17,435 research outputs found
Die Akteursperspektive in der politischen Kommunikationsforschung – Fragestellungen, Forschungsparadigmen und Problemlagen
No full textIm Jahre 1996 wurden in „PS Political Science and Politics“, der American Political Science Association, die Papiere eines Symposiums zum Thema „Medien und Politik“ publiziert. Unter den Beiträgen dieses Heftes befindet sich ein Aufsatz von (1996) mit dem Titel „Die Massenmedien als politische Akteure“. Benjamin Page verweist darin auf einen eigenartigen Umstand: Politische Beobachter und Laien würden ganz selbstverständlich davon ausgehen, dass die Massenmedien versuchen, Politik zu beeinflussen. Man wisse doch, dass die New York Times sich für diese Positionen stark mache und das Wallstreet Journal jene Haltungen vertrete. Und doch, schrieb Page, würden die meisten Kommunikationswissenschaftler den Gedanken eines politischen Einflusses der Medien strikt von der Hand weisen. Diese Diskrepanz zwischen der Wahrnehmung der Laien und den Einsichten und Forschungsagenden der Wissenschaftler ist keine US-amerikanische Besonderheit. Es fällt auch für Deutschland nicht schwer, eine Vielzahl von Beispielen zu finden, in denen die Medien politisch wurden. Erinnern wir uns nicht mehr, dass die BILD-Zeitung vehement gegen den Euro schrieb und dass die FAZ gegen die Rechtschreibreform aufbegehrte? Aber genauso wie in den USA fiel es sowohl der Kommunikationswissenschaft als auch der Politikwissenschaft in Deutschland lange Zeit schwer, die laienhafte Beobachtung, dass die Medien eine zutiefst politische Rolle ausüben und dabei in die Rolle eines politischen Akteurs schlüpfen, in ein nachhaltiges Forschungsprogramm umzumünzen
Barbara James
No full textDate:1943Barbara was born in Holdredge, Nebraska in the United States of America in 1943. In 1960 she arrived in Darwin working in a variety of occupations such as a journalist, historian, author, activist, advocate and editor. Barbara wrote 13 books including "No Man's Land" which explored the contributions of women in the Northern Territory. She also received a number of awards including 2001 NT Heritage Award, the 2000 NT Literary Essay Awards and the Chief Minister's Women's Achievement Award in 1999.JournalistHistorianAuthorActivistEditorAmerica
[Letter from Clarence Mitchell to Barbara Jordan - October 12, 1973]
No full textLetter from Clarence Mitchell to Barbara Jordan discussing receiving the Adam Clayton Powell Award
Barbara Ras - Sowell Conference 2017
No full textBarbara Ras, San Antonio, Poet, author of "Bite Every Sorrow" and "The Last Skin
Massenmedien als Herausforderer oder Agenturen nationaler Eliten? Eine Analyse der deutschen und französischen EU-Erweiterungsdebatte
No full textDie bisherige Erfolgsgeschichte europäischen Regierens beruht auf der Nicht-Öffentlichkeit hochgradig politischer Prozesse (Brüggemann 2002: 1), hat sich doch die Integration Europas weitgehend hinter verschlossenen Türen abgespielt. Diese Form der Integration stößt an ihre Grenzen. Die Zeit, in der die Bevölkerung der Elite freie Hand ließ, ist vorbei. Der „permissive Konsens“ sinkt (Carey 2001: 2) und wandelt sich zu einer „reluctant acceptance“ (Mittag/Wessels 2003: 416) oder gar zu einer Ablehnung weiterer Integrationsschritte. Offenkundig wird dies nicht nur im spektakulären „Nein“ der Franzosen und Niederländer zur EU-Verfassung, sondern auch in der rückläufigen Beteiligung bei Europawahlen und in den gewaltigen Einstellungsunterschieden zwischen Elite und Bevölkerung bezüglich der europäischen Integration in allen Mitgliedsstaaten (Mittag/Wessels 2003: 418)
Exclusive interview with author Barbara Kingsolver
No full textExclusive interview with author Barbara Kingsolver for her 2018 novel *Unsheltered
Récession et changements structurels en Pologne
No full textLipowski Adam, Despiney Barbara. Récession et changements structurels en Pologne. In: Revue des études slaves, tome 62, fascicule 4, 1990. pp. 921-938
Dataset for publication: Post‐war architecture and urban planning as means of reinventing Opole’s past and identity
No full textThe collection includes files related to the publication: Barbara Szczepańska, Post‐War Architecture and Urban Planning as Means of Reinventing Opole’s Past and Identity, „Urban Planning”, Vol 8, No 1 (2023): Bombed Cities: Legacies of Post-War Planning on the Contemporary Urban and Social Fabric, pp. 266-278, https://doi.org/10.17645/up.v8i1.6079. The collection includes figures used in the publication:Opole_plan A plan of Opole, with areas of Ostrówek (left), Market Square (center) and Central Square (right) highlighted in red. Originally published in: "Guidebook to the city of Opole" ("Przewodnik po mieście Opolu", Opole: Księgarnia Opolska, 1948, https://polona.pl/preview/2f383a4a-5e9e-444d-9e94-366b8ac8610d). Author: Z. Streer. Licence: CC0Opole_Monument to the Opole Silesian Fighters for Freedom A photograph depicting Monument to the Opole Silesian Fighters for Freedom (Pomnik Bojownikom o Wolność Śląska Opolskiego) in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_monument of Kazimierz I Opolczyk A photograph depicting the monument of Kazimierz I Opolczyk in the Market Square in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_Market Square_eastern frontage A photograph depicting eastern frontage of the Market Square in Opole. Author: Barbara Szczepańska. Licence: CC0Opole_Market Square_eastern frontage_before 1945 A photograph depicting eastern frontage of the Market Square in Opole before 1945. Originally published on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Market_Square_in_Opole,_eastern_frontage.jpg. Author: unknown. Licence: CC0Opole_monument of Frederick the Great A photograph depicting monument of Frederick the Great in Opole, before 1945. Originally published on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Opole_Oppeln_Denkmal_Friedrich_der_Große.jpg. Author: unknown. Licence: CC0</ul
Adam Bede: Author, Narrator and Narrative
No full textReaders of novels seem to have a natural, almost instinctive, tendency to perceive the voices of the author and the omniscient narrator as being one and the same. This tendency is even stronger when the narrator is blatantly intrusive, frequently inserting his own opinions into the objective narrative material of the novel. And although there are certainly some novelists who truly intend their narrative voices to be perceived as their own, this is not the case with George Eliot in Adam Bede.
In analyzing the narrative voice in this particular novel, I was struck by the almost total agreement, on the part of the critics, that there is a distinction in Eliot\u27s work between the author and the narrator. In fact, Barbara Hardy goes one step further and makes a case for a third category, discriminating between characters who tell their stories, the narrator who does everything but tell his or her story, and the reticent author whose name never appeared on the cover or title-page.! For the purposes of this study, I will be using categories which are basically parallel to Hardy\u27s, though my third category differs somewhat: (1) the author - Mary Ann Evans, (2) the narrator - George Eliot, and (3) the narrative itself.
Any serious student of English literature knows that \u27George Eliot\u27 is the pseudonym for Mary Ann Evans, but the fact was hardly common knowledge to the readers of Adam Bede in 1859. The newly-published novel was an immediate success, selling thirteen thousand copies in the first year, and two thousand copies in the first month alone. A comment by Elizabeth Gaskell, the Victorian novelist and biographer of Charlotte Bronte, humorously reflects both the mystery of the author and the popularity of the novel: \u27I have had the greatest compliment paid me I ever had in my life. I have been suspected of having written Adam Bede\u27.2 While I do not wish to elaborate on the historical facts surrounding the mystery of the author hiding behind this pen name, it is important to try to understand why Mary Ann Evans chose to let George Eliot narrate Adam Bede, rather than speaking through her own authorial voice.
The use of pseudonyms has been fairly common practice throughout the history of English literature, particularly among female writers who felt the need to disguise themselves behind a man\u27s name. Just a decade earlier, the Bronte sisters had published novels and a book of poetry in the names of Acton, Currer and Ellis Bell. Pseudonyms create a situation in which the relationship between the author and the work is reserved, and the fiction creates a reality, rather than reality creating fiction. Or as Michael Ginsburg explains it, \u27The author who chooses to use a pseudonym wants to upset the normal relationship according to which he is the father of his works; he wants to be himself an offspring of his own imagination
Adam Bede: Author, Narrator and Narrative
No full textReaders of novels seem to have a natural, almost instinctive, tendency to perceive the voices of the author and the omniscient narrator as being one and the same. This tendency is even stronger when the narrator is blatantly intrusive, frequently inserting his own opinions into the objective narrative material of the novel. And although there are certainly some novelists who truly intend their narrative voices to be perceived as their own, this is not the case with George Eliot in Adam Bede.
In analyzing the narrative voice in this particular novel, I was struck by the almost total agreement, on the part of the critics, that there is a distinction in Eliot\u27s work between the author and the narrator. In fact, Barbara Hardy goes one step further and makes a case for a third category, discriminating between characters who tell their stories, the narrator who does everything but tell his or her story, and the reticent author whose name never appeared on the cover or title-page.! For the purposes of this study, I will be using categories which are basically parallel to Hardy\u27s, though my third category differs somewhat: (1) the author - Mary Ann Evans, (2) the narrator - George Eliot, and (3) the narrative itself.
Any serious student of English literature knows that \u27George Eliot\u27 is the pseudonym for Mary Ann Evans, but the fact was hardly common knowledge to the readers of Adam Bede in 1859. The newly-published novel was an immediate success, selling thirteen thousand copies in the first year, and two thousand copies in the first month alone. A comment by Elizabeth Gaskell, the Victorian novelist and biographer of Charlotte Bronte, humorously reflects both the mystery of the author and the popularity of the novel: \u27I have had the greatest compliment paid me I ever had in my life. I have been suspected of having written Adam Bede\u27.2 While I do not wish to elaborate on the historical facts surrounding the mystery of the author hiding behind this pen name, it is important to try to understand why Mary Ann Evans chose to let George Eliot narrate Adam Bede, rather than speaking through her own authorial voice.
The use of pseudonyms has been fairly common practice throughout the history of English literature, particularly among female writers who felt the need to disguise themselves behind a man\u27s name. Just a decade earlier, the Bronte sisters had published novels and a book of poetry in the names of Acton, Currer and Ellis Bell. Pseudonyms create a situation in which the relationship between the author and the work is reserved, and the fiction creates a reality, rather than reality creating fiction. Or as Michael Ginsburg explains it, \u27The author who chooses to use a pseudonym wants to upset the normal relationship according to which he is the father of his works; he wants to be himself an offspring of his own imagination
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