Desafios da comunicação interna em departamentos de jornalismo

This paper focuses on the importance of internal communication within the journalism departments of regional Brazilian open television networks. This research shows that these professionals recognized that communication can improve relationship among staff and journalistic performance. However, just one of the companies researched invests in internal communication management. The present study also reveals many challenges which influence internal communication, relationship, and the journalistic work in these companies, such as: lean teams, interferences from other areas in the journalistic writing, lack of formal network of communication, competition among members of the team, the journalist's professional profile, need for shared leadership and internal communication policies and information management.

Jornalismo participativo, subjetividade e práticas discursivas

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Mediación y legitimación en la crítica literaria de Otto Maria Carperaux

The work and the trajectory of literary critic and journalist Austrian-Brazilian Otto Maria Carpeaux (1900-1978) are studied from the relationship between literary criticism and the diffusion field in Brazil. Between the decades of 1940-1970, Carpeaux has played a prominent role in the formation process of the reader and reading in Brazil, as evidenced by his intense activity as a critic and essayist. Will also be developed reflections on the place occupied by Carpeaux in the field of criticism in Brazil. Two hypotheses are developed: a) Carpeaux`s work was affected by a lack of legitimacy of his contemporaries in the decades of 1940-1950, as can be seen, for example, in peripheral treating conferred on him by the field of diffusion and consecration instances we can read, the editorial market. b) Carpeaux such as an Alvaro Lins`s heir in the Correio da Manha, also inherited a criticism model that lost prestige in the light of the New Criticism growing influence occurred in the country, which shifts the critical role from the newspaper to the university.

Arthur Poerner entre estudantes e intelectuais (1965-1968): representações intelectuais no jornal Folha da Semana e no livro O Poder Jovem

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Book Review of Raising Less Corn, More Hell: The Case for the Independent Farm and Against Industrial Food by George Pyle

Raising Less Corn, More Hell may sound like a rallying cry for the nation's heartland farmers, but this well-written series of essays by George Pyle is meant for those who eat corn. Or rather, for those of us who eat the livestock fed on corn in confined animal feeding operations, then wash down those meals with drinks high in high-fructose corn syrups. Pyle, an editorial writer from Kansas now living in Utah, brings his journalist's skills to bear on what our industrial food system has brought us. It's not appetizing as he makes his case against a corporate-controlled system that doesn't have to be this way.

Tenure

Tenure is not easy to get. It is not, as one journalist puts it, a smooth rail for the gravy train. It is a long and challenging road ... Evaluation of the candidate for tenure is serious and thorough. Hours and days are spent reading and reviewing research contributions. Teaching is reviewed extensively ... The basic reason tenure is bestowed is to preserve freedom for highly trained and capable people to do their best work, to protect them from inappropriate political pressures ... Evaluation does not cease with tenure. Tenured faculty are reviewed at mandated intervals and also annually to determine what kind of raise, if any, they will receive ... Incontrovertibly, most faculty achieve more recognition after tenure than before - locally and nationally, for research, teaching, and service.

L'a(rche)tipico Brian O'Nolan. Comico e riso dalla tradizione al post-

This study aims at analysing Brian O'Nolans literary production in the light of a reconsideration of the role played by his two most famous pseudonyms ,Flann Brien and Myles na Gopaleen, behind which he was active both as a novelist and as a journalist. We tried to establish a new kind of relationship between them and their empirical author following recent cultural and scientific surveys in the field of Humour Studies, Psychology, and Sociology: taking as a starting point the appreciation of the comic attitude in nature and in cultural history, we progressed through a short history of laughter and derision, followed by an overview on humour theories. After having established such a frame, we considered an integration of scientific studies in the field of laughter and humour as a base for our study scheme, in order to come to a definition of the comic author as a recognised, powerful and authoritative social figure who acts as a critic of conventions. The history of laughter and comic we briefly summarized, based on the one related by the French scholar Georges Minois in his work (Minois 2004), has been taken into account in the view that humorous attitude is one of man’s characteristic traits always present and witnessed throughout the ages, though subject in most cases to repression by cultural and political conservative power. This sort of Super-Ego notwithstanding, or perhaps because of that, comic impulse proved irreducible exactly in its influence on the current cultural debates. Basing mainly on Robert R. Provine’s (Provine 2001), Fabio Ceccarelli’s (Ceccarelli 1988), Arthur Koestler’s (Koestler 1975) and Peter L. Berger’s (Berger 1995) scientific essays on the actual occurrence of laughter and smile in complex social situations, we underlined the many evidences for how the use of comic, humour and wit (in a Freudian sense) could be best comprehended if seen as a common mind process designed for the improvement of knowledge, in which we traced a strict relation with the play-element the Dutch historian Huizinga highlighted in his famous essay, Homo Ludens (Huizinga 1955). We considered comic and humour/wit as different sides of the same coin, and showed how the demonstrations scientists provided on this particular subject are not conclusive, given that the mental processes could not still be irrefutably shown to be separated as regards graduations in comic expression and reception: in fact, different outputs in expressions might lead back to one and the same production process, following the general ‘Economy Rule’ of evolution; man is the only animal who lies, meaning with this that one feeling is not necessarily biuniquely associated with one and the same outward display, so human expressions are not validation proofs for feelings. Considering societies, we found that in nature they are all organized in more or less the same way, that is, in élites who govern over a community who, in turn, recognizes them as legitimate delegates for that task; we inferred from this the epistemological possibility for the existence of an added ruling figure alongside those political and religious: this figure being the comic, who is the person in charge of expressing true feelings towards given subjects of contention. Any community owns one, and his very peculiar status is validated by the fact that his place is within the community, living in it and speaking to it, but at the same time is outside it in the sense that his action focuses mainly on shedding light on ideas and objects placed out-side the boundaries of social convention: taboos, fears, sacred objects and finally culture are the favourite targets of the comic person’s arrow. This is the reason for the word a(rche)typical as applied to the comic figure in society: atypical in a sense, because unconventional and disrespectful of traditions, critical and never at ease with unblinkered respect of canons; archetypical, because the “village fool”, buffoon, jester or anyone in any kind of society who plays such roles, is an archetype in the Jungian sense, i.e. a personification of an irreducible side of human nature that everybody instinctively knows: a beginner of a tradition, the perfect type, what is most conventional of all and therefore the exact opposite of an atypical. There is an intrinsic necessity, we think, of such figures in societies, just like politicians and priests, who should play an elitist role in order to guide and rule not for their own benefit but for the good of the community. We are not naïve and do know that actual owners of power always tend to keep it indefinitely: the ‘social comic’ as a role of power has nonetheless the distinctive feature of being the only job whose tension is not towards stability. It has got in itself the rewarding permission of contradiction, for the very reason we exposed before that the comic must cast an eye both inside and outside society and his vision may be perforce not consistent, then it is satisfactory for the popularity that gives amongst readers and audience. Finally, the difference between governors, priests and comic figures is the seriousness of the first two (fundamentally monologic) and the merry contradiction of the third (essentially dialogic). MPs, mayors, bishops and pastors should always console, comfort and soothe popular mood in respect of the public convention; the comic has the opposite task of provoking, urging and irritating, accomplishing at the same time a sort of control of the soothing powers of society, keepers of the righteousness. In this view, the comic person assumes a paramount importance in the counterbalancing of power administration, whether in form of acting in public places or in written pieces which could circulate for private reading. At this point comes into question our Irish writer Brian O'Nolan(1911-1966), real name that stood behind the more famous masks of Flann O'Brien, novelist, author of At Swim-Two-Birds (1939), The Hard Life (1961), The Dalkey Archive (1964) and, posthumously, The Third Policeman (1967); and of Myles na Gopaleen, journalist, keeper for more than 25 years of the Cruiskeen Lawn column on The Irish Times (1940-1966), and author of the famous book-parody in Irish An Béal Bocht (1941), later translated in English as The Poor Mouth (1973). Brian O'Nolan, professional senior civil servant of the Republic, has never seen recognized his authorship in literary studies, since all of them concentrated on his alter egos Flann, Myles and some others he used for minor contributions. So far as we are concerned, we think this is the first study which places the real name in the title, this way acknowledging him an unity of intents that no-one before did. And this choice in titling is not a mere mark of distinction for the sake of it, but also a wilful sign of how his opus should now be reconsidered. In effect, the aim of this study is exactly that of demonstrating how the empirical author Brian O'Nolan was the real Deus in machina, the master of puppets who skilfully directed all of his identities in planned directions, so as to completely fulfil the role of the comic figure we explained before. Flann O'Brien and Myles na Gopaleen were personae and not persons, but the impression one gets from the critical studies on them is the exact opposite. Literary consideration, that came only after O'Nolans death, began with Anne Clissmann’s work, Flann O'Brien: A Critical Introduction to His Writings (Clissmann 1975), while the most recent book is Keith Donohue’s The Irish Anatomist: A Study of Flann O'Brien (Donohue 2002); passing through M.Keith Booker’s Flann O'Brien, Bakhtin and Menippean Satire (Booker 1995), Keith Hopper’s Flann O'Brien: A Portrait of the Artist as a Young Post-Modernist (Hopper 1995) and Monique Gallagher’s Flann O'Brien, Myles et les autres (Gallagher 1998). There have also been a couple of biographies, which incidentally somehow try to explain critical points his literary production, while many critical studies do the same on the opposite side, trying to found critical points of view on the author’s restless life and habits. At this stage, we attempted to merge into O'Nolan's corpus the journalistic articles he wrote, more than 4,200, for roughly two million words in the 26-year-old running of the column. To justify this, we appealed to several considerations about the figure O'Nolan used as writer: Myles na Gopaleen (later simplified in na Gopaleen), who was the equivalent of the street artist or storyteller, speaking to his imaginary public and trying to involve it in his stories, quarrels and debates of all kinds. First of all, he relied much on language for the reactions he would obtain, playing on, and with, words so as to ironically unmask untrue relationships between words and things. Secondly, he pushed to the limit the convention of addressing to spectators and listeners usually employed in live performing, stretching its role in the written discourse to come to a greater effect of involvement of readers. Lastly, he profited much from what we labelled his “specific weight”, i.e. the potential influence in society given by his recognised authority in determined matters, a position from which he could launch deeper attacks on conventional beliefs, so complying with the duty of a comic we hypothesised before: that of criticising society even in threat of losing the benefits the post guarantees. That seemingly masochistic tendency has its rationale. Every representative has many privileges on the assumption that he, or she, has great responsibilities in administrating. The higher those responsibilities are, the higher is the reward but also the severer is the punishment for the misfits done while in charge. But we all know that not everybody accepts the rules and many try to use their power for their personal benefit and do not want to undergo law’s penalties. The comic, showing in this case more civic sense than others, helped very much in this by the non-accessibility to the use of public force, finds in the role of the scapegoat the right accomplishment of his task, accepting the punishment when his breaking of the conventions is too stark to be forgiven. As Ceccarelli demonstrated, the role of the object of laughter (comic, ridicule) has its very own positive side: there is freedom of expression for the person, and at the same time integration in the society, even though at low levels. Then the banishment of a ‘social’ comic can never get to total extirpation from society, revealing how the scope of the comic lies on an entirely fictional layer, bearing no relation with facts, nor real consequences in terms of physical health. Myles na Gopaleen, mastering these three characteristics we postulated in the highest way, can be considered an author worth noting; and the oeuvre he wrote, the whole collection of Cruiskeen Lawn articles, is rightfully a novel because respects the canons of it especially regarding the authorial figure and his relationship with the readers. In addition, his work can be studied even if we cannot conduct our research on the whole of it, this proceeding being justified exactly because of the resemblances to the real figure of the storyteller: its ‘chapters’ —the daily articles— had a format that even the distracted reader could follow, even one who did not read each and every article before. So we can critically consider also a good part of them, as collected in the seven volumes published so far, with the addition of some others outside the collections, because completeness in this case is not at all a guarantee of a better precision in the assessment; on the contrary: examination of the totality of articles might let us consider him as a person and not a persona. Once cleared these points, we proceeded further in considering tout court the works of Brian O'Nolan as the works of a unique author, rather than complicating the references with many names which are none other than well-wrought sides of the same personality. By putting O'Nolan as the correct object of our research, empirical author of the works of the personae Flann O'Brien and Myles na Gopaleen, there comes out a clearer literary landscape: the comic author Brian O'Nolan, self-conscious of his paramount role in society as both a guide and a scourge, in a word as an a(rche)typical, intentionally chose to differentiate his personalities so as to create different perspectives in different fields of knowledge by using, in addition, different means of communication: novels and journalism. We finally compared the newly assessed author Brian O'Nolan with other great Irish comic writers in English, such as James Joyce (the one everybody named as the master in the field), Samuel Beckett, and Jonathan Swift. This comparison showed once more how O'Nolan is in no way inferior to these authors who, greatly celebrated by critics, have nonetheless failed to achieve that great public recognition O’Nolan received alias Myles, awarded by the daily audience he reached and influenced with his Cruiskeen Lawn column. For this reason, we believe him to be representative of the comic figure’s function as a social regulator and as a builder of solidarity, such as that Raymond Williams spoke of in his work (Williams 1982), with in mind the aim of building a ‘culture in common’. There is no way for a ‘culture in common’ to be acquired if we do not accept the fact that even the most functional society rests on conventions, and in a world more and more ‘connected’ we need someone to help everybody negotiate with different cultures and persons. The comic gives us a worldly perspective which is at the same time comfortable and distressing but in the end not harmful as the one furnished by politicians could be: he lets us peep into parallel worlds without moving too far from our armchair and, as a consequence, is the one who does his best for the improvement of our understanding of things.

Anna, sette anni al fronte. Analisi e proposta di sottotitolaggio del film documentario Anna, sem' let na linii fronta

The aim of the present work was to make more accessible a documentary film that focuses on the life and work of the Russian journalist killed in Moscow in 2006: Anna Politkovskaja. The film, entitled “Anna, seven years at the frontline” is a collage of several video-interviews with Politkovskaja’s friends and colleagues, in which they talk about who she was, what was her job about and how she tried to make the public aware about the Chechen wars. Working on this translation gave me a unique opportunity to deepen one of the most controversial issues in the recent history of Russia and to create a useful final product for those who have a particular interest in this topic but do not have the necessary linguistic competence to understand this documentary film.

Tradurre la saggistica: proposta di traduzione di un estratto di "The invisible history of the human race"

The aim of this dissertation is to propose the translation of four chapters from "The invisible history of the human race", an essay by the Australian author and journalist Christine Kenneally. This essay offers a non-systematic overview upon genealogy in connection to the idea of personal identity; above all, the author wants to persuade the reader that genealogy could be the perfect linking point between history and science, family lines and DNA. The translated chapters particularly concentrate on the reasons of the current underestimation of genealogy, which, according to Kenneally, lies in the Nazi’s distorted use of ancestry and in the exploitation of the idea of biological diversity in order to discriminate people. The dissertation is composed of four chapters. The first chapter consists in a concise analysis of the characteristics of the textual genre and in a theoretical introduction and approach to the translation of essays, where the main generic and essay-specific translation strategies are outlined. The second chapter presents a detailed illustration of the topics treated in the essay and particularly in the translated pages. The third chapter contains the translation and the fourth presents a systematic comment to the translation and to the choices made during the translation of the text.

The Ideology, Politics and Autonomous Art of Richard Weiner: (An Event in Discourse)"

The first aim of the project was to compile documentation on the life and work of Richard Weiner, a Czech journalist, writer and poet who spent the best part of his life as Paris correspondent for Lidove noviny. Langerova looked at the contexts and the growing independence of certain parts of his work, the distribution of thematic compositional elements into different parts of discourse and their position in the autonomous space of a work of art. Looking at the features of minority literature and the contemporary contexts of Weiner's life and work Langerova focuses on the situation of the Jewish community (Wiener came from an assimilated Jewish family). For this minorities, the function of language as a medium of communication which is able to create an autonomous world became increasingly important. Literature, which is based on this function of language, is a political matter par excellence before it begins forming as an autonomous, independent and divergent place. This means that everything private and intimate is closely connected to political and social responsibility, while supposedly objective genres contain subjective features. Another important characteristic is "nomadism", which asks the question of "Where do I belong". This was very important in Czechoslovakia after World War I , as in the issue of Zionism. Although Weiner rejected Zionism, he asks this question in his writing and it is reflected at a symbolic level in his work, which shows a fundamental thematic and compositional plan of a journey, cross-roads and wandering. These theses were reflected in Weiner's life, which was a series of continuous transfers and unplanned moves, often when he thought he had found his place. As well as tracing the course of his life, and his relations with and views of other writers, Langerova looks at his writings in various areas. Her major focus is the divergence of trivial and great events into different types of discourse in Richard Weiner's work, their transfer (small into great, trivial into mythical) and their historical context.

Unions to Die For

The Copper County Strike of 1913 was heroic, tragic, and large in meaning, both for those who lived in it and for those haunted by it in the years that followed. Carl Ross was born in Hancock only hours before the strike erupted. His father was a printer for Työmies. I had the good fortune to meet Carl and work with him for some twenty years. Carl spoke often of the strike—of what it meant for him, his family, and the radical Finnish community in Superior, Wisconsin, where he grew up. I had never heard of the Copper Country strike before I met Carl, but what I heard about that strike resonated with some of my own experiences. I grew up in New Castle, Indiana, a town that left-wing journalist I.F. Stone called a “labor citadel” in the midst of hostile territory. I want to use these two recollections, Carl’s 1913 Strike reminiscences and my memories of New Castle, to talk about how some strikes carry a moral vision of enormous importance. The presentation will have three parts. In the first part I will relate a little of what Carl had to say about the Copper Country Strike. In the second part I will talk about strikes of my own experience. In the final part, I will talk about the differences in the structures of labor movements and the ethical implications of those differences.

Governor Tom Judge: Early Years - The Path to Becoming Montana's 18th Governor -- Sidney Armstrong, Larry Pettit & Kent Kleinkopf “In the Crucible of Change”

The dramatic period of progressive change in Montana that is documented "In the Crucible of Change" series really exploded with the election of Governors Forrest Anderson and Tom Judge. Anderson's single term saw the dispatching of the sales tax as an issue for a long period, the reorganization of the executive branch of state government and the revision of Montana's Constitution. As a former legislator, county attorney, Supreme Court justice, and Attorney General, Anderson brought unmatched experience to the governorship when elected. Tom Judge, although much younger (elected MT’s youngest governor at age 38 immediately following Anderson), also brought serious experience to the governorship: six years as a MT State Representative, two years as a MT State Senator, four years is Lieutenant Governor and significant business experience. The campaign and election of John F. Kennedy in 1960 spurred other young Americans to service, including Tom Judge. First elected in 1960, he rose rapidly through MT’s political-governmental hierarchy until he took over the governorship in time to implement many of the changes started in Governor Anderson’s term. But as a strong progressive leader in his own right, Governor Judge sponsored and implemented significant advancements of his own for Montana. Those accomplishments, however, are the subject of other films in this series. This film deals with Tom Judge’s early years – his rise to the governorship from when he returned home after college at Notre Dame and newspaper experience in Kentucky to his actual election in November 1972. That story is discussed in this episode by three major players in the effort, all directly involved in Tom Judge’s early years and path to the governorship: Sidney Armstrong, Larry Pettit and Kent Kleinkopf. Their recollections of the early Tom Judge and the period of his advancement to the governorship provide an insider’s perspective of the growth of this significant leader of the important period of progressive change documented “In the Crucible of Change.” Sidney Armstrong, President of Sidney Armstrong Consulting, serves on the board and as the Executive Director of the Greater Montana Foundation. Formerly Executive Director of the Montana Community Foundation (MCF), she has served on national committees and participated in national foundation initiatives. While at MCF, she worked extensively with MT Governors Racicot and Martz on the state charitable endowment tax credit and other endowed philanthropy issues. A member of MT Governor Thomas L. Judge’s staff in the 1970s, she was also part of Governor Brian Schweitzer’s 2004 Transition Team, continuing to serve as a volunteer advisor during his term. In the 1980s, Sidney also worked for the MT State AFL-CIO and the MT Democratic Party as well as working two sessions with the MT Senate as Assistant Secretary of the Senate and aide to the President. A Helena native, and great granddaughter of pioneer Montanans, Sidney has served on numerous nonprofit boards, and is currently a board member for the Montana History Foundation. Recently she served on the board of the Holter Museum of Art and was a Governor’s appointee to the Humanities Montana board. She is a graduate of the International School of Geneva, Switzerland and the University of Montana. Armstrong's Irish maternal immigrant great-grandparents, Thomas and Maria Cahill Cooney, came to Virginia City, MT in a covered wagon in 1865, looking for gold. Eventually, they settled on the banks of the Missouri River outside Helena as ranchers. She also has roots in Butte, MT, where her journalist father's family, both of whom were newspaper people, lived. Her father, Richard K. O’Malley, is also the author of a well-known book about Butte, Mile High, Mile Deep, recently re-published by Russell Chatham. She is the mother of four and the grandmother of eight. Dr. Lawrence K. Pettit (Larry Pettit) (b. 5/2/1937) has had a dual career in politics and higher education. In addition to being Montana’s first Commissioner of Higher Education (the subject of another film in this series); Pettit, of Lewistown, served as legislative assistant to U.S. Senators James E. Murray and Lee Metcalf, campaign manager, head of transition team and assistant to Montana Governor Thomas L. Judge; taught political science at The Pennsylvania State University (main campus), was chair of political science at Montana State University, Deputy Commissioner for Academic Programs at the Texas Higher Education Coordinating Board, Chancellor of the University System of South Texas (since merged with Texas A&M University), President of Southern Illinois University, and President of Indiana University of Pennsylvania from where he retired in 2003. He has served as chair of the Commission on Leadership for the American Council on Education, president of the National Association of (University) System Heads, and on many national and state boards and commissions in higher education. Pettit is author of “If You Live by the Sword: Politics in the Making and Unmaking of a University President.” More about Pettit is found at http://www.lawrencekpettit.com… Kent Kleinkopf of Missoula is co-founder of a firm with a national scope of business that specializes in litigation consultation, expert vocational testimony, and employee assistance programs. His partner (and wife of 45 years) Kathy, is an expert witness in the 27 year old business. Kent received a BA in History/Education from the University of Idaho and an MA in Economics from the University of Utah. The Kleinkopfs moved to Helena, MT in 1971 where he was Assistant to the Commissioner of State Lands (later Governor) Ted Schwinden. In early 1972 Kent volunteered full time in Lt. Governor Tom Judge’s campaign for Governor, driving the Lt. Governor extensively throughout Montana. After Judge was elected governor, Kent briefly joined the staff of Governor Forrest Anderson, then in 1973 transitioned to Judge’s Governor’s Office staff, where he became Montana’s first “Citizens’ Advocate.” In that capacity he fielded requests for assistance from citizens with concerns and information regarding State Agencies. While on the Governor’s staff, Kent continued as a travel aide with the governor both in Montana and nationally. In 1977 Kent was appointed Director of the MT Department of Business Regulation. That role included responsibility as Superintendent of Banking and Chairman of the State Banking Board, where Kent presided over the chartering of many banks, savings and loans, and credit unions. In 1981 the Kleinkopfs moved to Missoula and went into the business they run today. Kent was appointed by Governor Brian Schweitzer to the Board of the Montana Historical Society in 2006, was reappointed and continues to serve. Kathy and Kent have a daughter and son-in-law in Missoula.

Montana In the 1970’s: Seen Through a Reporter’s Eyes -- Chuck Johnson “In the Crucible of Change”

It has been said that “journalism is the first rough draft of history.” If that be the case, much of Montana’s history since 1970 was first written by Chuck Johnson. He has covered the activities of 20 regular sessions of the Legislature plus an untold number of Special Sessions, the Constitutional Convention, nine Governors, eight US Senators and seven US Congressmen. Primary elections, general elections, state and national Party Conventions have been seen by Montanans through Johnson’s prism. Big and little news about policy, insights about politics, and a sense of the people behind the news (and history) has flowed from Chuck Johnson’s pen. Johnson’s first decade as a journalist coincides substantially with the period of “In the Crucible of Change.” Having been one of those who wrote the first draft of much of the history in the series “In the Crucible of Change,” and as “Dean of Montana’s Capitol Reporters,” Chuck’s reflections and insights about the period are conveyed in this film with a maturity and understanding that can only come from one who has spent decades honing is craft to perfection. Chuck Johnson is a journalist who has covered Montana state government and politics since 1970. Since 1992, he has been bureau chief of the Lee Newspapers State Bureau in Helena, writing for the Lee daily newspapers: the Billings Gazette, The Montana Standard (Butte), Helena Independent Record, The Missoulian, and the Ravalli Republic (Hamilton). Johnson, a Great Falls native raised in Helena, was exposed to politics early on when he was taken up to the Legislature one night to watch the debate on the raging issue of the day--whether stores should be allowed to give trading stamps to customers. He received a B.A. in journalism and an M.A. history from the University of Montana. Johnson spent a year studying politics and economics at Oxford University in England on a Rotary Foundation scholarship. He previously was chief of the Great Falls Tribune Capitol Bureau and worked for the Associated Press, Missoulian and Helena Independent Record. Chuck and his wife Pat reside in Helena.

Decolonising the Mind: Nationalismus im Rundfunk in Namibia und Zambia

In diesem Aufsatz wird die Rolle des Radios im Dekolonisierungsprozess analysiert. Anhand zweier Beispiele – Namibia und Zambia – wird die Vermittlung eines afrikanischen Nationalismus untersucht, der sich nach der Unabhängigkeit in Bemühungen zum nation building niederschlug. Das Radio nahm (und nimmt) als wichtigstes Massenmedium in afrikanischen Staaten dabei insofern eine zentrale Rolle ein, als die jeweiligen Ideologien über dieses Medium an eine Bevölkerung übermittelt werden sollten. Im Beitrag werden nicht nur die jeweiligen Politiken analysiert, sondern auch die Rolle und Eigenwahrnehmung der Journalisten / innen und die Programme selbst. Die Widersprüche zwischen gewünschter Politik, vorhandener Infrastruktur, Vorstellungen der Journalist/innen und den Hörerwünschen machten die Vermittlung nationalistischer Politik sowie die Herstellung eines virtuellen nationalen Raumes im Radio zu komplexen Prozessen, die nicht immer gelingen konnten.

Alessandro Baricco: A Modern Homer / Alessandro Baricco: Omero Modern

Alessandro Baricco is an Italian author, pianist, journalist and music critic, among a wide range of many other talents. His novels have won great critical acclaim in Italy and France and are popular around the world. While generally considered among the postmodern writers, some critics have accused him of being a forerunner in a 1990s movement dubbed letteratura giovanile, that is juvenile literature that is simplistic, targets a young audience and is created for the sole purpose of making money. This criticism is unwarranted. Baricco is a multitalented author who pays strict attention to the quality of his work and weaves plotlines replete with a diverse set of genres, literary devices and symbolism, often inspired by other great writers and thinkers. However, literary critics have yet to acknowledge one of Baricco's strongest and most important influences: Homer, the ancient Greek bard and author of the epic poems, the Iliad and the Odyssey. Taking Baricco's work in a Homeric context can aid in viewing it as valid and important work, worthy of scholarly discussion and interpretation, rather than, as some critics accuse, a one-dimensional story meant only for children. This paper will argue that Baricco's work is Homeric and, in fact, Baricco's implementation of many of Homer's devices, such as his understanding of his audience and use rhythmic language and stereotyped story patterns, has aided Baricco's great success and popularity.