Journalistic Narratives Research Articles

Collared: Politics and Personalities Oregon’s Wolf Country by Aimee Lyn Eaton

Reviewed by: Collared: Politics and Personalities Oregon’s Wolf Country by Aimee Lyn Eaton Michael J. Beilfuss (bio) Aimee Lyn Eaton, Collared: Politics and Personalities Oregon’s Wolf Country. Oregon State University Press, 2013135, pages. $18.95 (Cloth). ISBN: 978-0-87071-706-2. Wolves are far more familiar to most of us through stories and folktales, than they are in real life. Everyone knows about the big bad wolf from Little Red Riding Hood and the Three Little Pigs. We’ve heard about the boy who cried wolf and Peter and the Wolf. Then there is Jack London’s White Fang, who is dear to many school children—but unlike the threatening creatures from the folktales, that story relates the taming and domestication of the wild. By and large, we know the wolf only through myth and legend. The stories handed down to us depict this apex predator as a threatening, merciless, and crafty killer. There are some real-life wolf celebrities. Early in the twentieth century the Custer Wolf terrorized ranches in South Dakota. That wolf’s fame was rekindled by the NPR radio show This American Life when actor Michael Chernus read a contemporary Federal Government press release detailing the expansive (and [End Page 154] expensive) hunt, capture, and eventual death of the Custer Wolf. More recently there was OR-7, perhaps the most famous wolf to have lived in the US. Trapped and fitted with a GPS collar in February 2011, the wolf was subsequently tracked on a 1,000+ mile journey from Northeast Oregon to California. The first confirmed wild wolf to set foot in California in nearly 100 years, he quickly became a national media star with stories in MSNBC, Time magazine, the Associated Press, and Reuters among other outlets. OR-7 is just one of the many personalities covered in Eaton’s short and insightful look into the myriad complications raised by the presence of wolves in Oregon. From the late 1940s until the end of the century, wolves did not exist in Oregon. Having been extirpated—Eaton reports the last one in the state was killed in 1946 for a $20 bounty—they weren’t welcomed by all when they began to return through natural dispersion from packs reintroduced in Wyoming and Idaho. The rural, eastern parts of the state were the front lines of the returning wolves. Hunters feared the effects wolves would have on game in the state. Ranchers and their allies feared the financial losses through predation—not to mention the emotional stress of worrying about livestock and finding the mangled carcasses of animals they raised. Stakeholders from the more populated, western parts of Oregon tended to support the wolves’ return; seeing them as crucial links in the state’s biological diversity, as well as potent symbols of the wilderness. Before any wolf packs were established in Oregon, state officials convened a group of stakeholders to come up with a plan to manage the wolves’ impending arrival. Eaton’s book focuses on the establishment, implementation, and evolution of what came to be called the Oregon Wolf Plan (OWP). A capable writer who clearly knows her subject, Eaton intertwines her research on the natural history, ecology, and biology of the wolf with the social and political history of their reappearance. As many of her sources report “wolves are just being wolves,” but as one of her sources sums it up “it’s the people that are the challenge” (108). Written in a style that could be described as journalistic narrative, Collared traces Oregon’s attempts to handle the difficult task of accepting the reality of wolves while also satisfying the various stakeholders. A group of 14 people from across the state, representing various positions, were chosen to make up the Wolf Advisory Committee. They, in turn, drew up the plan later adopted by the Oregon Department of Fish and Wildlife. Livestock depredations, preventative strategies, lethal removal, and conservation lawsuits, among other complications, meant that the Oregon Wolf Plan was not quite as static as one might have hoped. Rather, it seems to be an ongoing and evolving process of balancing the needs and desires of many contrasting factions. Eaton occasionally...

Narrativas jornalísticas brasileiras sobre migrantes: marcas identitárias nas brechas do refúgio

We turnspecifically to narratives about migrants (refugees or immigrants/ emigrants), publishedafter May 24, 2017 in Brazil under the impact of the new migration law (Law 13445). Our goal is to recover indexes associated with migrants in the journalistic narratives related to the Brazilian case, collected via NewsMonitor platform. We only selected articles in Portuguese between the period from May 1, 2017 to February 28, 2019, based on the filter words “migrants” and “refugees”. From this corpus, questions aboutwhich objects belong to these individuals are visible and how they are shown, seeking to organize with them a symbolic, topographic and quantifiable map

Tulsa 1921: Reporting a Massacre by Randy Krehbiel

Reviewed by: Tulsa 1921: Reporting a Massacre by Randy Krehbiel Charles L. Lumpkins Tulsa 1921: Reporting a Massacre. By Randy Krehbiel. Foreword by Karlos K. Hill. (Norman: University of Oklahoma Press, 2019. Pp. xviii, 309. $29.95, ISBN 978-0-8061-6331-4.) On the eve of the one hundredth anniversary of the Tulsa, Oklahoma, race massacre of May 31–June 1, 1921, Randy Krehbiel (a Tulsa World reporter) presents a journalistic narrative of the conflagration. Krehbiel recounts the destruction of Tulsa's black district, Greenwood, and its "'Black Wall Street of America,'" which symbolized black wealth even though it "had no formal financial institutions, no banks or brokerage houses" (p. 5). Black Tulsans spent much of their income within their community of over ten thousand souls in a segregated city. Krehbiel investigates the inconsistencies in the stories of the Tulsa race war. Details remain unclear about the office elevator incident between Dick Rowland, a young black man, and Sarah Page, a young white woman. Conflicting explanations abound, for instance, about the white civilians who gathered at the county courthouse angrily demanding that the authorities punish Rowland, the armed contingent of black men who arrived to protect Rowland from the possibility of being lynched, the unknown person who fired the first shot, and the one or more airplanes that supposedly bombed or strafed Greenwood. White fears were heightened upon hearing unsubstantiated stories of armed black men, including members of the African Blood Brotherhood, rushing to the city to rescue black Tulsans. The number of people killed remains disputed: officially there were thirty-six (mostly black) deaths, but anecdotally there were up to three hundred (if not more) mainly black deaths. Krehbiel also documents black Tulsans' armed self-defense in the face of overwhelming white firepower, and he reports Tulsans' shock upon seeing the widespread arson of black homes and businesses, the mass killing, and the detainment and displacement of thousands of black men, women, and children. Tulsa became part of "more than 250 episodes of collective white violence against black communities" in American history (p. xi). Krehbiel notes that the level of violence and death in Tulsa came close to or matched that of America's worst antiblack massacre, in Phillips County, Arkansas, in 1919. He writes a thoughtful investigatory account of the disagreements among the authorities and black and white civilians about the causes and outcomes of the massacre, the relief efforts for black survivors, and the police and the National Guard's attempts to prevent a worse massacre. The author also discusses the efforts to commemorate the massacre, the debates on reparations, and the need for reconciliation. In terms of significant contributions, Krehbiel fills the "dearth of case studies … that examine how specific newspapers reported outbreaks of white terrorist violence"; the Tulsa World and the Tulsa Tribune shaped "white opinion that the violence and destruction unleashed upon Tulsa's black community was a justified response to a 'negro uprising'" (p. xiii). Krehbiel asserts white supremacist sentiments among white Tulsans as a common explanation for the riot and places the Tulsa massacre in the context of the immediate post–World War I years, when white supremacists opposed what they thought were black Americans' provocations against white honor and [End Page 740] militant New Negro actions to achieve social equality and interracial democracy with support from sympathetic white "do-gooders" (p. 124). Tulsa 1921: Reporting a Massacre takes its place alongside other notable books on the destruction of black Tulsa, including Alfred L. Brophy's Reconstructing the Dreamland: The Tulsa Riot of 1921, Race, Reparations, and Reconciliation (New York, 2002) and Scott Ellsworth's Death in a Promised Land: The Tulsa Riot of 1921 (Baton Rouge, 1982). Krehbiel could write a sequel that analyzes and explains a multifaceted white supremacy in Tulsa, in which some white supremacists opposed antiblack violence while others engaged in such violence. The book has an extensive index, a lengthy bibliography of primary and secondary sources, and two helpful sections on key figures and chronology. Tulsa 1921 is a worthy study, especially for an interested general audience and scholars of the African American experience. Charles L. Lumpkins Pennsylvania State University Copyright © 2020 The Southern Historical Association...

Лексико-стилистические особенности триединства «портрет – интерьер – пейзаж» в современной русской репортажной прозе

Лексико-стилистические особенности триединства «портрет – интерьер – пейзаж» в современной русской репортажной прозе

«Предел кровавому поприщу»: мотив возмездия в повествовании А. Иванова «Вилы»

The research investigates the genre-forming function of the motive of retribution in the documentary and journalistic narrative of A.V. Ivanov “Pitchfork”. The relevance of the study is due to the attention of modern literary criticism to the historiosophical and social and political problems in Russian prose, the need to study the works of modern literature in its most striking manifestations. The purpose of this work is to try to determine the specificity of the main “bearing constructs” of the narrative of A. Ivanov “Pitchfork” in the aspect of the dominant motives of the work. The leading way to achieve this goal is the comparative and historical method, supplemented by comparative and typological, intertextual and mythopoetic approaches to the work of literature. As a result of the analysis, it was found that in the documentary and journalistic narrative of A. Ivanov “Pitchfork” the main genre-forming motive of the work, organizing its entire structure from the title to the “stories” of the main and secondary actors, is the retribution motive, derived from it and related motives, originally interpreted by the author. It is concluded that the motive of metaphysical, transcendental retribution “to all for everything” reproduced and transformed by Ivanov the artist, despite the extreme generality of this motive, helps the writer to comprehend and convey the contradictory complexity of historical events and historical characters involved in it. The field of application of the work results are researches on the latest literature, teaching literature in higher and secondary schools.

JOURNALISTIC MESSAGES IN VICTOR HUGO’S EPIC NOVEL “LES MISERABLES”

The article offers the epic novel “Les Miserables” overview by the French literature classic Victor Hugo in social and political journalism terms. It is emphasized that the writer had the opportunity to see the changes in society with his own eyes, participated in several revolutions, expressed his own views on government in the country, sometimes resorting to devastating criticism not only in speeches but also in works. At the same time, it is highlighted that the writer raised all the society flaws, shortcomings and problems, glorifying the people as one of its components and giving the latter extraordinary strength in the struggle for freedom. The social issues and historical background on which the novel events are formed were analyzed based on the narrative elements in “Les Miserables”. Journalistic narrative methods are clearly distinguished, in particular reporting and detailing descriptions. The writer’s objectivity and detachment from the events depicted in the work are emphasized. However, the emphasis is on the personal artist experience, against which the main trends in the work are formed. There are substantiated Victor Hugo’s attempts to not only reproduce historical events and the social background as accurately as possible, but also to convey the human-society relations’ “true nature”. It is proved that Victor Hugo used historical references, terminological dictionaries and maps to more constructively display locations and convey the real people’ “speech”. It is also noticeable that the writer adds to his account many uprisings events facts of 1832 in France, while directing the recipient's thoughts to spiritual issues. It is emphasized that by transforming being in a work according to the good laws, the writer calls for the real world transformation according to the same principles. From the journalism view point the epic novel research enable further investigations into it in order to prove its relevance against the background modern events, use it as a masses' basic awakening consciousness element and address the historical revolutions and uprisings issue. The main work ideas are based on such concepts as progress, justice, for which, to some extent, the battle continues today.

The Artist in the Machine: The World of AI-Powered Creativity by Arthur I. Miller

Reviewed by: The Artist in the Machine: The World of AI-Powered Creativity by Arthur I. Miller Leah Henrickson (bio) Arthur I. Miller, The Artist in the Machine: The World of AI-Powered Creativity. Cambridge, MA: The MIT Press, 2019, 399 pp. $29.95 cloth, $19.95 paper. "Will computers ever think like us? Could they ever have flashes of inspiration like we do or come up with mad ideas? … Or do they need to? Perhaps they will function in totally other ways than human beings, come up with ideas just as great or solutions just as effective but different from the ones we would come up with" (p. xxi). Arthur I. Miller opens The Artist in the Machine: The World of AI-Powered Creativity with this provocation. Throughout the book, Miller considers what creativity actually means, and how conceptions of creative capacity may not be limited to humans. Can computers demonstrate creativity? Miller thinks so. The Artist, however, reviews various perspectives of those on the frontlines of system development. It encourages readers to consider the intersections between humans and their technologies, not just by presenting the opinion of its author, but also by welcoming readers into one of the ongoing debates about computers' contributions to culture. Miller, professor emeritus of history and philosophy of science at University College London, has been considering questions about human-technology interaction for years. In his 2014 Colliding Worlds: How Cutting-Edge Science Is Redefining Contemporary Art, for example, he considers the ways in which two seemingly disparate fields—science and art—merge for the creation of culturally meaningful aesthetic output.1 In his latest book, Miller extends his consideration of these colliding worlds to focus on one realm in particular: that of artificial intelligence (AI). The Artist in the Machine is driven by three implicit research questions: (1) What is creativity? (2) Does creativity mean the same thing for humans and computers? (3) Are computers creative? Question 1 is addressed in section I, aptly titled "Understanding Creativity." Although Miller references the work of other creativity scholars like Margaret Boden, he defines creativity as "the production of new knowledge from already existing knowledge and … accomplished by problem solving" (p. 5). Question 2 is addressed in sections II through V, wherein Miller reviews applications of AI in the realms of visual art, music, text, and musical theatre. Question 3 is addressed in section VI, "Can Computers Be Creative?" Complementing his own expertise, Miller incorporates the perspectives of AI developers throughout the book. Readers meet Google's DeepDream research team; they visit the MIT Media Lab; they pop over to Italy for a jaunt to the Fabrica research center. Miller not only discusses the functionality of AI systems; he also offers fervent insight into what goes on behind the scenes. Despite the considerable number of case study chapters (sections II through V), most of these chapters follow a rigid structure. Following a short quotation from one of its subjects, a chapter generally progresses as follows: • An introduction to a developer or development team, which focuses on providing contexts of production and personal/professional motivations for pursuing an artistic practice involving AI. • An introduction to the system created, with a short description of system functionality. • Recognition of public reception, as well as that of the developer(s), to the system under consideration. • A conclusion that shares whether or not the developer or development team believes that the system in question demonstrates creativity and whether computers can demonstrate creativity more generally. [End Page 398] This structure ensures consistent representation of systems. Although chapters are short, tending to range from five to ten pages, they efficiently and effectively offer overviews of numerous systems that exemplify varied developmental approaches. However, such a structure eventually contributes to a sense of staleness if the book is read from cover to cover. This structural aridity, though, is offset by Miller's captivating writing style. Foregoing the staidness of much academic writing, he adopts a more conversational tone. Indeed, the chapters read like pieces of narrative journalism: a scene is set, characters are developed, and Miller himself makes an occasional appearance. Technical language is explained clearly, and he skilfully abstains from digression. Further, Miller...

Effects of narrative journalism on interest and comprehension: an overview

Effects of narrative journalism on interest and comprehension: an overview

A criminal mind? A damaged brain? Narratives of criminality and culpability in the celebrated case of Aaron Hernandez

This article examines the media discourse surrounding the life and death of former National Football League player Aaron Hernandez, who died by suicide while incarcerated for first-degree murder. As a postmortem analysis found evidence of notable degenerative brain disease, differing explanations and speculations remain about the causes of his criminal behavior. This analysis illustrates how journalistic narratives attribute Hernandez’s criminality to either the material composition of his damaged brain or how his tumultuous background affected psychological makeup. Both narratives minimize the structural and political economic conditions that enabled this particular case of celebrated criminality. Cultural criminological and socio-legal insights aid in elucidating how notions of racialized masculinity and neurocriminology come to constitutively inform framings of Hernandez’s crimes, motivations, and actions while also directing critical attention away from the influence of relevant institutions, particularly sport, and instrumentalizing the role of violence. This article concludes with a reflection on the underpinning tensions revealed through depictions of Hernandez, his mind, and his brain, arguing that they surpass news and media stories and actually implicate debates about the growing influence of neuroscience in understandings of social problems, including crime.

Is the new "new" digital journalism a type of activism? An analysis of "Jot Down", "Gatopardo" and "The New Yorker"

Digitization and the economic crisis have led journalism to a new paradigm (Albalad, 2018). Contents and customs have changed, supporting media has changed, new journalistic models are hybrids and the mainstream media do not always deal with the issues that society demands (Sims, 2018). With a knowledge of tradition, but following the path of innovation, narrative journalism emerges as a possible response to this state of affairs. The objective of this analysis is to identify the challenges facing narrative journalism and narrative journalists themselves in this regard. We analyse their formats, routines and content, study how their digitally existence (Drok & Hermans, 2016) and ask ourselves if they constitute a platform for journalistic activism. Three magazines were identified for the selection of case studies: Jot Down, Gatopardo and The New Yorker. Their digital models, content and literary quality are the principal reasons for their selection, in addition to their different seniorities, geographical backgrounds and formats. By deploying a qualitative research methodology based on content analysis (Voutsina, 2018), in-depth interviews (Johnson, 2002), non-participant observation and document review, this analysis suggests that the new new digital journalism is a kind of activist journalism that upholds the traditions of reporting, narrative journalism and literary quality. This study is based on two theoretical premises: narrative journalism, exemplified by authors such as Sims (1996) and Herrscher (2012) and digital journalism, represented by writers such as Rost (2006) and Domingo & Heinonen (2008).

A narrative solution: The relationship between solutions journalism, narrative transportation, and news trust

Lack of trust is a paramount problem facing journalism. Solutions reporting, which focuses on credible responses to societal problems, could help improve news trust. In addition, narrative journalism has been associated with several positive outcomes. This study tested the novel idea that solutions stories and narrative transportation can positively impact news trust and story-specific beliefs. A 2 (story frame) × 3 (story topic) between-subjects factorial design experiment with a representative sample of US adults ( N = 608) was used to test these relationships. Participants who read solutions stories and who were more transported had greater faith that the articles they read were fair and truthful and also indicated greater agreement with story-specific beliefs. However, analyses indicated that transportation did not act as a mediator between solutions stories and the outcome variables. Findings suggest that crafting engaging journalism stories including solutions could be good for the industry and for democracy.

Sports journalism, culture and politics in Brazil: An analysis of the role of the press in the formation of Rio de Janeiro’s football supporters groups during the 1960s

The year of 1968 was also marked by unrest and riots in the stands of Maracanã stadium. In a period of poor performance of their teams, groups of young football fans threw themselves into the fight against directors of big clubs in Rio, through protests, demonstrations and even marches outside Rio de Janeiro’s stadium. Inspired by the international slogan Youth Power, these newly formed groups adopted similarly a critical stand on the traditional model of supporters, the “Charangas” (small music bands), originated in the 1940s, characterized by the prevalence of a single charismatic leader, recognized by the Club and by the majority of its fans. During the 1970s, the dissident Young Supporters Groups are established on the sports scene and make possible the emergence of a multitude of small and medium-sized associations, giving the supporting activity associative and cultural meanings, recreational and social, until then non-existent in a period of civil-military dictatorship (1964-1985). By gathering these events derived from the serial reading of journalistic narratives, obtained in sports newspapers archives, this article aims to show how a particular type of association, based on club idolatry, took shape on a national and international scale in the 1960s, 1970s and 1980s, and assumed historical and cultural particularities in professional football in Rio de Janeiro. We sought to demonstrate how this phenomenon from the second half of the 20th century met the new demands for participation and differentiation of urban populations, especially its young protagonists, in an increasingly competitive, massified and commodified professional field.

Slow Religion: Literary Journalism as a Tool for Interreligious Dialogue

Intercultural and interfaith dialogue is one of the challenges faced by society. In a world marked by globalisation, digitisation, and migratory movements, the media is the agora for people of different faiths and beliefs. At the same time, the media is adapting to the online space. In this context, narrative journalism emerges, breaking the rules of technological immediacy and opting for a slow model based on the tradition of non-fiction journalism. With slow, background-based reporting and literary techniques, narrative journalism tells stories with all their aspects, giving voices to their protagonists. Is this genre a space in which to encounter the Other? Could narrative journalism be a tool for understanding? These are the questions that this research aims to investigate through the content analysis of 75 articles published in Jot Down, Gatopardo, and The New Yorker, along with 38 in-depth interviews with journalists associated to them.

What is narrative journalism? A systematic review and an empirical agenda

This article reviews scientific research on narrative journalism, aiming to (1) demystify the nature of narrative journalism by specifying its core characteristics, resulting in a sustainable definition of the genre; (2) characterize the current state of the scientific field; and (3) identify gaps in our knowledge about narrative journalism. A systematic search of the scientific literature between 1998 and 2017 resulted in a set of 103 journal articles about narrative journalism. Their analysis reveals that the scientific field is dominated by essayistic and qualitative studies on printed forms of narrative journalism, with a focus on the history and style of narrative journalism, whereas systematic research on the function and impact of the genre is scarce. A framework is presented that synthesizes the hitherto isolated strands of research on narrative journalism and offers anchors for an empirical turn in narrative journalism studies.

Nation, gender and the killing of an Indian journalist

In this paper, I examine representations of nation and gender in newspaper coverage of the murder of a prominent Indian journalist, Gauri Lankesh, in September 2017. Using a transnational feminist and postcolonial lens, I analyze different portrayals of her murder by juxtaposing newspaper articles by major U.S and Indian English-language newspapers. My analysis reveals that both media articles circulate representations reminiscent of transnational discourses that rationalize political projects in the name of saving women or, in this case, saving journalists. My analysis shows, on the one hand, U.S. depictions present a linear progress narrative portraying India's democracy as failing and inefficient. In addition, these accounts employ rescue narratives of Indian democracy and journalists. On the other hand, my analysis also reveals that liberal Indian media depict Lankesh as a martyr killed in the struggle against Hindutva nationalism. I examine how a vernacular press journalist like Gauri Lankesh could become a martyr for English-speaking intellectual liberals and the English-language media. While both media present different narratives of the murder and its aftermath, they both downplay its gendered implications. Using the case of Lankesh, I raise questions about the effect of such coverage on women journalists today.

Do AZT à PrEP e à PEP: Aids, HIV, movimento LGBTI e jornalismo

O objetivo deste artigo é destacar características e atravessamentos dos movimentos LGBTI brasileiros, da Aids, do HIV e de coberturas jornalísticas da síndrome que surgiu publicamente no início dos anos 1980. Resgatamos dimensões históricas e questões atuais como desafiadoras para as ciências, a medicina, governos e militantes com o intuito de refletir sobre disputas que estiveram e estão em curso, principalmente aquelas que se relacionam com a LGBTIfobia e outras opressões sociais. A pesquisa foi realizada por meio de levantamento bibliográfico acerca das políticas do movimento LGBTI, do HIV e da Aids, bem como do uso de resultados de pesquisa anteriormente realizada sobre homofobia e narrativas jornalísticas. Observou-se uma conexão complexa entre as relações engendradas no surgimento da síndrome, próxima aos primeiros passos do movimento LGBTI no Brasil, como a produção ambivalente de visibilidades, assim como a manutenção de preconceitos históricos que ainda reverberam no tecido social.

Síndrome de Mayer-Rokitansky-Küster-Hauser: estigma, corpo, mídia e bioética

O objetivo do estudo que fundamenta este artigo foi identificar e compreender a construção do estigma social relacionado à síndrome de Mayer-Rokitansky-Kuster-Hauser (SMRKH), uma condição que afeta exclusivamente mulheres. Analisou-se o conteúdo de 43 narrativas jornalísticas veiculadas eletronicamente. O desenho metodológico permitiu a identificação de três temas: (a) o tratamento anedótico da SMRKH; (b) a fragmentação anatomopatológica: mulher-útero ou mulher-vagina; e (c) a retórica do sofrimento da mulher redimido pela medicina. Cerca de 80% do corpus estavam centrados em questões biomédicas, além de haver um flerte com tecnologias experimentais e uma perspectiva de medicina paternalista. Concluiu-se, numa aproximação bioética centrada na dignidade humana, que há necessidade de rever a forma como a mídia apresenta as mulheres afetadas (mulher-útero), evitando ao mesmo tempo modelos de perfeição ou de normalidade que subsumam a mulher ao habitus mulher-esposa-mãe. As mulheres com SMRKH não são corpos ocos e sem úteros, são plenas e podem vivenciar a diferença.

Hipermediação e interatividade

O gênero documental é anterior ao cinema. Pode-se dizer que surgiu no campo midiático em relatos jornalísticos e ilustrações editoriais. Com a fotografia e o cinema, o documentário ganhou consistência e uma sintaxe própria, com diversas metodologias e complexidades. Atualmente ele passa por uma transição no espaço da internet e do digital, com novas possibilidades tanto para o realizador como para o espectador. Nessa proposta, o consideramos não apenas um gênero cinematográfico, mas plurimidiático. Deste modo, ao recortar suas especificidades no audiovisual, pode-se pensar na transição e complementaridade de um primeiro espaço do documentário no cinema, para um segundo na televisão. Ambos dialogam com a especificidade de suas mídias, com o que trouxeram de novo, com correspondências de subgêneros e eventuais remixagens.

Jornalismo literário de viagem internacional: um panorama do cenário autoral brasileiro

Um dos genêros literários mais antigos é a narrativa de viagem. Assim como jornalistas, especialmente os que praticaram o estilo que ficou conhecido como New Journalism, trouxeram técnicas e métodos do romance ficcional para produzir os livros-reportagens, as narrativas de trânsito humano também ganharam espaço dentro do que hoje é chamado Jornalismo Literário. Destarte, a presente pesquisa compartilha o mapeamento feito apresentando o cenário de jornalistas brasileiros que relatam viagens internacionais no formato de livro. Tal levantamento, que integra o projeto de pesquisa Jornalismo Literário de Viagem: Narrativas de Jornalistas Transitando pelo Mundo, foi feito a partir da Análise de Conteúdo, de Bardin (2011) e Hercovitz (2007). Já a base teórica parte principalmente das premissas de Martinez (2016) e Lima (2004). No total, foram identificadas 60 obras do gênero produzidas por 35 jornalistas-escritores viajantes.

É possível tecer fios de alta tensão desencapados? Comunicação, jornalismo e acontecimentos sociais que envolvem violência

A metáfora da construção narrativa como o tecer de fios, geralmente tomada em perspectiva que se pretende poética, pode ser uma armadilha conceitual e metodológica quando estamos diante da produção de textualidades sobre acontecimentos que envolvem violências físicas e simbólicas, a exemplo daqueles identificados com a homofobia, agressão e mortes de mulheres. Nosso objetivo é propor, como alternativa, pensar em narrativas comunicacionais e jornalísticas que lidam com acontecimentos que envolvem temáticas sociais controversas a partir da metáfora dos fios de alta tensão desencapados. Metodologicamente, nos guiamos por revisões bibliográficas e por referências a pesquisas por nós realizadas que lidam com violências diversas. Consideramos que a nova metáfora é mais potente, pois permite melhor visualizar as condições sociais de ocorrência da homofobia e das agressões contra mulheres.