‘We Stand Corrected’: New Yorker Fact-checking and the Business of American Accuracy

2015 ◽  
Author(s):  
Sarah Cain
Keyword(s):  
Editorial Process ◽  
Publishing History ◽  
New Yorker ◽  
Copy Editor ◽  
Fact Checking ◽  
The New Yorker

This chapter looks at how modern journalistic writing is fact checked for publication. Supported by what is perhaps the most famous department of fact checking in publishing history, New Yorker editorial philosophy is founded precisely in a sense that ‘the challenge, and the art, lies in confronting the facts and shaping them into something beautiful’. The New Yorker's reputation for fastidiousness over ‘points of fact’ continues to this day. Fact checkers are integral to the editorial process: their purpose is not only to prevent errors from appearing in the magazine, but also to mediate between writer, editor, copy editor, and lawyers. Since The New Yorker does not tend to have assistant or associate editors, checkers fill an essential gap in the editorial machinery.

Importancia de la portada del New Yorker para interpretar la crisis del Covid19

2021 ◽  
Vol 8 (1) ◽  
pp. 51-72
Author(s):  
Sheila Liberal Ormaechea ◽  
Isidoro Arroyo Almaraz ◽  
Paula Hernández de Miguel
Keyword(s):  
Focus Group ◽  
New Yorker ◽  
The New Yorker

Presentamos un trabajo de investigación empírico donde analizamos el uso de la ilustración en un medio concreto (The New Yorker) para contrastar el poder de transmisión del mensaje en un contexto muy concreto como es el de la pandemia mundial debido a la propagación de la covid-19. Metodología: Se ha llevado a acabo una triangulación metodológica combinando diversas técnicas y herramientas como la investigación documental, análisis descriptivo, focus group y análisis de contenido . Resultados: El análisis de 347 portadas revela que el elemento que varía de una publicación a otra es la ilustración.

scholarly journals Paul Muldoon em tradução

2020 ◽  
Vol 9 (2) ◽  
pp. 289-293
Author(s):  
Guilherme Bernardes
Keyword(s):  
Seamus Heaney ◽  
Pulitzer Prize ◽  
New Yorker ◽  
Paul Muldoon ◽  
Ciaran Carson ◽  
Sand And Gravel ◽  
Michael Longley ◽  
The New Yorker

Paul Muldoon (1951 ”“ ) é um poeta norte-irlandês de origem católica nascido em Portdown, condado de Armagh. Integrou junto a Seamus Heaney, Michael Longley e Ciaran Carson, dentre outros, o chamado Belfast Group, organizado por Philip Hobsbaum. Publicou seu primeiro livro, New Weather, em 1973. Desde então, já publicou mais doze coletâneas de poemas, sendo a mais recente Frolic and Detour, em 2019. Além disso, já publicou literatura infantil, libretos de ópera, coletâneas de letras de música e peças de teatro. Já foi premiado com o T.S. Eliot Prize for Poetry por The Annals of Chile (1994) e o Pulitzer Prize for Poetry por Moy Sand and Gravel (2002). Mudou-se para os Estados Unidos em 1987, onde foi professor do curso de escrita criativa na Universidade de Princeton até 2017 e foi, até 2016, editor de poesia da revista The New Yorker. As traduções a seguir integram o apêndice da dissertação “Uma Camisa de Força para Houdini: Paul Muldoon, Forma Fixa e Tradução”, defendida em fevereiro de 2020 na UFPR.

Laughter for Dessert

2016 ◽  
Author(s):  
Steve Zeitlin
Keyword(s):  
Married Couples ◽  
University Of Michigan ◽  
Folk Culture ◽  
New Yorker ◽  
Humor Theory ◽  
Ping Pong ◽  
Family Folklore ◽  
The University ◽  
The New Yorker

The author reflects here on the important role that laughter has played in his life. His brother Murray laughs harder than anyone else he knows—and he caps it off by clapping in wild applause. The author's daughter, Eliza, once quipped: “We had laughter for dessert.” He even imagined a mystery story in which the murderer kills by devising a perfect joke that convulses people with laughter till they die. He also can remember a girl whose infectious laugh inspired a poem entitled Lily. His friend and Ping-Pong partner Bob Mankoff, the cartoon editor of The New Yorker, is a student of humor; he also teaches a class in humor theory at the University of Michigan. And like many long-married couples, he and his wife have developed routines for their own personal comedy team of sorts. The author adds that banter is a key ingredient of folk culture and family folklore.

The New Yorker: George D. Stoddard

2019 ◽  
pp. 11-16
Author(s):  
Michael V. Metz
Keyword(s):  
State Legislature ◽  
Board Of Trustees ◽  
The State ◽  
New Yorker ◽  
Late Night ◽  
Conservative Faculty ◽  
The University ◽  
The New Yorker

Stoddard, president of the university from 1946 to 1953, was a controversial man, an East Coaster, a liberal, and an internationalist. Through much of his tenure he had difficult relations with both the university’s board of trustees and the state legislature, and he also faced opposition from conservative faculty at UI. A scandal over a phony cancer cure brought undesired publicity to the school and was the last in a series of controversies that led to his dismissal by the board in a late-night Illini Union meeting.

Immaturity: Reflections on the “Great (Queer) YA Debate”

2020 ◽  
pp. 171-180
Author(s):  
Derritt Mason
Keyword(s):  
New York ◽  
Children's Literature ◽  
Young Adult ◽  
Young Adult Literature ◽  
Children’S Literature ◽  
New York Times ◽  
New Yorker ◽  
The New York Times ◽  
High Profile ◽  
The New Yorker

This book’s conclusion reiterates the argument that queer YA is an anxious genre that perpetually rehearses a nervous uncertainty about its own constitution. Mason steps back to consider queer YA’s relationship to children’s literature more broadly, entering the discussion through a concept developed in Beverley Lyon Clark’s Kiddie Lit: the “anxiety of immaturity” that circulates around and within children’s literature and its criticism. Mason revisits the “Great YA Debate” of 2014, which followed a Slate piece by Ruth Graham entitled “Adults Should Be Embarrassed to Read Young Adult Books.” This debate included high profile pieces by Christopher Beha and A.O. Scott in The New York Times Magazine and The New Yorker, both of which evince a profound ambivalence about whether or not adults should be reading young adult literature. These conversations, Mason concludes, illustrate how young adult literature continues to be an unceasing source of adult anxiety.

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