scholarly journals Here’s a Brilliant Idea: Free Vending Machine Stories for Kids

2018 ◽  
Vol 7 (4) ◽  
Author(s):  
Robert Desmarais
Keyword(s):  
New York ◽  
Short Stories ◽  
Short Story ◽  
New York Times ◽  
Good News ◽  
Modern World ◽  
Literary Genres ◽  
Start Up ◽  
Varying Length ◽  
The Times

Dear Readers,The New York Times recently published a fascinating article about a cylindrical kiosk that spits out short stories on strips of paper of varying length determined by your preferred reading time (one, three, or five minutes). The Short Story Dispenser was conceived and created by a French start-up publisher called Short Édition whose aim is “to adapt literature to the modern world by combining short literature, the community and technology.” Short Édition has more information on its website for anyone wanting to learn how the dispenser can “bring literature to unexpected places”. I was delighted to learn that the stories are offered free of charge and the publisher has already collected more than 100,000 submissions. The good news is that authors receive royalty payments each time their work is accessed via the dispenser. The machines have an attractive design and they have already been installed in over 150 international locations, including airports, cafes, hospitals, universities, and libraries. In fact, I was thrilled to discover that my local airport installed a dispenser last January to provide passengers with access to short stories written by local writers. According to the Times article, the dispenser is available for $9,200 (US) plus an additional content fee of $190 per month. The publisher offers a variety of literary genres, so owners of dispensers can easily tailor their content offerings to different audiences. It would therefore be straightforward to offer free stories specifically for young readers. I sincerely hope that the dispenser continues to proliferate in locations where young people gather, such as libraries and schools. Perhaps this article will inspire some of you to advocate for a dispenser in your community. And perhaps others will consider writing receipt-sized stories for children that could be made available by Short Édition. Whatever you do, let’s take a moment to celebrate a new and innovative way of sharing stories with children and readers of all ages.Happy reading!Robert DesmaraisManaging Editor

I Am Not the Best of Witnesses: (Anti-)Narrative Voice in Alice Munro’s “Home”

2018 ◽  
Author(s):  
Sophie Palmer
Keyword(s):  
New York ◽  
Short Stories ◽  
Short Story ◽  
Real World ◽  
New York Times ◽  
Writing Style ◽  
Alice Munro ◽  
New Yorker ◽  
Publication History ◽  
Over Time

The New York Times recently called Canadian author Alice Munro “one of the greatest short story writers not just of our time but of any time.” Munro, who was born in Huron County in 1931, still lives in the region and has set much of her work in the area, writing with nuanced depth and accuracy that has led the publishing and literary world to affectionately refer to the region as “Alice Munro Country.” Over the course of her career, Munro has typically first published her short stories in magazine venues, such as the New Yorker, and every four or so years, collected these stories into book form. The story “Home,” first published in 1974 is a rare exception; it was originally published in a more obscure source, with Munro stating that it was “sort of a final statement” about her “dissatisfaction with art.” Yet a revised form of this story resurfaced in 2006 when it was published in Munro’s semi-autobiographical book The View from Castle Rock, a collection of stories that in a characteristically postmodern fashion, blurs the boundaries among the genres of memoir, history, and fiction. I will discuss why “Home,” and its peculiar publication history, highlight larger themes within Alice Munro’s work: her portrayals of ambivalence towards family and “home” itself; her self-consciousness with regards to writing fiction that is at the same time about places, people, and history from the “real” world; and how these anxieties have shaped her writing style over time

scholarly journals Media Broadcast of the Image of Russia in the Dichotomy of “Authorities – Opposition” in American, British and Spanish Media

2021 ◽  
pp. 147-162
Author(s):  
Darya V. Paramonova ◽  
Мarina R. Zheltukhina
Keyword(s):  
New York ◽  
Political Communication ◽  
Comparative Method ◽  
New York Times ◽  
Modern World ◽  
Complex Method ◽  
Wall Street ◽  
The Media ◽  
The Wall Street Journal ◽  
The Times

This article is devoted to the study of the media broadcast of the image of Russia in the dichotomy “authorities – opposition” in the American, British and Spanish media. The work identifies the most frequent thematic dominants in the creation of the image of Russia in the dichotomy “authorities – opposition” in American, British, and Spanish articles. The research is carried out on the material of articles taken from modern American (“The New York Times”, “The Wall Street Journal”, “The Washington Post”), British (“The Guardian”, “The Independent”, “The Times” Financial Times) and Spanish media (El País, La Vanguardia, El Mundo, ABC). The purpose of the work is achieved by applying a comparative method and a complex method of lexical-semantic and stylistic analysis. The relevance of the research under study is determined not only by the huge influence of the American, British, and Spanish media on the mass consciousness, not only by the interest of Western media in positioning Russia in the modern world in political communication, but also by the lack of study of the problem of broadcasting the image of Russia created by journalists in the dichotomy “power – opposition” in modern American, British and Spanish media. We identified the main thematic dominants from 07.2020 to 09.2021: 1) the image of the leader of the Anti-Corruption Foundation (FBK) Alexei Navalny; 2) the image of political prisoners; 3) unauthorized rallies. An analysis of the selected 75 articles from the American, British and Spanish media confirmed the hypothesis that since August 2020, since the poisoning of opposition leader Alexei Navalny, there have been more cases of mentioning the media event aspect of “power and opposition in Russia. Evaluative and emotional connotations prevail, which create an image of authorities and opposition.

How a copy desk “edit” influenced corrections at the New York Times

2021 ◽  
pp. 073953292110135
Author(s):  
Kirstie Hettinga ◽  
Elizabeth Smith
Keyword(s):  
New York ◽  
Content Analysis ◽  
New York Times ◽  
International News ◽  
The New York Times ◽  
The Times ◽  
Editing Process

The New York Times “streamlined” its editing process in 2017 and reduced the editing staff by nearly half. Through content analysis on corrections (N = 1,149), this research examines the effects of these cuts. Analysis revealed the Times published more corrections before the changes, but that corrections appeared more quickly after the original error occurred and there were more corrections for content in the A section following the staffing cuts. The A section includes national and international news and thus often contains political content, which is rife for heightened scrutiny in an age of media distrust. Practical and theoretical implications are discussed.

OUR KLEENEX CULTURE

PEDIATRICS ◽  
1977 ◽  
Vol 60 (3) ◽  
pp. 359-359
Author(s):  
R. J. H.
Keyword(s):  
New York ◽  
New York Times ◽  
The New York Times ◽  
The Times ◽  
The City

. . . It takes about 850 acres of Canadian timber to print one Sunday's New York Times. . . . The New York Times sells for 50¢ (1972) and contains more paper and typography than an unillustrated novel selling for $7.95. While the Times carries about 500 photographs and drawings in its Sunday edition and a novel does not, book-binding costs average 22¢ per book. It costs the city of New York nearly 10¢ per copy each week to clean up discarded copies of the Sunday New York Times.

Nationalizing the “refugee crisis”: A comparative analysis exploring how elite newspapers in four countries framed forced migration during World Refugee Day

2021 ◽  
pp. 073953292110501
Author(s):  
Noam Tirosh ◽  
Steve Bien-Aime ◽  
Akshaya Sreenivasan ◽  
Dennis Lichtenstein
Keyword(s):  
New York ◽  
Media Coverage ◽  
News Coverage ◽  
Forced Migration ◽  
New York Times ◽  
Refugee Crisis ◽  
Long Run ◽  
The Times ◽  
Elite Newspapers ◽  
Refugee Issues

This comparative study examines framing of migration-related stories (focused on media coverage of World Refugee Day [WRD]) between four countries, and framing developments over 18 years, specifically if (and how) the 2015 peak “refugee crisis” altered news coverage of refugee issues. Elite newspapers, the New York Times (USA), the Times of India, Sueddeutsche Zeitung (Germany) and Haaretz (Israel) were content analyzed. Newspapers gave only sparse attention to WRD itself, but WRD was a “temporal opportunity” to discuss migration that increased coverage. But the 2015 peak refugee crisis had little effect on coverage over the long run.

scholarly journals Anglo-American views of Gavrilo Princip

Balcanica ◽  
2015 ◽  
pp. 273-314
Author(s):  
Slobodan Markovich
Keyword(s):  
New York ◽  
New York Times ◽  
Past Century ◽  
The West ◽  
Rebecca West ◽  
The Road ◽  
Winston Churchill ◽  
Anglo American ◽  
The Times ◽  
The Great War

The paper deals with Western (Anglo-American) views on the Sarajevo assassination/attentat and Gavrilo Princip. Articles on the assassination and Princip in two leading quality dailies (The Times and The New York Times) have particularly been analysed as well as the views of leading historians and journalists who covered the subject including: R. G. D. Laffan, R. W. Seton-Watson, Winston Churchill, Sidney Fay, Bernadotte Schmitt, Rebecca West, A. J. P. Taylor, Vladimir Dedijer, Christopher Clark and Tim Butcher. In the West, the original general condemnation of the assassination and its main culprits was challenged when Rebecca West published her famous travelogue on Yugoslavia in 1941. Another Brit, the remarkable historian A. J. P. Taylor, had a much more positive view on the Sarajevo conspirators and blamed Germany and Austria-Hungary for the outbreak of the Great War. A turning point in Anglo-American perceptions was the publication of Vladimir Dedijer?s monumental book The Road to Sarajevo (1966), which humanised the main conspirators, a process initiated by R. West. Dedijer?s book was translated from English into all major Western languages and had an immediate impact on the understanding of the Sarajevo assassination. The rise of national antagonisms in Bosnia gradually alienated Princip from Bosnian Muslims and Croats, a process that began in the 1980s and was completed during the wars of the Yugoslav succession. Although all available sources clearly show that Princip, an ethnic Serb, gradually developed a broader Serbo-Croat and Yugoslav identity, he was ethnified and seen exclusively as a Serb by Bosnian Croats and Bosniaks and Western journalists in the 1990s. In the past century imagining Princip in Serbia and the West involved a whole spectrum of views. In interwar Anglo-American perceptions he was a fanatic and lunatic. He became humanised by Rebecca West (1941), A. J. P. Taylor showed understanding for his act (1956), he was fully explained by Dedijer (1966), challenged and then exonerated by Cristopher Clark (2012-13), and cordially embraced by Tim Butcher (2014).

scholarly journals Imagen y comunicación: el peso de la fotografía en el periodismo digital internacional / Image and Communication: the Weight of Photography in International Digital Journalism

2016 ◽  
Vol 3 (1) ◽  
pp. 9-17
Author(s):  
Joan Francesc Fondevila Gascón ◽  
Carlos Cardona Pérez ◽  
Eva Santana López ◽  
Josep Rom Rodríguez ◽  
Javier López Crespo ◽  
...  
Keyword(s):  
New York ◽  
News Media ◽  
New York Times ◽  
Total Content ◽  
Home Page ◽  
Large Format ◽  
The New York Times ◽  
Black And White ◽  
Digital Journalism ◽  
The Times

ABSTRACTPhotography is one of the singular indicators of digital journalism. Among its exponents (text, photography, video, sound or graphics), photography metamorphoses into the virtual environment. Through an empirical analysis, we compare the reference newspapers from four countries of global relevance: Germany, USA, Japan and the UK. The reference digital versions of the most read newspapers in these countries are Spiegel Online, The New York Times, The Japan Times, and The Times. The items analyzed in this work are all the text units published at the home page, including the number of existing photographs in total content units and the number of different types of pictures, classified in ten different parameters: photo-news, illustrative, new, resource, black and white, color, large format, small format, edited, unedited. This work confirms that photojournalism is losing its relevance at the multimedia area and that photography gives way to the purely illustrative side; photography is an element in relation to the present; black and white photography remains for documentary reasons only; the large format photography is the only with great power in news media; and editing is not as usual activity in journalism as everybody think about.RESUMENLa fotografía es uno de los indicadores singulares del periodismo digital. Entre sus exponentes (texto, fotografía, vídeo, sonido o infografía), el fotográfico se metamorfosea en en el entorno virtual. Se presenta un análisis empírico compa-rativo entre los diarios de cuatro países de relevancia a escala global: Alemania, Estados Unidos, Japón y Reino Unido, a través de las versiones digitales de referencia de los diarios más leídos en estos países: Spiegel Online, The New York Times, The Japan Times y The Times. Los ítems analizados son las unidades texto publicadas en la home page, el número de foto-grafías existentes en el total de las unidades del contenido y el número de los diferentes tipos de fotografías, clasificadas según diez parámetros diferentes: foto-noticias, ilustrativas, nuevas, de recurso, blanco y negro, en color, gran formato, pequeño formato, editadas y sin editar. Se concluye que el fotoperiodismo tiene cada vez menos relevancia en el ámbito multimedia y deja paso a la fotografía puramente ilustrativa.

Jerold S. Auerbach, Print to Fit: The New York Times, Zionism and Israel 1896–2016. Boston: Academic Studies Press, 2019. xii + 309 pp.

2021 ◽  
pp. 290-292
Keyword(s):  
New York ◽  
Jewish Life ◽  
West Bank ◽  
New York Times ◽  
The Political ◽  
The West ◽  
The New York Times ◽  
American Jewish Life ◽  
American Jewish ◽  
The Times

This chapter examines Jerold S. Auerbach's Print to Fit (2019). In this book, Auerbach charges that the New York Times consistently slanted its treatment of Israel in ways that discredited its struggle for survival and instead sympathized with the enemies of Zionism. Having assiduously combed through close to a century of articles, editorials, and op-ed pieces, Auerbach has discovered, especially in recent decades, a “preoccupation with Palestinian victimization — even when Israelis were the victims.” Print to Fit is especially harsh in its treatment of two of the Times' stars, the late Anthony Lewis and Thomas L. Friedman for having so often conveyed their own disenchantment with what they held to be the moral and political failings of Israel — in particular, the extension of Jewish settlements into the West Bank. Written from the political periphery of American Jewish life, Print to Fit risks overstating its case by simplifying it.

Comedy is everywhere

1977 ◽  
Vol 6 (6) ◽  
pp. 3-7 ◽  
Author(s):  
Milan Kundera
Keyword(s):  
New York ◽  
Short Story ◽  
Public Libraries ◽  
Interesting Case ◽  
Milan Kundera ◽  
State Prize ◽  
The Novel ◽  
The Sixties ◽  
The Times ◽  
Story Writer

Novelist, playwright and short story writer Milan Kundera is one of the many Czech authors who, though they represent the best in their country's contemporary literature, cannot publish their work in Prague. Acclaimed in France, where in 1973 he won a major literary prize for his last but one novel, and published in English, German, Dutch, Swedish, Finnish, Hebrew, Japanese and many other languages, he remains one of the 400 or more writers who are ‘on the index’ in post-invasion, ‘normalised’ Czechoslovakia. Born in Brno forty-eight years ago, Kundera was until 1969 a professor at the Prague Film Faculty, his students including all the young film makers who were to bring fame to the Czechoslovak cinema in the sixties with such movies as The Firemen's Ball, A Blonde in Love and Closely Observed Trains. In 1960 he published a highly influential essay, ‘The Art of the Novel’. Two years later the National Theatre put on his first play, The Owners of the Keys. Produced by Otomar Kreja, the play was an immediate success and was awarded the State Prize in 1963. His first novel, The Joke, came out in 1967, being reprinted twice in a matter of months and reaching a total of 116,000 copies. This book, whose appearance was delayed by a long, determined struggle with the censor, opened the way to publication abroad, where Aragon called it one of the greatest novels of the century. After the Soviet invasion Kundera was forced to leave the faculty, his work was no longer published in Czechoslovakia, all his books being removed from the public libraries. Since then, his works have only come out in translation. Life Is Elsewhere ( see Index 4/1974, pp.53–62) first appeared in Paris in 1973, where it won the Prix Medicis for the best foreign novel of the year. The French version of his latest novel, The Farewell Party, was published last year. In 1975 Kundera was offered a professorship by the University of Rennes and obtained permission from the Czechoslovak authorities to go to France, which is now his second home. All his prose works now exist in English translation. (For an appraisal of his work, see Robert C. Porter's article in Index 4/1975, pp.41–6). Unfortunately, The Joke - published by Macdonald in London and Coward McCann in New York in 1969 - was drastically cut without the author's consent, forcing Kundera to write an indignant letter to the Times Literary Supplement, disclaiming all responsibility - an interesting case of a non-political, commercial censorship. The irony of the situation was certainly not lost on the author, who is a master of the genre. His collection of short stories, Laughable Loves ( with a foreword by Philip Roth) and his other two novels have since been published by Knopf, and The Farewell Party has just been brought out by John Murray in London. This selection of Kundera's stimulating and often provocative views on such topics as the writer in exile, committed literature, the death of the novel, the nature of comedy, and so on, has been compiled by George Theiner.

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