本文旨在掘發《三六九小報》(以下簡稱《小報》)中「通俗小說」之女性造型的書寫及相關敘事模式，並廓清三O年代《小報》創作社群觀看女性的文化視域；且進一步與日治時期其他小說文本並列比較，從而顯豁《小報》通俗小說中的「女性」圖像意義，全文共計五章，簡述如下： 第一章緒論。本章為全文論述框架之簡述，第一節中說明研究動機，第二節進行研究現況之檢討，第三節在分析相關先行研究之基礎下，思考本文可能之論述發展，並指出本文研究範圍，及援用之研究方法。 第二章「女性」造型——《小報》通俗小說中「女性形象」的書寫與敘事。本章根據通俗小說類型的歸納、整理，分析《小報》通俗小說的「程式化」現象；第一節「小說敘事模式」，指出通俗小說中的程式化情節，傳達大量重複的訊息，反映通俗創作社群取材的興味；而作者聲音對文本故事干預程度的強弱，則可由作者／敘事者的相對關係進行觀察；再者，《小報》多以旁觀者的視角，取用全知敘事或限制敘事的敘事觀點，也開展了不同的敘事風格。第二節「女性造型書寫」，由命名意義、身體描摹、形象設計及意象隱喻等角度，對《小報》小說中女性形象的塑造，作形式上的探求。 第三章書寫女性的文化視域。文本中女性被書寫的文化意涵，呈顯出性別、文化的關係；第一節「父權體制的壓迫」，說明傳統價值觀影響所及，男尊女卑，女性地位低落，一方面面臨被「物化」的命運，一方面受到「婦德」的規範，從而建構了錯誤的自我認知；第二節「對社會的控訴」，挾帶資本主義而來的殖民社會，女性面對生活的窘迫，其處境的艱難、命運的悲慘，是社會中多重壓迫的犧牲者；第三節「婚戀問題的省思」，在新／舊文化的衝激下，受教育新女性／童養媳，大多在自由戀愛中失敗、在傳統婚姻中不幸，顯見《小報》創作社群處於文化過渡時期，對於傳統婚戀與新式婚戀，均懷隱憂、質疑與不安。 第四章「女性」圖像的書寫策略差異——《小報》與其他通俗小說中「女性」敘事的比較。經過第二、三章小說文本的討論，已為《小報》小說中女性形象定調，本章則據此展開與其同時或前後的文言、白話通俗小說作品之比較研究；第一節「與《小報》之前文言通俗小說作品的比較」，與李逸濤發表於《漢文臺灣日日新報》（1905-1911），以淺近文言文寫成的46篇通俗小說作品，進行對話；第二節「與《小報》同時或其後白話通俗小說作品的比較」的討論參照系前衛出版社所發行《臺灣大眾文學系列》，以及四O年代的《風月報》、《南方》中的白話長篇通俗小說。藉此掌握《小報》書寫載體文言、白話兼有，作品的選材、小說敘事者聲音的不盡相同的現象，並突顯出風味各異的書寫策略取向。 第五章結論。總結前文，指出本文研究的要點及其意義，最終呈顯出《小報》乃置於一個通俗小說創作的過渡期，在文言與白話通俗小說發展史上，別具遞變、糾葛的交混面貌；且在三O年代特殊的現代化情境中，《小報》通俗小說的文學敘事與文化視域，有著鮮明的文化氛圍及歷史語境，而其所建構的饒富時代意義的女性圖像，更具耐人玩味的性別視野。 / The purpose of this study was to investigate the written description of female appearance and related narrative mode in “popular fictions” of 369 Tabloid, and to figure out the cultural vision of the writers of 369 Tabloid toward females in the 1930s; moreover, there were comparisons between 369 Tabloid and other novels during the Japanese-ruled period to show forth the significance of “female” images of popular fictions in 369 Tabloid. There are five chapters in this thesis, and the brief previews are as follows: Chapter one is the introduction part. This chapter showed the frame of this study. The first section provided the motivation of this study, the second section contained the aspects of problem already studied by other researchers, and the third section presented the need for more investigation based on the previous research, pointing out the realm of this study as well as the research method being used. Chapter two was titled “female” appearance—the description and narration of “female images” in popular fictions of 369 Tabloid. According to the collection of different types of popular fictions, this chapter displayed the phenomenon of the fixed patterns in popular fictions of 369 Tabloid; the first section, “Narrative mode of fictions”, indicated that the phenomenon of the fixed patterns in popular fictions showed a great number of repetitive messages, reflecting an interesting angle in choosing the material among common writers; and the intensity of interference from the writer’s viewpoint to the story could be observed through the relative position of the writer/narrator; furthermore, 369 Tabloid was mostly written through the view of an onlooker, employing the narrative technique of 全知敘事 or 限制敘事，and thus developed a totally different narrative style. The second section, “Description of female appearance”, explored the formation of female image in the fictions of 369 Tabloid according to the meaning of the characters’ names, description of their body, image design, imagery metaphor and so on. Chapter three was about the female status in culture. In light of the way women were presented in the text, we could see the relationship between gender and culture; the first section “Oppression from the fatherhood system”, illustrated that due to traditional values, the concept that male was better than female, and female had a lower status than male had on the one hand made female face the destiny of being materialized and on the other made them construct a false self-recognition because of being confined by “female virtues”; the second section, “The accusation toward society”, showed that living in a colonial society which advocated capitalism, women faced difficulties in life, and the difficult situations and miserable destiny surrounding them let them become victims of multiple oppression; the third section, “Reflection on marriage and love”, pointed out that under the impact of new/old culture, new women with education/ child bride, had mostly failed in free love or been distressful in traditional marriage, and these all revealed that writers of 369 Tabloid were in a transitional stage—they felt worried, suspicious, and uneasy whether in traditional love and marriage or new love and marriage. Chapter four consisted of different writing strategies used in displaying “female” images—the comparison between 369 Tabloid and other popular fictions. In chapter two and three, the discussion about the text itself had already made the female images of the fictions in 369 Tabloid clear, and to go a step further, this chapter included the comparison between 369 Tabloid and other classical Chinese and vernacular Chinese popular fictions, no matter at the same period or other times; in the first section, “The comparison between 369 Tabloid and previous classical Chinese popular fictions”, the compared target were 46 popular fictions written in simple classical Chinese and published in 漢文台灣日日新報 by 李逸濤(1905-1911); in the second section, “The comparison between 369 Tabloid and contemporary or later vernacular Chinese popular fictions”, the compared target were台灣大眾文學系列published by 前衛publisher, and the vernacular Chinese popular fictions in Feng-yue-bao and Nan-fang in the 1940s. After these research, the results that there were both classical Chinese and vernacular Chinese used in 369 Tabloid, and that various materials as well as narrator voices were employed in it were shown. This also revealed that different writing strategies were used in different popular fictions. Chapter five is the conclusion part. This chapter summarized the previous chapters, pointing out the gist and significance of this study, finally showing that 369 Tabloid is at the transitional stage of popular fictions; that is, we can see the changing, entangled, and blended phase in the developmental history of classical Chinese and vernacular Chinese popular fictions in 369 Tabloid; besides, under the special modernized condition in the 1930s, the literary narrative and cultural vision in 369 Tabloid made it distinctive in its cultural atmosphere and historical background. And the female images it had constructed during that time had provided us with an interesting view toward the gender issue.

The thesis compares forms of speech presentation (and marginally writing presentation) in British newspapers through a theory of Speech, Writing and Thought presentation as introduced by E. Semino and M. Short (2004). On a specialised corpus of 6 newspaper articles, the work compares qualitive and quantitative tendencies of individual speech presentation categories, focusing on the diagnosis of differences and common points in two journalistic sub-genres, the tabloid and the broadsheet. The speech presentation categorization is applied as a clinal model with permeable borders between individual categories. The focus is on detecting and analysing the fucntions of individual categories of speech presentation in terms of information, style, pragmatics and form. Powered by TCPDF (www.tcpdf.org)

本研究以台灣《壹週刊》的影劇新聞為例，以批判論述分析法（Critical Discourse Analysis）的思考精神為啟發，從性別角色、發言權、新聞的語言特色等面向分析《壹週刊》文本。接下來，以明星、經紀人／宣傳的和小報記者的訪談，釐清台灣小報影劇新聞的產製方式，以及明星體系小報文化當中的運作過程，從中分析小報影劇新聞中誰掌握了發言權，明星和經紀人會使用哪些媒體策略來獲得正面助益。 　　本研究結果發現，小報媒體在全球不同文化間依循著類似的軌跡發展，從單元、圖片與題材編排的類似手法，將明星八卦、醜聞、性等細節無限制放大，透過主觀、嘲諷的口語敘事與大量圖片，讓讀者看到明星報導的幕後感與故事性。小報記者參與新聞製作時的立場是正向高度肯定的，因為小報調查式的新聞手法需要長時間籌畫、收集資料、蒐證，因此，記者認為小報才是為讀者揭發社會真相、真正敢言的媒體。另一方面，記者與明星的互動關係是多種權力交織而成的動態協商，多數時間記者掌握了報導發展的詮釋空間，但是，佔上風的角色會隨著藝人實力產生變動。操作過程中，經紀人為了徹底保護明星形象，將明星視為必須保護的文化商品，控制了明星對外發言的權力，也拉開了明星和媒體的距離。面對小報新聞可能造成的傷害，通常經紀人會預先設定立場、準備模板答案，來維護明星聲望在小報文化的侵入下能順利運作。 / Taken the entertainment news of Next Magazine as the example, the main research frame is inspired by Critical Discourse Analysis. The study analyzed the text of Next Magazine from the roles of gender, the voices and the linguistic characters of news to clarify the production logic of Taiwanese tabloid news. Next, from the interviews of entertainers, agents /publicists and tabloid journalists, the study tried to figure out how celebrity news production and Star system work within tabloid culture. Who take the initiative of speech and utilize what kind of strategy to manipulate media relations. The study found that, the tabloid media has developed along a similar path even in different cultures around the world. By using similar manners of the arrangement of units, images and subjects, the tabloids unlimitedly enlarge the details of the gossip, scandals and sex affairs of entertainers; additionally, a colloquial description in a subjective and mocking way and plenty of pictures are utilized to give readers a feel of behind-the-scene and narrative to the entertainers’ news. Nowadays, tabloid journalists hold a positive attitude toward the manner of digging out newsworthy materials, which requires a long time planning, information-gathering and evidence-collecting. On the other hand, the interaction between journalists and entertainers is a dynamic negotiation established by a variety of powers. What’s more, the agent may regard stars as a cultural goods, then control the power of speech of stars in order to completely protect the media image of stars. At the same time, agents block the normal communication between stars and media. To prevent the harm caused by tabloid, the agents might pre-set position and answer the template answer to maintain the reputation of stars.

“Big in Japan: The Novel” chronicles the struggles of American Kent Richman, has-been gaijin-tarento. The novel alternates between a collage of tabloid articles, letters, YouTube video, excerpts from an unfinished memoir, manga story boards, botched interviews, notes scribbled on napkins, and a third-person narrative. Set primarily in central Japan, “Big in Japan” is at once a satire of celebrity, a study of personality, a romance and a mystery. Kent Richman—John Lennon look-a-like known as RI-CHU-MAN-SAN! and husband to popular model Kumiko Sato—was a regular on the nightly game show The Strange Bonanza, despite having little talent beyond his resemblance to the popular Beatle. Following a foolish affair with a young Quebecois named Monique Martine, Kent and Kumi’s celebrity world is shattered when Monique’s husband, Australian Denis Ozman—an edgy, violent shock comic—seeks his revenge on Kent and, by default, Kumi. The “Ozman Incident,” as it becomes known in the Asian press, escalates Kent and Kumi to new levels of celebrity, but impels them to abandon stardom and Japan for a new beginning on an island in the Gulf of Thailand. In Thailand, Kent and Kumi try to make a new start, but Kumi is unable to forgive Kent for what Ozman did to them and paradise quickly goes sour. In the frenzy of a passing storm, Kumi disappears with a local entrepreneur named Darren. Kent’s search for her leads him to Bangkok and a painful but puzzling discovery. When we first meet Kent, he has returned from Thailand without Kumi, who has vanished. He is unemployed, abandoned by his once adoring public, and penniless, living in a capsule hotel. Kent’s failings are aggravated by a minor drug habit that leads him to often comical, painful, and revealing extremes. At the heart of Kent’s troubles are the unanswered questions about Kumi’s disappearance and his fall from grace. Once a star, he both abhors and misses his former life. What begins as an attempt to exorcise nagging questions becomes an aimless and dangerous plunge into obsession: why did Kumi disappear, where did she go and what will he do now?

Thesis (MPhil) -- University of Stellenbosch, 2004. / ENGLISH ABSTRACT: The advancement of news technology in the last few decades has lead to an information explosion of an unprecedented scope. Twenty-four hour a day news channels, electronic publications, the Internet, and a proliferation of print publications feed this media explosion. Coupled with this has been the growth of a celebrity culture, where the lives of the rich and famous have been placed under intense scrutiny. Commercial interests also have to be taken into account. It is conventional wisdom that sensational news sells newspapers. This news is not limited to celebrity news, but encompasses crime reporting as well as high profile scandals affecting ordinary people. As the news becomes more ubiquitous, the competition becomes tougher and the pressure to print what sells grows. The other commercial pressure is that of the marketers of the entertainment industry who have a vested interest in having the stars of their movies, music and television shows enjoy a high media profile. This study aims to determine whether the South Africa media has shown a trend towards reporting a more sensational and celebrity based form of news. It seeks to discover whether the South African news has become tabloidised. This will be done by analysing the content and presentation of the front page of The Cape Times, a Cape Town based broadsheet, over the period of several years. This will be used as a measure to determine whether or not the content and form of the South African media is following a trend to tabloidisation. / AFRIKAANSE OPSOMMING: Die vooruitgang in mediategnologie aan die einde van die twintigste eeu het tot 'n oorvloed van inligting gelei. Nuuskanale wat vier-en-twintig uur per dag uitsaai, elektroniese publikasies, asook die Internet en die groei van die drukmedia het hierdie verskynselondersteun. Tegelykertyd het die media in die jongste dekades meer begin fokus op die lewens van beroemdes. Kommersiële faktore moet ook in ag geneem word. Met die groei van die media is meer druk geplaas op individuele nuusorganisasies om winste te maak. Dit is alombekend dat sensasionele nuus verkoop. Hierdie soort nuus is nie net gefokus op beroemdes nie, maar ook op misdaad en skandale deur gewone mense. Bemarkingsamptenare van die vermaaklikheidsbedryf moedig nuus oor beroemdes aan, want dit help om hul produkte te verkoop as hul sterre dekking kry. Hierdie studie wil vasstelof die media in Suid Afrika wel meer fokus op sensasionele nuus, ten koste van meer ernstige nuus. Dit wil vasstelof die Suid- Afrikaanse media die kenmerke van poniekoerante begin toon. The Cape Times, 'n Kaapse koerant, se voorblad is ontleed oor 'n tydperk van enkele jare. Die nuusinhoud asook voorkoms van die koerant is bestudeer om vas te stelof die koerant in 'n poniekoerant ontwikkel. Hierdie koerant is gebruik as 'n voorbeeld van die Suid-Afrikaanse media.

Red Pepper has been the subject of much discussion in Uganda, with some accounts describing it as a liberal mouthpiece, and others as pornography. This case study, therefore, sought to investigate Red Pepper as a media phenomenon in Uganda in the 21st century, specifically between 2001 and 2004. Employing quantitative and qualitative methodologies, it focused on the production process and the text. Although sexualised content dominate its pages, and news about issues such as the environment and education are near-absent, its managers describe the publication as legitimate, normative and consistent with liberal media standards. Accordingly, to interrogate Red Pepper in terms of its journalistic functions, selected debates associated with liberal approaches to news media, media political economy, tabloidisation, pornography and gendered relations were reviewed. The analysis entailed five phases. The first was a denotative or descriptive analysis, which focused on the publication's structure and content focus. This was followed by an interview with management, a broad content analysis to establish the incidence of predefined content categories expected of the tabloid, pornographic and liberal press and, lastly, a theme-based content analysis that sought to establish the potential meanings and framing of the dominant content categories of gossip and sexualised copy. Overall, the study found Red Pepper to be a misogynistic tabloid, having elements said to belong to pornography and homophobia. According to the findings, not only does Red Pepper fall short of a liberal understanding of a newspaper in terms of diversity of topics, provision of information and professional practice, it also does not fit the understanding of an alternative public sphere, mainly because it fails to challenge the patriarchal framing of sex, sexuality and gendered relations. This framing is undertaken deliberately as a means to securing economic rather than journalistic ideals to which the editors pay lip service. Consequently, the gossip and sexualised content are not problematised and as such discourses and power relations therein are not interrogated. Neither are inadequacies in local systems addressed nor corrective action mobilised as expected of some tabloids. All in all, the publication fronts superficial entertainment content that echoes particular gender constructions and patriarchal commonsense and entrenches the (undesirable) status quo which, ironically, it claims to challenge.

This thesis seeks to define the difference between commercial media and public service media, given the degree of tabloidization. The work is based on the assumption that the tabloid principles do not interfere only the commercial media, but due to the gradual development of the media industry they even penetrate the public service media. The work is focused on the reasons and forms of penetration by the tabloid media principles to the public. The theoretical section outlines the basic theoretical background and terminology to the topic of public service media and to the topic of tabloid principles. There are presented the characteristics of the tabloid media in the theoretical part, not only in theme but also in language. At first the methods used are presented in the analytic part and then work attempts to outline the current situation in the public service media, specifically on the example of radio broadcasting. The practical part of this thesis is based on the content analysis of media messages. Public media represents the Český Rozhlas 1 - Radiožurnál, concretely its news reports. This work not only tries to find the tabloid principles in broadcast of this media, but also try to make its comparison with the news of commercial media, represented by broadcasting station Radio Impuls. Aim of this work is to confirm or eventually to refute the assumption that public service media in the Czech Republic are affected by some degree of tabloidization in the form of penetration of tabloid principles.

The main goal of this diploma thesis was to find patterns on the pages of Na vlastní oči (With One's Own Eyes) title that define gutter press in its specific form of political tabloid. The analysis was concerned with the time period from 2016 to 2019 during which the said title was published in total of four waves each of which related to the relevant pre-election campaign. The Na vlastní oči title was initially published anonymously and only later Jan Čížek, publisher of the regional town-hall newspaper and a Freedom and Direct Democracy Party (SPD) candidate, claimed to be the publisher. SPD subsequently became the final sponsor of the newspaper. In the first wave of publishing activity, the authors of the title focused on a disparaging campaign against the then-candidate for the Senate of the Parliament of the Czech Republic Parliament and, in a broader context, against the whole opposition within the City Council of the Prague 10 City Ward. In its later publications, the newspaper dealt mostly with topics aimed at spreading fear of an unspecified danger associated with the refugee crisis and concerns about the unknown in the form of the Islamic Religion which was always associated with the threat of terrorism. In the context of its election programme, SPD also communicated groundless criticism...

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The diploma thesis called The Media Image of Murder of Otýlie Vranská in the Czech Contemporary Press is dealing with the analysis of the serious press represented by daily newspaper Národní listy and with the analysis of the tabloid press represented by daily newspaper Expres in the selected period from September 1933 to February 1934. The analysis focuses on the news articles about the murder of Otýlie Vranská. She was murdered on 1st of September 1933, her corpse was quartered and sent to Slovakia in two suitcases − one suitcase was found in Bratislava and second in Košice. Both types of periodicals published 96 articles all together. The diploma thesis is divided into two main parts. Theoretical part, which is focused on definition of the First Czechoslovak Republic's period as well as introducing topics such as criminality and press in the First Czechoslovak Republic. In the end of this chapter there is a presentation of the life and death of Otýlie Vranská from an expert point of view. The second, practical part includes mentioned analysis of the news items, which comes after the definition of the key term: the social construction of reality and the definition of the chosen method: the comparative narrative analysis.