle de diplomate public et soulignent explicitement les principes journalistiques. Enfin, nous avons trouvé que les chaînes internationales d’information fonctionnent comme une infrastructure de communication internationale, en réalisant un double objectif et une double identité à cause du croisement de deux acteurs principaux concernés au sein de la chaîne internationale d’information : le gouvernement et les professionnels du journalisme. De plus, les efforts qui peuvent montrer « l’objectivité » et « le respect des principes journalistiques » des chaînes internationales conduisent ces dernières à jouer un rôle dans la sphère publique internationale, notamment grâce aux émissions participatives et interactives, ainsi que par les dispositifs d’interaction et de discussion. / This research aims to understand the role of international 24-hour TV news channels in the era of globalization: the tension and balance between the role of the international news channel for public diplomacy and the respect for journalistic principles; the role of international news channels for the global public space in the transnationalised world. In order to answer these questions, we analysed their missions announced by the selected channels (CNN International, France 24, BBC World News, NHK World TV, Arirang TV and Al-Jazeera English) and their media content with a constructivist perspective. The results show that the channels implicitly realize their role for public diplomacy and explicitly emphasize the journalistic principles. Finally, we found that international news channels work as an international communications infrastructure phenomenally with dual goal and a dual identity. In addition, the result shows that the international 24-hour TV news channels try to play a role as international public sphere through participatory and interactive programs.