Glossy Magazines Research Articles

Gaming the system

Purpose of this paper Reviews the latest management developments across the globe and pinpoints practical implications from cutting-edge research and case studies. Design/methodology/approach This briefing is prepared by an independent writer who adds their own impartial comments and places the articles in context. Findings One of the features of modern business is the increased involvement of customers in product and service development. Managers are consistently being told to engage with customers more and create a feedback loop so that what they develop can be enhanced. Articles in glossy executive magazines recommend this approach; product managers recommend this approach; it seems that any firm that did not include its users in enhancing its latest offering is doomed to failure. And yet, what evidence are there that such approaches actually benefit the bottom line? Like many developments in corporate culture previously, does the inclusion of customers in product development make sense, or is it simply another corporate fad? Practical implications Provides strategic insights and practical thinking that have influenced some of the world’s leading organizations. What is original/value of paper? The briefing saves busy executives and researchers hours of reading time by selecting only the very best, most pertinent information and presenting it in a condensed and easy-to-digest format.

Kurt Vonnegut Remembered

Kurt Vonnegut Remembered

Evaluation of psychological and pedagogical strategies for creating gender motivation in modern glossy magazines as an “Overton Window” in an electronic and digital society

The authors consider modern glossy magazines as a tool for constructing and transforming gender attitudes in the context of psychological and pedagogical strategies for constructing gender in the conditions of an electronic-digital society and the specifics of communication in a pandemic situation of self-isolation, when information from the Internet has a dominant influence on modern people. A special aspect belongs to the analysis of the “Overton window” mechanism in preserving and / or transforming established gender roles in the modern electronic information society. Magazine discourse at the beginning of the 21st century acts as a powerful tool for influencing the recipient in a situation where digital communication and electronic advertising discourse prevail. The authors analyze the phenomenon of creating motivation for predictable gender behaviour, which is influenced by electronic glossy magazine discourse, considered from the perspective of psycholinguistics. The authors define this type of discourse as a special type of discursive process that acts as an explicit tool of globalization. The authors use the author’s synergetic approach based on the methods of linguistics, pedagogy, psychology and economic management as a methodology. The authors emphasize the novelty of this discourse in the context of its influence on the formation and transformation of the modern language personality in the context of gender stereotypes. The relevance of the research is emphasized by the fact that glossy mass-media discourse is the latest in terms of the chronology of the historical process. It actualizes the poly-ethno-socio-cultural and educational space of the beginning of the XXI century, demonstrates the processes of transformation of gender attitudes in the context of unification and globalization in the value orientations of the “philosophy of glamour”.

“Small Readers” and Big Magazines: Reading Publics in <em>Bingo</em>, <em>La Vie Africaine</em>, and <em>Awa: la revue de la femme noire</em>

This article offers sociohistorical engagement with readers' letters printed in three glossy Francophone African magazines (Bingo, La Vie Africaine, and Awa: La revue de la femme noire) produced from the early 1950s to the 1980s. It argues for a methodological foregrounding of readers' experiences “in and of themselves” (Musila), in order to assert the connective and collective role of intellectual labor within pan-African public spheres in this period. Drawing on analysis of readers' letters and interviews with leading figures involved in each magazine, the article is structured in three parts: first an overview of the three magazines and their relative political positions, followed by sociological analysis of a database of 212 readers' letters from the three titles covering the year 1964 (with a particular focus on gender), and lastly closer reading of a selection of a selection of these letters and the affective dimensions of “distant reading” they evoke and solicit, notably through requests for pen pals.

Erratum to: Evaluation of psychological and pedagogical strategies for creating gender motivation in modern glossy magazines as an "Overton Window" in an electronic and digital society

Erratum to: Evaluation of psychological and pedagogical strategies for creating gender motivation in modern glossy magazines as an "Overton Window" in an electronic and digital society

Wariantywność (orto)graficzna pożyczek angielskich w świetle normatywistyki języka rosyjskiego

The article focuses on the problem of orthographic and graphic variants of English loanwords in modern Russian. The empirical material was excerpted from normative dictionaries and Russian glossy magazines. The main purpose of the studies was to define the reasons for different notation of anglicisms, to illustrate the types of orthographic and graphic variants, and also to indicate the most important issues of loanword codification in normative practice. Variation in writing is a dynamic phenomenon in Russian (ortho) graphy that requires lexicographical description as there are no separate rules of notation for loanwords.

Суггестивная функция имен собственных в текстах коммерческой рекламы глянцевого журнала «Tatler»

Advertising is an example of persuasive communication, at the beginning of the XXI century it becomes the object of linguistic research in the field of speech suggestion. In the article the author analyzes the proper names as a group of the linguistic signs that ensure the functioning of the program of undocumented influence in the consciousness of the subject and aim to persuade him to buy the advertised object. The material of the study is commercial advertising texts from the magazine «Tatler». The choice of this source of the actual material is due to its prototypicity. This international highly artistic glossy magazine, focused on creating a model of the world of luxury and comfort, is an effective advertising medium. The author comes to the conclusion that in the aspect of suggestive linguistics problems the proper names of three groups are especially important for the advertising text: pragmatonyms, anthroponyms and toponyms. The orientation of the magazine «Tatler» for a specific target audience (people with a high level of the material wealth) affects the selection of the pragmatonyms, anthroponyms and toponyms. For example, pragmatonyms-globalisms, symbolic pragmatonyms, calling cosmetic, jewelry, watch brands, etc., allusive names of the persons with a common background of world fame, the names of the countries and cities that are leaders of the fashion and the beauty industry. These groups of names implement suggestive strategies of idealization of the advertised object and imitation of its exclusivity, high quality, participate in the creation of a psychological effect of the trust, form a positive motivation for the purchase.

Grimshaw skies

In a recent issue of the British glossy magazine Country Life, I spotted an ad for the sale of a landscape by Victorian artist John Atkinson Grimshaw. Titled Autumn Glow, the painting evinced one of the most distinct features of Grimshaw’s work: an evening or night sky of unusual brightness.Several of Grimshaw’s most characteristic paintings depict lamp-lit streets in Glasgow, Liverpool, and other cities of commerce and industry. Even though Grimshaw was a detailed and realistic artist, his choice to paint at dusk cast an oddly warm, positive light on the same urban worlds that Charles Dickens portrayed as grim and impoverished. John Atkinson Grimshaw (1836–93) painted this dockside scene in Glasgow, Scotland, around 1889. BONHAMSPPT|High resolutionI used to think of Grimshaw whenever I looked up at the night sky on muggy summer nights in Washington, DC, where I’ve lived since 1990. As in one of his paintings, the leaves and branches of trees overhead would appear black against a luminous sky whose pale apricot color arose from the light of sodium streetlamps scattered by aerosols.There are fewer Grimshaw nights in Washington now. Despite rising temperatures, the air quality in the DC region has improved, especially during summer. It’s still hot and humid, but it’s less sickly. In 1997 the region had 18 code-red days. Last year it had one.I learned of one of the causes of that welcome trend from a poster paper presented at the 2017 annual meeting of the American Meteorological Society. Graduate student Sandra Roberts of the University of Maryland explained to me that more stringent emissions standards had reduced the amount of ozone-creating nitrogen oxides (NOx) in the atmosphere.The quality of air in London, sadly, has not improved in the past few decades, despite the passage of the Clean Air Acts of 1956, 1968, and 1993. A friend of mine moved from Boston to the British capital three years ago. Within weeks of arrival, he began coughing. A year later he was hospitalized twice and diagnosed with adult-onset refractory eosinophilic asthma. Why is London’s air so bad? Energy has been heavily taxed in the UK and other European countries for decades. The good upshot is an energy-efficient economy. According to the World Bank, the US produces 7 units of GDP per unit of energy usage, whereas the UK produces 12. The bad upshot is that high fuel prices and tax incentives have prompted Europeans to buy diesel cars, whose engines are more thermodynamically efficient than their gasoline counterparts. That advantage prevails even though gasoline engines burn almost all of their fuel, whereas diesels do not. The unburnt fraction of diesel fuel is a prime source of pollution—at least in older cars. The European Union’s latest emission standards, Euro 6 of 2015, require diesel cars to emit no more than 80 mg/km of NOx. By contrast, Euro 1 of 1992 set no limit; Euro 3 of 2000 set a limit of 500 mg/km.Earlier this year London mayor Sadiq Khan imposed an Ultra Low Emissions Zone (ULEZ) on Westminster and the City. Diesel cars that don’t meet Euro 6 and gasoline cars that don’t meet Euro 4 have to pay a daily fee of £12.50 ($15.67) to enter central London or face a fine of £160. Khan has proposed to extend ULEZ to almost all of Greater London by 2021. Londoners who drive older cars are outraged. Some of them bought diesel cars expressly because they are more frugal than gasoline cars. The UK government even incentivized drivers to switch to diesel by lowering the tax on the fuel relative to gasoline.The lesson from DC is that emissions standards work. The lesson from London is more subtle. Promoting diesel cars lowered carbon dioxide emissions at the expense of increased pollution, which eventually led to emissions standards that are likely more stringent than if the switch to diesel had not occurred.© 2019 American Institute of Physics.

BEHIND THE COVERS OF AUSTRALIAN ROLLING STONE: NEGOTIATING THE PERSONA OF A FEMALE MUSIC MAGAZINE EDITOR

Singers, songwriters and musicians create personas and perform the (gendered) role of rock star, punk, heart-throb, crooner, diva, or rock chick. Magazine covers are a key factor in consolidating and marketing that constructed persona. Magazine covers have visual power that is calibrated for maximum impact with a defined audience and a key part of the editor’s role is to decide on the cover image and cover lines. Moreover, there is now an expectation that editors of glossy magazines are recognisable ‘influencers’ who personify the values and commodities that their titles promote. We expect performers to put on a show, but do we expect music magazine editors to adopt a gendered celebrity persona and a public self too? This article examines the persona of the music magazine editor and the construction of music celebrity with a particular focus on Australian Rolling Stone magazine. Interviews with Kathy Bail and Elissa Blake, the first two women to edit the title in magazine format, underscore the self-fashioning of cultural intermediaries and the challenges for women in leadership roles in Australian media workplaces.

Profile of Aravinda Chakravarti

Many of the genetic variations uncovered by genome-wide dragnets are bycatch, not primary disease culprits. Separating causality from coincidence in this sea of data is challenging, especially when many of the candidates do not reside in the coding portion of the genome. Aravinda Chakravarti, director of New York University’s Center for Human Genetics and Genomics, has made a career of not just cutting through the noise but anticipating it, thanks to his training in statistics and genetics. In his Inaugural Article, Chakravarti, who was elected to the National Academy of Sciences in 2015, outlines a systematic process for determining causality in genome-wide association studies. He examines variants of regulatory elements that control gene expression by focusing on variation in cis -regulatory elements that target the SCN5A gene, which is implicated in sudden cardiac death (1). Aravinda Chakravarti. Image courtesy of Sumantra Chatterjee (New York University School of Medicine, New York). Born in Calcutta, India in 1954, just seven years after the country gained independence, Chakravarti remembers a mood of optimism and a sense of possibility. “I grew up in India at a very magical time.” Only in hindsight would Chakravarti call his family’s financial circumstances poor. “I had every kind of material to read, from national newspapers to glossy magazines to books,” he says. “I grew up in a house where reading was very valued, and curiosity was valued.” Chakravarti attended a local high school run by Methodist missionaries that offered advanced science courses. After high school, Chakravarti applied to a plethora of colleges. “I don’t know that I had a particular sense of direction,” he says. That changed as soon as Chakravarti saw the first page of the Indian Statistical Institute’s entrance examination, which contained two 10-digit numbers. The question asked which of five possible answers resulted from …

Flipping through a magazine: The consumed and consuming ‘woman’ in contemporary Chinese art

The turn of the millennium marked China’s full engagement with globalized capitalism, the fulfilment of the contemporary turn in Chinese art and an increase in representations of women and female bodies in contemporary Chinese art. The ‘consumed and consuming’ body had arrived in China via, amongst other means, glossy fashion and lifestyle magazines. This article produces a comparative textual analysis of two artworks, the single-channel video installation Yue Jing Jing, (2002) by Chen Lingyang and the photographic installation Summer, (2009) by Yang Zhenzhong. Both artworks feature glossy women’s magazines. The two works will be compared in how they represent ‘women’, and the question asked, what do the differences in the artists’ treatment of the female body and glossy magazines suggest about gendered subjectivity?

The Body + The Lens: Shrink, Wax, Purge, Bleach.

"The Body + the Lens: Shrink, Wax, Purge, Bleach" was a creative practice research project that investigated the relationship of (white) women’s embodiment to the lens of gendered advertising. To focus the research, a recently mainstreamed group of female cosmetic rituals were chosen — body-contour wear (SPANX), Brazilian waxing, salt-water cleansing, and fake tanning. The intent of the research was to interrogate the relationship between these body-correcting practices and the idealized image of the "Glossy Magazine Girl" — i.e. preternaturally thin, hairless, and unblemished by shades darker than pink — which now appear with more frequency in women’s everyday life, and have reconfigured the social construction of female gender. The (artistic-research) response to the subject matter was a series of video and photographic works in the genre of self-portraiture. These works attempted to critique the new norms of embodiment emerging through these practices through the researcher’s parodic undergoing of the cosmetic rituals themselves. This "carnal" methodology, following from the methodology of Louis Wacquant, is one that embodies the researcher in the social practices being researched, i.e. body-correcting practices. This method produced research results — embodied and affective — not available to purely observational research, which should interest the artistic research community and feminism generally. The images and videos de-fetishize and denaturalize the embodied product of the cosmetic rituals. My studio-led research reveals the intractable, comic "failures" in the face of the demands placed on the everyday performance of women’s gender. By doing so, it turns these failures to affirmation, as well as critique of the gender norm these practices construct.

Glamorous Prose as Supertext: An Attempt at Linguo-axiological Interpretation

This article discusses works of contemporary women’s glamorous prose that constitute a particular supertext. The author refers to novels united by the axiological dominant and end-to-end motif of a planned marriage. Their typical character is a “huntress” girl who manages to win over the heart of a millionaire. In such novels, supertext is also unified by the author, the readership, and the chronotope. The author is a specific person, a young woman, a representative of glamorous culture having the image of a “socialite”. She shares her personal experience with the reader, giving specific recommendations with regard to conquering a millionaire. Aimed at female readership, the novels are monologous: the author is an expert in glamorous culture, which makes her point of view dominant. In some cases, authors use the canons of the genre of practical guide. The didactic constant is motivated by impressive real-life stories, demonstrating women’s superiority. The target audience is girls who want to get married to the “right” man. They get such an opportunity, having examined the “practical manual” to master “professional” competencies which are necessary for a successful marriage. In glamorous prose, the current time is reflected in real space and in real situations. The analysis shows that the supertext of glamorous prose aims to transmit gender values which are different from the traditional ones typical of Russian culture. Spiritual and moral values are replaced by material values. The article points out a tendency for a pragmatic approach to women’s perception of the world. The main goal girls seeking to enter the world of glamour pursue is not family happiness, not “love in a cottage”, but wealth, replacing love, which is the key concept of Russian culture. The author of the article emphasises a direct connection between the glamorous style of the prose and the style of glossy magazines. Similar to glossy magazines, the writers of such prose draw the reader’s attention to the external characteristics of the world of things and the world of luxury.

Film and Fashion amidst the Ruins of Berlin: From Nazism to the Cold War by Mila Ganeva

Reviewed by: Film and Fashion amidst the Ruins of Berlin: From Nazism to the Cold War by Mila Ganeva Victoria Vygodskaia-Rust Film and Fashion amidst the Ruins of Berlin: From Nazism to the Cold War. By Mila Ganeva. Rochester, NY: Camden House, 2018. Pp. x + 256. Cloth $90.00. ISBN 978-1571135766. Mila Ganeva's Film and Fashion amidst the Ruins of Berlin: From Nazism to the Cold War examines German fashion practices and their representations in film against the changing political milieus of the period 1939–1955, asking, in particular, how they involved women as spectators, consumers, and professionals. Ganeva's primary foci are the "continuities, the commonalities, and the interrelations" (11) that the fashion and film industries displayed during the Nazi dictatorship, the immediate postwar years, and on the eve of the Cold War. One such continuity is the paradoxical nature of fashion, which thrived and expanded despite the restrictions imposed onto general consumers—first by the Nazis and then by the destruction of World War II. Fashion in "the long 1940s," Ganeva's term, referred not only to elegant outfits featured in glossy magazines and on the silver screen, but also to the practices of repurposing the old into new as well as exchanging sartorial treasures for food on the black market. During "the long 1940s," fashion vacillated between reality and illusion, pragmatism and indulgence. Going beyond the familiar images of postwar German women as victims of rape, Trümmerfrauen, Amiflittchen, and Fräulein (the latter two known for their fraternizing with the occupying forces), Ganeva focuses instead on seamstresses, designers, graphic artists, fashion models, journalists, and movie stars, arguing for their vital role in the postwar economic regeneration as professionals and consumers in real life and on the silver screen. Chapter 1 explores fashion and cinema under the Nazis, identifying their twofold purpose: to promote Germany as the world's new capital of style and to combat shortages of goods with creativity and purposefulness. The glamorous outfits made out of luxurious materials appeared side by side with detailed descriptions of the [End Page 398] so-called Verwandlungskleid (transformation dress), which could be sewn out of old dresses, coats, or men's clothes—a content layout that would continue in the postwar fashion publications. A less explicit goal of the printed and visual fashion media, as Ganeva further illustrates in her analysis of selected films from the early 1940s (e.g., Großstadtmelodie, Achtung! Der Feind hört mit, and others), was to serve as an escape and diversion from wartime realities: the black market, the plundering of sartorial valuables by the Wehrmacht abroad, and the Aryanization of businesses. Chapter 2 delves into the revival of the fashion media and production between 1945–1947. Fashion industry became a vital part of Berlin's postwar reconstruction and the third-strongest sector of the city's economy, partially because of the support it received from all four occupying forces, but also because it reverted to an earlier system of cost-efficient production, e.g., women sewing at home. The Flickenkleid (patchwork dress) and above-mentioned Verwandlungskleider, prompted by the scarcities of the era, not only met popular demand for new clothes but also emerged as a sign of national economic recovery, appearing in film and fashion shows. Especially for women, fashion became a source of income and opportunity. The connection between fashion and the Jews in Germany runs as a subplot of chapter 2. The profitable Berlin Konfektion, or the stores that sold fashionable clothes for mass consumption run primarily by the Jews, was swiftly Aryanized after 1933, with Jewish owners forced to sell at low prices and/or sent into concentration camps. The revival of the Konfektion in the postwar years was characterized by a "double amnesia": the fashion discourse post-1945 not only avoided mentioning the Aryanization of the Konfektion, it also glossed over the horror of the deportation of Jewish fashion designers to concentration camps. Ganeva's archival findings about Charlotte Glückstein, a lesser-known Jewish designer, bring to light her both "exceptional" and "paradigmatic" career (68) in the industry post-1945. Glückstein's elegant if pragmatic designs, which took into account the...

Коментар до статті в мережевому виданні як специфічний мовленнєвий жанр (за матеріалами сучасного українського жіночого інтернет-глянцю „Коліжанка”)

Коментар до статті в мережевому виданні як специфічний мовленнєвий жанр (за матеріалами сучасного українського жіночого інтернет-глянцю „Коліжанка”)

Suggestive Potential of Language Units in Advertising Texts of International Women’s Glossy Fashion Magazines

We study the language means of logically unreasoned speech impact on the recipient in advertising texts. The relevance of the issue of speech exposure for modern philology is due to technological progress, changing formats of exhortatory communication, research interest in a number of problems of linguistic pragmatics, as well as the formation of a relatively young direction in Russian science - suggestive linguistics. The empirical material of the study is international women's glossy fashion magazines, which are in demand in the domestic media market: “Vogue”, “ELLE”, “Harper’s Bazaar”, “Marie Claire”, “Glamor”, “InStyle”, “Cosmopolitan”. It is shown that a hidden effect on the female target audience with the aim of encouraging buying is provided by a combination of linguistic units of word-formation, lexical, morphological and syntactic levels: some prefix morphemes, certain groups of onyms, terminological vocabulary, abstract nouns and nouns with a “wide-valued” meaning, evaluative adjectives, imperative verbs, personal and possessive pronouns, quantitative-nominal phrases, emotional and interrogative sentences. The distinguished linguistic units explicate certain communicative strategies, create various psychological effects, activate prevailing stereotypes and replace logical argumentation with positive associations.

Dorianne LauxOnly as the Day Is Long: New and Selected Poems

Books in Review region, Ukraine. The region was torn, invaded, and occupied by various nations for centuries; hence its rich history. The Bukovyna region is now a part of an independent Ukraine, scattered on the luscious slopes of the eastern Carpathian Mountains—a beautiful country deeply rooted in tradition, religion, and folklore. Matios’s novel Sweet Darusya, initially published in Ukraine in 2003, has been read, studied, researched, and written about worldwide—mostlyinacademiccircles.The questionremains,however,whyittookovera decade for its English translation to appear. In my opinion, not only the complexity of the text made it a daunting task for a skilled translator to undertake but also the challenge of communicating in another language a deeply seeded trauma of Ukraine and its people, masterfully portrayed by Matios. A team of translators, Michael M. Naydan and Olha Tytarenko, undertook this momentous project, as each of them brought their own expertise to the table and turned it into a successful collaboration by blending translation styles and making specific translation choices that work best for the English-speaking reader. I read Sweet Darusya multiple times: when it was first published in Ukraine, then a few years later, and most recently in its English translation. It is a powerful text on many levels: individual, familial, communal, societal, and national. It is a true family saga without a clearly outlined plot, showcasing a few storylines that overlap and tell a story through their own characters and events. At times, it feels that the novel develops on its own without a writer behind it. DORIANNE LAUX Dorianne Laux Only as the Day Is Long: New and Selected Poems New York. W. W. Norton. 2019. 128 pages. This newest collection by Dorianne Laux includes selections from her five previous books of poetry and thirty-two pages of new poetry, some of her best to date. As with any collection of selected poems spanning twenty-nine years, we are able to see more clearly (by way of the close juxtaposition of poems separated by decades) constants and metamorphoses in poetic style and content. Laux’s work from the beginning has excelled by way of voice and imagery: a distinct and consistent voice from book to book delights with imagery that is vibrant, original, and vivid. These qualities of imagery shine in every poem, but nowhere more so than in her portraits, especially of celebrities that all of us can picture, such as Mick Jagger and Cher. We have the instant recognition of aptness that we experience, for example, in reading Rilke’s “Spanish Dancer.” Another constant is her recurrent subject matter: we find ourselves mostly preoccupied with sex, loss, death, and love—to wit, mostly universal human concerns considered through the lens of a particular experience related in a confessional style strongly influenced by Anne Sexton and Sharon Olds. This influence is most strongly noticed in poems about domestic violence, abuse, and sexual exultation . (As a side note, I might wonder if from some vantage point in the future our own time might seem oddly obsessed with sexual matters when two thousand preceding years of canonical poetry mostly doesn’t include it or does so discreetly.) Laux’s poetry, then, is decidedly written in the grain of her poetic era, not across that grain. As such, we can sometimes feel as if we’ve read these poems before in some way: their strategies often fall within a kind of group free-verse style that almost always feels vaguely familiar by way of strategy and movement, the kind of consensus style we might surmise frequently in the high-profile glossy magazines of our time. There’s also a treatment of the line and rhythm that has too often been the group-style default setting of contemporary free verse for the last few decades—i.e., rhythms that are mostly prose rhythms and lines that are mostly determined by syntactical sense and visual approximation than by time and measured syllabic configurations (or even any other determination, for that matter). In these ways, then, Laux’s poetry does not distinguish itself, except in those poems that rise above everything else she has written and astonish us with their achievement even within...

Jennifer Haigh

Jennifer Haigh Jennifer Haigh (bio) I first attended the Conference twenty years ago, in the summer of 1999. I had just quit my glossy magazine job in New York because I wanted to go be a novelist. That I did this without ever having published a single word of fiction will give you an idea how young I was. I moved to Baltimore, where rents were still so cheap that I could eke out a living teaching yoga while I worked on a terrible novel that has mercifully never seen the light of day. [End Page 715] I brought the first chapter of that novel to Sewanee, where Amy Hempel and Barry Hannah were put in the unenviable position of having to comment on it. Amy was kind, rueful. Barry seemed outraged by how bad it was. As he picked apart the opening paragraph sentence by sentence, I felt unfairly judged: Had I not clearly written the words first draft at the top of every page? In Barry's view, it was no excuse. Even in a first draft, the sentence mattered. For him it was a point of faith: writing a story with bad sentences was a doomed enterprise, like building a house of rotted wood. It remains the most valuable piece of advice I have ever been given. It forever changed the way I write. When I returned to the Conference four years later, as a Walter E. Dakin fellow, I had a new MFA from Iowa. My first novel, Mrs. Kimble, had just been published and would soon win the PEN/Hemingway Award for Debut Novel. I am certain that none of those things would have happened had I not encountered Barry Hannah that summer at Sewanee. He'd written some of the best American sentences of the twentieth century, and he had the grace to take me seriously. He was more generous to me than any writer I have ever known. Jennifer Haigh Jennifer Haigh is the author of the story collection News from Heaven and five novels—most recently, Heat and Light. Copyright © 2019 The University of the South

Параметры эколингвистического анализа иноязычных единиц в региональных глянцевых журналах

Параметры эколингвистического анализа иноязычных единиц в региональных глянцевых журналах

“Shop it. Wear it. ‘Gram it.”: a qualitative textual analysis of women’s glossy fashion magazines and their intertextual relationship with Instagram

ABSTRACTThis article focuses on the intertextual relationship between women’s glossy fashion magazines and Instagram, questioning how magazines and their representations of femininity are shaped by their co-existence with Instagram. This study is based on a textual analysis of a theoretical sample of three monthly glossy magazines—Cosmopolitan, Glamour, and Vogue—collected between April and September 2017.These magazines have partially adopted, and adapted, social media logic, particularly the logic of quantified popularity, emphasising the large number of Instagram followers of the celebrities and Insta-famous users featured in the magazines. Furthermore, magazines have embraced several Instagram conventions, such as the use of hashtags, username handles or emojis, although using them in ways that are divorced from the original technological affordances. These magazines have also adopted seemingly feminist discourses, echoing the popularity of fourth-wave feminism. Yet these discourses co-exist with postfeminist sensibilities that focus on celebrating individual achievements and fashion as empowering, losing the focus on institutionalised inequalities.This paper seeks to understand the complex intertextual relationship between women’s magazines and Instagram, and its oscillation between contradictory, yet co-existing, discourses.