{"title":"How to Avoid Making False Friends: Taking the Multilingual Turn in Periodical Studies","authors":"Marianne Van Remoortel","doi":"10.21825/jeps.84969","DOIUrl":"https://doi.org/10.21825/jeps.84969","url":null,"abstract":"","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117203051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The feuilles volantes were a type of periodical publication that emerged and developed in eighteenth-century France. Literally ‘flying leaves’, or ‘loose sheets’, they were short publications of a few dozen pages published at intervals whose name served as a constant reminder of their own fleeting materiality. If the format of the feuille volante contributed to the unity of this journalistic ensemble, it was also mocked, despised, and even vehemently attacked by contemporary authors such as Voltaire and Louis-Sébastien Mercier. Voltaire even coined the neologism folliculaire, which became a generic term in his writings to denigrate mediocre and greedy journalists for whom the feuilles volantes were a way to eke out a living. As this article shows, however, the fantasies and obsessions to which these periodicals gave rise appear to be very ambiguous: they are, in fact, proof of a fascination, and perhaps a fear of a medium whose expansion seemed already irreversible.
{"title":"The Ambiguities of Contempt for the Folliculaires in Eighteenth-Century France","authors":"Alexis Lévrier","doi":"10.21825/jeps.84867","DOIUrl":"https://doi.org/10.21825/jeps.84867","url":null,"abstract":"The feuilles volantes were a type of periodical publication that emerged and developed in eighteenth-century France. Literally ‘flying leaves’, or ‘loose sheets’, they were short publications of a few dozen pages published at intervals whose name served as a constant reminder of their own fleeting materiality. If the format of the feuille volante contributed to the unity of this journalistic ensemble, it was also mocked, despised, and even vehemently attacked by contemporary authors such as Voltaire and Louis-Sébastien Mercier. Voltaire even coined the neologism folliculaire, which became a generic term in his writings to denigrate mediocre and greedy journalists for whom the feuilles volantes were a way to eke out a living. As this article shows, however, the fantasies and obsessions to which these periodicals gave rise appear to be very ambiguous: they are, in fact, proof of a fascination, and perhaps a fear of a medium whose expansion seemed already irreversible.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114930923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Νέα Εστία (Nea Hestia), one of the most important literary periodicals in Greece, was established in 1927 by Grigorios Xenopoulos and it is still in circulation today. Petros Charis (who was Xenopoulos’s collaborator from the very first years) was the director of Nea Hestia for more than fifty years (from 1935 to 1987) and he contributed both to the formation of the special character of the periodical and to the history of modern Greek literature. This article focuses on the period that starts with the establishment of the military junta (1967) and ends with its fall (1974). The basic goal of the article is the study the role that Nea Hestia played during the abovementioned years. Some of the questions that I try to answer are: what was the contribution of Nea Hestia to the formation of the Greek literary scene?; to what extent did Nea Hestia influence new tendencies in poetry and prose (the so-called literary generation of 1970) produced during the pressing conditions of the military junta?; in what way did the director Petros Charis and his personal aesthetic and political ideology shape Nea Hestia’s character?; taking into consideration the significant role that the periodical played during the previous decades (1930-1960), did it manage to maintain its position during the years 1967-1974? The approach is based on two axes: The first is the literary content of the main corpus of the periodical and the second is the literary reviews that appeared in a special section. Both the authors whose work is selected for publication and the reviewed books reveal the editors’ choices and can be seen as a ‘mirror’ that reflects changes in the literary scene in Greece.
Νέα Εστία (Nea Hestia)是希腊最重要的文学期刊之一，由Grigorios Xenopoulos于1927年创办，至今仍在流通。彼得罗斯·查里斯(从谢诺波洛斯创办之初就是他的合作者)担任《新赫斯提亚》的主编长达50多年(1935年至1987年)，他对杂志的特色和现代希腊文学史的形成都做出了贡献。本文关注的是从1967年军政府成立到1974年军政府倒台的这段时期。本文的基本目的是研究Nea Hestia在上述几年中所起的作用。我试图回答的一些问题是:《新赫斯提亚》对希腊文坛的形成有何贡献?《新赫斯提亚》在多大程度上影响了在军政府的紧迫条件下产生的诗歌和散文的新趋势(所谓的1970年文学一代)?导演彼得罗·查里斯和他个人的审美和政治意识形态在何种程度上塑造了涅·赫斯提亚的性格?考虑到该期刊在过去几十年(1930-1960年)所扮演的重要角色，它在1967-1974年期间是否能够保持其地位?该方法基于两个轴:一是期刊主要语料库的文学内容，二是在一个特殊的部分出现的文学评论。被选中出版的作者的作品和书评都揭示了编辑的选择，可以被视为反映希腊文坛变化的一面“镜子”。
{"title":"Νέα Εστία and the Literary Scene in Greece (1967-1974)","authors":"Chrysa Theologou","doi":"10.21825/jeps.81949","DOIUrl":"https://doi.org/10.21825/jeps.81949","url":null,"abstract":"Νέα Εστία (Nea Hestia), one of the most important literary periodicals in Greece, was established in 1927 by Grigorios Xenopoulos and it is still in circulation today. Petros Charis (who was Xenopoulos’s collaborator from the very first years) was the director of Nea Hestia for more than fifty years (from 1935 to 1987) and he contributed both to the formation of the special character of the periodical and to the history of modern Greek literature. This article focuses on the period that starts with the establishment of the military junta (1967) and ends with its fall (1974). The basic goal of the article is the study the role that Nea Hestia played during the abovementioned years. Some of the questions that I try to answer are: what was the contribution of Nea Hestia to the formation of the Greek literary scene?; to what extent did Nea Hestia influence new tendencies in poetry and prose (the so-called literary generation of 1970) produced during the pressing conditions of the military junta?; in what way did the director Petros Charis and his personal aesthetic and political ideology shape Nea Hestia’s character?; taking into consideration the significant role that the periodical played during the previous decades (1930-1960), did it manage to maintain its position during the years 1967-1974? The approach is based on two axes: The first is the literary content of the main corpus of the periodical and the second is the literary reviews that appeared in a special section. Both the authors whose work is selected for publication and the reviewed books reveal the editors’ choices and can be seen as a ‘mirror’ that reflects changes in the literary scene in Greece.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116824477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rock criticism plays an important role in the formation of rock music as a cultural field in the 1960s. Criticism provides legitimization of taste, canonization and consecration. Nevertheless, the arguments and evaluations within rock criticism have been marginally studied, if at all in the Netherlands. Especially when you compare how literary criticism in its turn is studied as part of Dutch literary theory (see among others Van Rees 1985, Janssen 1994, and Van Dijk 2006). Rock criticism is mostly studied in cultural and music sociology. This research focuses on rock criticism as part of a cultural field (Lindberg et al. 2005). Within the humanities, the study of rock criticism offers an opportunity to map out which arguments are used in criticism and how they are applied. In research into literary criticism, Mooij, Boonstra, Praamstra, and, following them, Op de Beek and Linders, among others, categorize evaluative statements by critics. I will elaborate on their work in the categorisation of evaluative statements by rock critics. In this article, the categorization model of Op de Beek and Linders is applied and adapted to rock criticism. The corpus of this paper is the archive of Hitweek (1965). A Dutch magazine that appears weekly between 1965 and 1969 (in approximately 190 editions) and pays ample attention to Dutch rock music as part of youth culture. Hitweek is the first critical music magazine for rock music in the Netherlands and is therefore important for the formation of the cultural field of rock music in the Netherlands. For this study, the evaluative statements in the reviews of singles and albums by Dutch bands were examined. The statements are categorized and grouped to provide a picture of what criteria the reviewers of Hitweek used and how the model can help determine these criteria. This article is one of the few studies into evaluation criteria within Dutch rock criticism. For the time being, it is the only research into the evaluation criteria in Hitweek.
在20世纪60年代摇滚乐作为一个文化领域的形成过程中，摇滚批评起到了重要的作用。批评使趣味合法化，使之成为圣徒，使之神圣化。然而，在荷兰，对摇滚批评界的争论和评价的研究很少。尤其是当你比较文学批评作为荷兰文学理论的一部分是如何被研究的(参见Van Rees 1985, Janssen 1994和Van Dijk 2006)。摇滚批评主要在文化和音乐社会学中进行研究。这项研究将摇滚批评作为文化领域的一部分(Lindberg et al. 2005)。在人文学科中，对岩石批评的研究提供了一个机会，可以找出批评中使用了哪些论点以及它们是如何应用的。在对文学批评的研究中，Mooij、Boonstra、Praamstra以及之后的Op de Beek和Linders等人对评论家的评价性陈述进行了分类。我将在摇滚评论家的评价性陈述分类中详细阐述他们的工作。本文将Op de Beek和Linders的分类模型应用于摇滚批评。本文的语料库是Hitweek(1965)的档案。荷兰杂志，1965年至1969年间每周出版一次(大约有190版)，对荷兰摇滚音乐作为青年文化的一部分给予了充分的关注。《Hitweek》是荷兰第一本摇滚音乐评论杂志，对荷兰摇滚音乐文化领域的形成具有重要意义。在这项研究中，我们考察了荷兰乐队对单曲和专辑的评论中的评价性陈述。这些语句被分类和分组，以提供Hitweek评论者使用的标准以及模型如何帮助确定这些标准的图片。本文是为数不多的研究荷兰摇滚评论评价标准的文章之一。目前，这是《Hitweek》杂志对评价标准的唯一研究。
{"title":"Oeioei you just have to listen : Rock criticism in Hitweek. A categorization model for evaluation domains in rock music.","authors":"A. None","doi":"10.21825/jeps.81952","DOIUrl":"https://doi.org/10.21825/jeps.81952","url":null,"abstract":"Rock criticism plays an important role in the formation of rock music as a cultural field in the 1960s. Criticism provides legitimization of taste, canonization and consecration. Nevertheless, the arguments and evaluations within rock criticism have been marginally studied, if at all in the Netherlands. Especially when you compare how literary criticism in its turn is studied as part of Dutch literary theory (see among others Van Rees 1985, Janssen 1994, and Van Dijk 2006). Rock criticism is mostly studied in cultural and music sociology. This research focuses on rock criticism as part of a cultural field (Lindberg et al. 2005). Within the humanities, the study of rock criticism offers an opportunity to map out which arguments are used in criticism and how they are applied.\u0000In research into literary criticism, Mooij, Boonstra, Praamstra, and, following them, Op de Beek and Linders, among others, categorize evaluative statements by critics. I will elaborate on their work in the categorisation of evaluative statements by rock critics. In this article, the categorization model of Op de Beek and Linders is applied and adapted to rock criticism. The corpus of this paper is the archive of Hitweek (1965). A Dutch magazine that appears weekly between 1965 and 1969 (in approximately 190 editions) and pays ample attention to Dutch rock music as part of youth culture. Hitweek is the first critical music magazine for rock music in the Netherlands and is therefore important for the formation of the cultural field of rock music in the Netherlands. For this study, the evaluative statements in the reviews of singles and albums by Dutch bands were examined. The statements are categorized and grouped to provide a picture of what criteria the reviewers of Hitweek used and how the model can help determine these criteria.\u0000This article is one of the few studies into evaluation criteria within Dutch rock criticism. For the time being, it is the only research into the evaluation criteria in Hitweek.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"23 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120916327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the tension created by the existence of differentiated interpretations of the freedom of the press as an institutional right and considers the regulatory potential or the constraint of self-regulation to address the implications of this tension. Qualitative content analysis of press reporting of the 2008 presidential election campaign in Cyprus and document analysis of the Cyprus Journalists’ Code of Practice and of a Guidance Note issued by the self-regulatory agency are used to analyse the data. This article demonstrates that the most fundamental challenge the press self-regulation should address is the complexity in evaluating among different but equally important liberal rights, whose conjunction creates conflict. The findings demonstrate that defining the boundaries of press freedom in order to safeguard balanced and non-discriminatory reporting is a complex process. Emphasising the public’s right to information may jeopardize the journalistic autonomy and the editorial independence as there is no straightforward way to make judgments about incommensurable values such as free speech. This article exemplifies that political reporting is a challenging context as far as the regulability of press freedom is concerned.
{"title":"the Press coverage of the 2008 presidential election campaign in Cyprus","authors":"Antigoni Themistokleous","doi":"10.21825/jeps.81962","DOIUrl":"https://doi.org/10.21825/jeps.81962","url":null,"abstract":"This article examines the tension created by the existence of differentiated interpretations of the freedom of the press as an institutional right and considers the regulatory potential or the constraint of self-regulation to address the implications of this tension. Qualitative content analysis of press reporting of the 2008 presidential election campaign in Cyprus and document analysis of the Cyprus Journalists’ Code of Practice and of a Guidance Note issued by the self-regulatory agency are used to analyse the data. This article demonstrates that the most fundamental challenge the press self-regulation should address is the complexity in evaluating among different but equally important liberal rights, whose conjunction creates conflict. The findings demonstrate that defining the boundaries of press freedom in order to safeguard balanced and non-discriminatory reporting is a complex process. Emphasising the public’s right to information may jeopardize the journalistic autonomy and the editorial independence as there is no straightforward way to make judgments about incommensurable values such as free speech. This article exemplifies that political reporting is a challenging context as far as the regulability of press freedom is concerned.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134459700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the interwar Parisian literary field, transition was among the most influential expatriate magazines, promoting forms of new, avant-garde literature. Its main feature was the serialisation of James Joyce’s Work in Progress, which was to be published as Finnegans Wake in 1939. Joyce and transition had become closely connected to each other through their literary exchange and the representation of Joyce by transition was beneficial to both the author’s and the literary magazine’s success. Simultaneously, Sylvia Beach, the owner of the bookshop Shakespeare and Company, represented a key factor to both of their careers. This paper interprets these exchanges through the Bourdieusian framework of symbolic capital, arguing that their involvement with each other could be regarded as not just an exchange of literary merit, but also of power, as through their positions in the literary field Joyce and transition, with the help of Beach, were able to substantially influence each other’s literary careers and prestige.
{"title":"Joyce and his Apostles: The Exchange of Capital between Joyce and transition","authors":"I. Hemelaar","doi":"10.21825/jeps.81967","DOIUrl":"https://doi.org/10.21825/jeps.81967","url":null,"abstract":"In the interwar Parisian literary field, transition was among the most influential expatriate magazines, promoting forms of new, avant-garde literature. Its main feature was the serialisation of James Joyce’s Work in Progress, which was to be published as Finnegans Wake in 1939. Joyce and transition had become closely connected to each other through their literary exchange and the representation of Joyce by transition was beneficial to both the author’s and the literary magazine’s success. Simultaneously, Sylvia Beach, the owner of the bookshop Shakespeare and Company, represented a key factor to both of their careers. This paper interprets these exchanges through the Bourdieusian framework of symbolic capital, arguing that their involvement with each other could be regarded as not just an exchange of literary merit, but also of power, as through their positions in the literary field Joyce and transition, with the help of Beach, were able to substantially influence each other’s literary careers and prestige.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115438848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article uses Boston reformer Benjamin O. Flower’s magazine The Arena in its first, most militant and successful period, from 1889 to 1896, as a case study to analyze the relationship between political radicalism and the periodical form and to examine the changing and contested definition of ‘radicalism’. It analyzes how Flower’s ambivalent intentions as an editor and a reformer were reflected in the hybrid nature of his magazine. It also examines two ‘cranky’ movements he was associated with: middle-class women’s struggle for emancipation and Populists’ fight against railroad and money monopolies. This paper explores how radicals used print culture to circulate and legitimize the fringe protest movements they thought would regenerate the United States.
本文以波士顿改革家本杰明·o·弗劳尔(Benjamin O. Flower)的杂志《竞技场》(The Arena)为例，分析了政治激进主义与期刊形式之间的关系，并考察了“激进主义”定义的变化和争议。它分析了弗劳尔作为编辑和改革者的矛盾意图如何反映在他的杂志的混合性质中。该书还考察了与他有关的两个“古怪”运动:中产阶级妇女争取解放的斗争和平民主义者反对铁路和货币垄断的斗争。本文探讨了激进分子如何利用印刷文化来传播和合法化他们认为会复兴美国的边缘抗议运动。
{"title":"‘A monthly album of crazy fancies’: The Arena, ‘cranks’ and radical magazines in the 1890s","authors":"Jean-Louis Marin-Lamellet","doi":"10.21825/jeps.81958","DOIUrl":"https://doi.org/10.21825/jeps.81958","url":null,"abstract":"This article uses Boston reformer Benjamin O. Flower’s magazine The Arena in its first, most militant and successful period, from 1889 to 1896, as a case study to analyze the relationship between political radicalism and the periodical form and to examine the changing and contested definition of ‘radicalism’. It analyzes how Flower’s ambivalent intentions as an editor and a reformer were reflected in the hybrid nature of his magazine. It also examines two ‘cranky’ movements he was associated with: middle-class women’s struggle for emancipation and Populists’ fight against railroad and money monopolies. This paper explores how radicals used print culture to circulate and legitimize the fringe protest movements they thought would regenerate the United States.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"642 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123282993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Magazines outside the Mainstream Press: Language, Materiality, Temporality – 1910s to the Present","authors":"Jutta Ernst, Sabina Fazli, Oliver Scheiding","doi":"10.21825/jeps.84791","DOIUrl":"https://doi.org/10.21825/jeps.84791","url":null,"abstract":"","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"1016 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123118646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article explores the ways in which illustrated magazines of the Weimar period act contribute to a larger gendering of transnational exchange particularly through image-text doubling and shifts. It takes the Weimar society magazine Uhu as a major reference point, investigating how Uhu modeled itself on American lifestyle and 'smart' magazines and made use of the iconic figure of the ‘Girl’ to carve out a spatiotemporal continuum between ‘Amerika’ and Europe. It aims to show that while the Girl is a figure of the stage and screen as much as of the modern magazine, it is in the magazine that this figure comes into her own. The Girl incorporates modernity as a multimodal and multifaceted configuration much like the modern magazine itself. The article shows that the Girl enters the illustrated magazines not only as a subject matter but also as a tool of gendered self-reflection, particularly in the work of female writers, illustrators and photographers.
{"title":"Girls Girls Girls Girls Girls: The Trans-Atlantic Mass Magazine Culture of the 1920s as a Gendered Affair","authors":"R. Mayer","doi":"10.21825/jeps.84787","DOIUrl":"https://doi.org/10.21825/jeps.84787","url":null,"abstract":"The article explores the ways in which illustrated magazines of the Weimar period act contribute to a larger gendering of transnational exchange particularly through image-text doubling and shifts. It takes the Weimar society magazine Uhu as a major reference point, investigating how Uhu modeled itself on American lifestyle and 'smart' magazines and made use of the iconic figure of the ‘Girl’ to carve out a spatiotemporal continuum between ‘Amerika’ and Europe. It aims to show that while the Girl is a figure of the stage and screen as much as of the modern magazine, it is in the magazine that this figure comes into her own. The Girl incorporates modernity as a multimodal and multifaceted configuration much like the modern magazine itself. The article shows that the Girl enters the illustrated magazines not only as a subject matter but also as a tool of gendered self-reflection, particularly in the work of female writers, illustrators and photographers.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123171255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since the beginning of their capillary diffusion in the Italian peninsula, gazettes contained multitudes of articles about the prominent writers of the time, and were one of the most effective tools for spreading knowledge and information. Nevertheless, the role played by the Italian gazettes in the reception of foreign culture has not been sufficiently investigated. This paper focuses on a particular case study, namely the reception of Walter Scott and his work in the gazzette published in Milan, Turin, Parma, Florence and Naples. The choice of Scott as a case study is not arbitrary: a preliminary reading on the corpus shows that no other foreign author is mentioned as many times as the Scottish novelist. The aim of this article is primarily to show how the Italian gazettes recurrently selected and republished articles about the writer taken from many sources belonging to the British and French press, and explain the attitude the Italian journalists had towards them; secondarily, the study will demonstrate how this crosscultural and polycentric approach favoured the wide spread of information about Scott across the peninsula, which contributed to designing a portrait of the writer even without being in close contact with him or his cultural context.
{"title":"Tracing the European roots of the news about Walter Scott published in the Italian gazettes. A preliminary survey","authors":"A. Penso","doi":"10.21825/jeps.81954","DOIUrl":"https://doi.org/10.21825/jeps.81954","url":null,"abstract":"Since the beginning of their capillary diffusion in the Italian peninsula, gazettes contained multitudes of articles about the prominent writers of the time, and were one of the most effective tools for spreading knowledge and information. Nevertheless, the role played by the Italian gazettes in the reception of foreign culture has not been sufficiently investigated. This paper focuses on a particular case study, namely the reception of Walter Scott and his work in the gazzette published in Milan, Turin, Parma, Florence and Naples. The choice of Scott as a case study is not arbitrary: a preliminary reading on the corpus shows that no other foreign author is mentioned as many times as the Scottish novelist. The aim of this article is primarily to show how the Italian gazettes recurrently selected and republished articles about the writer taken from many sources belonging to the British and French press, and explain the attitude the Italian journalists had towards them; secondarily, the study will demonstrate how this crosscultural and polycentric approach favoured the wide spread of information about Scott across the peninsula, which contributed to designing a portrait of the writer even without being in close contact with him or his cultural context.","PeriodicalId":142850,"journal":{"name":"Journal of European Periodical Studies","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123491890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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