Literary Journalism

En este ensayo, Cesar Vallejo en Madrid en 1931, Carlos Fernández y Valentino Gianuzzi analizan y tratan de reconstruir el periodo comprendido entre el 30 de diciembre de 1930 y el 12 de febrero de 1932, que constituye el lapso de tiempo más extenso que César Vallejo vivió en Madrid.

Mass media studies, covering journalism, news and facts. Its dynamic coverage is growing rapidly, starting from the era of the invention of the printing press to the industrial revolution 4.0. The presence of digital media or online media, shifting print media with paper-based materials, does not affect journalists and facts, only makes it easier for them to process for the perfection of the news and facts contained in it. Good skills are needed, from a journalist, through formal university education, to courses that make them more skilled and reliable in producing quality news, with adequate empirical facts and opinions. ABSTRAK Studi media massa, mencakup jurnalisme, berita dan fakta. Cakupannya yang dinamis bertumbuh pesat, dimulai sejak era penemuan mesin cetak hingga revolusi industry 4.0. Kehadiran media digital atau juga media online, menggeser media cetak dengan bahan dasar kertas, tidak mempengaruhi jurnalis dan fakta, hanya memudahkan mereka berproses untuk sebuah kesempurnaan berita dan fakta yang terdapat di dalammnya. Diperlukan kemampuan yang baik, dari seorang jurnalis, melalui pendidikan formal universitas, hingga kursus-kursus yang menjadikan mereka bisa lebih terampil dan dapat diandalkan melahirkan beritayang berkualitas, dengan suguhan fakta empiric dan opini yang memadai.

Pričujoče delo analizira različne načine poročanja o kriznih razmerah, kjer se novinarji in novinarke soočajo z množičnimi kršitvami človekovih pravic. Vsi ti dogodki, o katerih naj bi mediji poročali, imajo skupno točko – od novinarja ali novinarke se nujno zahteva, da se postavi na stran tistih, ki so jim kršene človekove pravice. Realnost pa je drugačna. Sledeč načelu o t. i. objektivnosti poročanja, novinarji in novinarke pogosto relativizirajo položaj ljudi, ki so jim kršene pravice, in njihovim izjavam oz. položaju dodajajo izjave običajno uradnih virov. Temelj analize je pisanje novinarjev, ki so na zavzet in subjektivno naravnan način z jasno idejo o predstavljanju položaja diskriminiranih skupin poročali drugače. Analiza temelji na eni strani na poročanju Georgea Orwella, Johna Simpsona, Michaela Herra in Edwarda Murrowa ter v slovenskem medijskem prostoru Boštjana Videmška, Adija Omerovića, Boštjana Anžina in Boruta Krajnca. Delo se osredotoča na primere dobrih praks tovrstnega poročanja, ki imajo dolgo zgodovino v svetovnem novinarstvu.

In his introduction to Palestinian Walks, Raja Shehadeh remarks that in spite of the great number of travelers to Palestine, travel literature, for the most part, willfully ignored the living experience and existence of the land’s inhabitants. Often, Palestine was the imaginary place that
was continuously invented to confirm religious and political beliefs. The Biblical imagination, along with the orientalist gaze, informed the accounts, and anything that did not correspond to the preconceived repertoire was quickly discarded. The native inhabitants were the first victims. At best professed the savage other, they were not considered the land’s rightful owners. Palestine was symbolically colonized in the Western imagination long before the British mandate. This vanishing homeland is a subject that dominates Shehadeh’s nonfiction narrative. Accounts of his walks expose parts of his homeland’s beauty and rewrite the Palestinian presence in its place, providing a counter-narrative to the Biblical imagination.

This is a story about stories. Who writes them. Who owns them and what happens when the two things get muddled. It’s a story about true stories, life stories, stories written by amateurs
and professionals. It sounds a warning to the growing number of readers who aspire to publish their own memoirs, and those who write the lives of others.

Najnowsza książka Hugo-Badera, mimo że realizuje dwa przeplatane gatunki dziennika i swobodnej reporterskiej impresji, jawi się jako prawdziwy reportaż. Dzieje się tak w dużej mierze za sprawą przestrzennej osi utworu, jaką jest Trakt Kołymski -przestrzeń kondensacji zdarzeń i czasów

Literary Journalism Studies, vol. 8, n°2, Fall 2016, p. 64-73.
Françoise Giroud (1916–2003) was the joint founder, with Jean-Jacques Servan-Schreiber, of L'Express. She was the managing editor until 1974 and gained political recognition when she became the secretary of state for women's affairs, 1974–1976. This article revisits Giroud's work, at a time when French journalism seemed particularly moribund from a literary point of view. In the aftermath of the Second World War, the purge of the press and the trauma of the Holocaust contributed to new and increasingly widespread protocols of journalistic writing in France, founded on a search for objectivity and neutrality. Giroud clearly stated that journalistic writing differs from literature: " Journalism is a technique; it is not an art, nor a pale copy of literature, as is sometimes believed. " But her attitude is more ambiguous than one might think, as she wrote novels, many biog-raphies, published a whole series of diaries, and several collections of her articles. Yet in the preface to Portraits sans retouches (Portraits without Revisions , 2001), she does not shy away from stating, slightly paradoxically, the following: " The articles are written quickly to be read quickly and forgotten quickly. " In fact, Giroud's articles merit a literary evaluation because they should be understood in the context of the long heritage of French literary journalism. I will thus go back to the schools of Giroud, which shaped her practice of literary journalism, before outlining some of its principles. Within the framework of this article, I will focus in particular on one of the techniques of subjectification, which I call journalistic enallage.

Review by Barbara Rixstine It's two hours to deadline. Your fingers are tapping the keys, but the words in your head seem to have taken a holiday. This seems like the trillionth story you've had to put together on deadline this week, and there's nothing but dust where your creative flow used to be. Sound familiar? Cheer up-there's help to be had at the local bookstore. Telling True Stories is a compendium of articles about writing, reporting, news, and the newsroom. It could be a good, inexpensive resource for both the novice and the experienced writer in need of a little journalistic kick-start to rev up his or her own news story. Written by journalist s for journalists, the book helps writers and editors think about the work they're doing, why they do it, what may be missing from a story, and how a story might be written differently. It includes experiences in the editing trenches, a storyteller's lexicon, and on-the-road reporting.

Fake news is hardly new in journalism, and a sense of historical perspective is clarifying. A thumbnail history in Columbia Journalism Review has pointed to some superficial similarities in hoaxing over the ages “in editorial motive or public gullibility, not to mention the blurred lines between deliberate and accidental flimflam.” It cautions that “the great fake news panic of 2016” is an overreaction to “macro-level trends” that do not indicate real, significant changes in the media. But before agreeing to shrug off the significance of this recent spate of hoaxing, it is worth reviewing the history more carefully.

Nella primavera del 1941, Curzio Malaparte si trova nei Balcani, corrispondente di guerra del Corriere della Sera. Il 7 aprile il quotidiano gli pubblica un articolo dal titolo eloquente, « Attraverso la Jugoslavia con l'ultimo "Oriente Espresso" », in cui lo scrittore descrive la mobilitazione delle forze reali jugoslave. Il giorno precedente, che le popolazioni locali ricorderanno nei decenni successivi come "giorno di San Vito", le potenze dell'Asse avevano lanciato l'invasione della Jugoslavia di re Karadjordjević.

The novel of Jasper Jones is enriched with main and secondary themes, among which emerge the coming of age, the escapism and the suicide. Reporter Chiara Pucci explains how each one is the cause of the other.
“Many of us have learnt to be adult rather than grown up.” These are the words pronounced by writer Craig Silvey when it came to describe the aim of his book. Coming of age is not for everyone, since being in their own bubble is much more comfortable than putting into doubt all their myths.
As long as our bubble bursts, we will have just begun to grow up. Growing up means leaving our own innocence, it means opening our eyes to what the world really is and to what is really happening out there. Growing up means standing out from the comfort-zone of safe ignorance and acting bravely through exposing our mind to knowledge and learning as well as letting our beliefs and traditions flourish.
In Jasper Jones, the reader is immediately inserted in the exact moment in which Charles Bucktin’s innocence fades away for the first time.
Since the Jasper-Jones-came-at-my-window night, the reading continues leading the spectator in a progressive maturity of the protagonist, together with Elizabeth Wishart, Jeffrey Lu and Jasper Jones. At the same time, the writer opposes these growths to the never-lasting infancy of these characters’ parents, in addition to roughly all the inhabitants of Corrigan.

América Latina se ha convertido, por derecho propio, en el  epicentro  del  mejor  periodismo  narrativo  en  habla  hispana  debido  a  la  confluencia  de  diversos  fenóme-nos. El catedrático Antonio López Hidalgo, coordinador de  la  obra,  pretende  dar  respuesta  a  estos  fenómenos  y  a  los profundos  cambios  e  innovaciones  que  está  aportando  el  pe-riodismo narrativo en esta región. Para ello ha agrupado bajo el título Periodismo narrativo en América Latina a nueve de los más destacados  investigadores  en  esta  área:  Javier  Darío  Restrepo,  Patricia  Poblete  Alday,  José  Eduardo  Serrato  Córdova,  Steven  Bermúdez Antúnez, Edvaldo Pereira Lima, Amber Workman, Mar-cela  Aguilar  Guzmán,  Dolors  Palau-Sampio  y  el  propio  Antonio  López Hidalgo

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A partir do diagnóstico de um afastamento entre o público geral e o universo das instituições de ensino e pesquisa, os estudos em Comunicação e percepção pública da ciência buscam soluções para que essa situação se reverta – processo em que o Jornalismo possui papel fundamental. Neste artigo, realizamos um estudo discursivo de dois modelos jornalísticos – o mais difundido na imprensa brasileira, baseado na estrutura do lead e da pirâmide invertida, e o literário, que se serve de técnicas narrativas – para caracterizá-los como gêneros distintos e indicar as implicações de seus pressupostos ao tratar de ciência e tecnologia. Considera-mos que o Jornalismo literário, focado no processo e no cotidiano, apresenta-se potencialmente mais adequado a descrever o que Latour chama de “ciência em construção”, que proporciona ao leitor uma visão mais crítica, enquanto o modelo pirâmide, focado nos resultados, tende ao reducionismo e precipitação.

-Discusses the influence of Slow philosophy, Slow Food movements, and social and environmental policy on principles and practices as they relate to media
- Offers a new ethical framework, rooted in sustainability, for the production and consumption of news media and digital devices
- Provides insight on media non-use and renegotiating media habits through mindfulness
- Introduces emerging vocabulary such as Slow Media, Mindful Media, and Green Media

O jornalismo literário, gênero que se apropria de técnicas literárias para a narração de fatos, tem reconquistado espaço teórico e editorial no Brasil. As definições do texto que se enquadra na catego-ria, contudo, são díspares e em geral trazem o ponto de vista da hermenêutica. Este artigo pretende lançar algumas bases para a caracterização do gênero e sua diferenciação do jornalismo convencional, de acordo com a classificação estruturalista de Roland Barthes sobre as funções textuais, bem como discutir a função do jornalismo literário de preservar detalhes da atualidade e narrar a história do presente, preenchendo lacunas deixadas pela cobertura cotidiana.

***

Literary journalism, a genre that gathers literary techniques and the narration of facts, has reconquered a theoretical and editorial space in Brazil. The definitions for a text which would be fit into this category, however, are diverse and in general bring upon a hermeneutical view. This article sights to bring forth bases to characterize the genre and differ it from conventional journalism, according to structuralist classification by Roland Barthes on text functions, as well as discuss literary journalism's vocation to preserve details from casual life and narrate a present History, filling gaps left by daily news.

La pasión según Trelew (1973) de Tomás Eloy Martínez forma parte de la historia de censura durante las dictaduras en América Latina y representa un modelo de crónica que continúa ejerciendo influencia en el periodismo latinoamericano. El objetivo de esta ponencia es evidenciar los mecanismos discursivos que permiten trascender el papel de la entrevista periodística como mera técnica de investigación y considerarla un recurso de credibilidad mediante el cual se representa y legitima el testimonio tanto del informante como del autor. Con base en las reflexiones de Martínez sobre historia, periodismo y literatura, en este texto se propone que la crónica es un medio alternativo de información en tiempos de censura y que el proceso de investigación periodística que la genera es un vehículo para la memoria y la creación.

Literary review of a book on practical permaculture. Wisconsin farmer Mark Shepard argues persuasively that “restoration agriculture”—a style of farming that models itself after the natural ecosystems of the Midwest rather than a manufacturing facility—can not only restore biodiversity but provide better nutrition and a better economic foundation for our communities.

Th is article argues that throughout the 1950s and 1960s the communist-sponsored Arabic literary journal al-Jadid played a central role in creating a Palestinian-Arab counterpublic within Israel by challenging Zionist discourses and championing Arab and Palestinian causes. As a result, when Palestinian writers, activists and intellectuals in Israel were reconnected with Palestinians outside Israel after the 1967 War, they played a vital role in the development of a broader Palestinian public sphere that emphasized perseverance, ties to the land, and resistance to Zionist hegemony. Th rough content analysis of over 140 issues of al-Jadid published between 1953 and 1967, this article demonstrates al-Jadid 's signifi cant role in communicating politically subversive discourses to an increasingly literate public living under military rule, as well as its part in the social circulation of these discourses in the region following the 1967 War. In doing so, it sheds new light on the nexus of media, literature and nationalism in the Palestinian context.

The New Journalism generates massive terminological confusion regarding what it represents. In general, it is usually associated with any stylistic innovation in journalism, which leads to numerous errors and confusion in the field of communication. As a result, specialized researchers or students do not have a clear idea of what the New Journalism constitutes. In this research, we try to answer the question of what the New Journalism is, what its origins are, the time period during which this phenomenon existed, if it had any influence in Spain, and as such, whether or not we can talk about the New Journalism in Spain. In order to obtain answers, we investigated the narrative journalism phenomenon, which has given us a wider view of the issue in order to put the New Journalism in context and provide a clear classification of this phenomenon. Resumen: El Nuevo Periodismo genera una enorme confusión terminológica en cuanto a qué representa. En líneas generales se suele asociar a cualquier innovación estilística en periodismo. Esto conlleva numerosos errores y confusiones en el ámbito comunicativo, y por ende, investigadores especializados o estudiantes en formación no reciben una imagen clara de lo que representa. En esta investi-gación planteamos dar respuesta a qué podemos denominar, con propiedad, Nuevo Periodismo, cuál fue su origen y qué periodo temporal abarca este fenómeno y si tuvo alguna influencia en España y por tanto podemos hablar de un Nuevo Periodismo es-pañol. Para obtener estas respuestas recurriremos al fenómeno del periodismo narrativo, que nos dará una visión más global para poder ubicar el Nuevo Periodismo en su contexto y aportar una clasificación coherente sobre este fenómeno.

El periodismo narrativo ha experimentado un auge importante en Latinoamérica, al calor del llamado boom de la crónica latinoamericana. A nivel más modesto, en el ámbito español, ha logrado un particular impulso de la mano de editoriales especializadas. El objetivo de este trabajo es contrastar puntos de vista, temáticas, influencias y publicaciones entre periodistas españoles y latinoamericanos. Metodología. El estudio parte de entrevistas en profundidad a 22 destacados representantes del periodismo narrativo de España, Argentina y Chile. Resultados y conclusiones. Pese a la diversidad de denominaciones, los periodistas de ambas latitudes coinciden al identificar las claves del género y apuntan las dificultades para su desarrollo, por la falta de espacios en la prensa convencional, que han absorbido el libro y las revistas. A la versatilidad temática se suman algunas diferencias entre autores españoles y latinoamericanos, tanto al abordar la estructura narrativa como en la reciprocidad de las referencias profesionales.

New Journalism as a stage or a method of journalism that uses storytelling, like one would to a friend; thus, exhibiting a palpable individual voice. The new journalism, somewhat of a fledgeling genre, balances both literary and journalistic methods. In the dissertation I will analyse this fusion form with close reference to the compositions of the new journalist, Joan Didion. Even though New Journalism tends to be largely autobiographical, we cannot help but notice how compulsively she wrote of herself – almost as if publishing these works would be cathartic – which they perhaps were. Didion simply reveals her emotional susceptibility, then moves on. With emphasis on two essays, “Some Dreamers of the Golden Dream” and "On Self-Respect” both of which can be found in her most popular book that has been mentioned earlier – “Slouching Towards Bethlehem”, this dissertation will explore how she contributed in her own powerful way, to the chaotic records of
the New Journalism movement.

Un "Cuadro Resumen" que registra, caracteriza y ordena ochocientas cincuenta (850) piezas textuales creadas por Salarrué para imprimirse en las planas del periódico «PATRIA» [1928-1938], se presenta en esta publicación. Este conjunto de «Inscripciones Salarruerianas» en «PATRIA» fueron recopiladas, cotejadas y sistematizadas bajo cánones académicos durante poco más de 10 años de investigación en instituciones culturales y educativas salvadoreñas. Se trata de una herramienta para la investigación que contiene el acervo más completo que da cuenta de la inserción y el aporte del insigne escritor salvadoreño en el memorable rotativo.

Surveying the integration of multimedia technologies into longform online journalism, Jacobson, Marino, and Gutsche in 2016 described a new wave of digital literary journalism, marked by flagship works such as the New York Times's 2012 "Snow Fall." Less attention has been paid to the implications for digital literary journalism of longform audio storytelling, which proliferated following the extraordinary success of the narrative podcast, Serial, in 2014. This study analyzes how key characteristics of literary journalism can be mapped to the Peabody Award-winning 2017 narrative podcast, S-Town, produced by the same organization that created Serial. S-Town examines the life and death of an eccentric genius, John B. McLemore, and the small Alabama community he has come to loathe. This analysis argues that host and author Brian Reed, in his revelatory seven-hour exploration of McLemore's complex psyche and insular environment, uses literary journalism techniques as identified by Norman Sims, Mark Kramer, and Robert S. Boynton, and conforms to a matrix Jacobson, Marino, and Gutsche adapted for their 2016 study of longform digital journalism. S-Town was downloaded forty million times within a month of publication, eclipsing by tenfold the response to "Snow Fall" and breaking records for podcast engagement. The narrative podcast form offers a new aural model of digital literary journalism, one that opens up innovative possibilities to extend the genre's reach and impact.  This article won the John C. Hartsock award for best article published in the journal Literary Journalism Studies in 2021. The award is made annually by the International Association for Literary Journalism Studies.

LIKE THE BIBLICAL story of Christ’s birth, Geraldine Brooks’ 'Nine Parts of Desire: The Hidden World of Islamic Women' begins with a woman refused a room at an inn. In Brooks’ tale, the ‘inn’ is a modern hotel in the Saudi Arabian city of Dhahran in the early 1990s, where the Australian journalist is on assignment for the Wall Street Journal. She is refused a room not because she is pregnant – she isn’t – nor because the hotel is fully booked; rather, it is contrary to the laws of the desert kingdom for a woman to travel without her husband. Only a prostitute would do so, as the male receptionist implies. When the affronted traveller tries to bed down on a sofa behind a plant in the lobby, the police are called.

Parijs, tot halverwege de 20ste eeuw het onbetwiste centrum van de Europese cultuur, heeft van oudsher een grote aantrekkingskracht uitgeoefend op Nederlandse kunstenaars en schrijvers. Velen van hen verbleven er kortere of langere tijd, op zoek naar internationale erkenning.
De vrijere seksuele moraal en het gunstige artistieke klimaat maakten de stad in vergelijking met Nederland tot een kunstenaarsparadijs. Deze ontwikkeling kreeg haar weerslag in het literair-journalistieke genre van de Hollander in Parijs dat in de 20ste eeuw tot grote bloei kwam, mede dankzij de groei van het toerisme naar Frankrijk. Wanneer Adriaan van Dis zich aan het begin van de 21ste eeuw in Parijs vestigt, getuigt hij van de blijvende aantrekkingskracht van de stad. Dit artikel laat zien dat Van Dis zich onderscheidt van zijn voorgangers door de gevestigde clichébeelden van Parijs kritisch te bevragen en ook de duistere keerzijde van het grotestadsleven te tonen.

Статья посвящена анализу сообщества российских профессиональных
литераторов второй половины 1850-х годов и его реакции на деятельность
цензурного ведомства. Писатели этого периода воспринимали цензоров вовсе не как оппонентов,
а как потенциальных союзников и единомышленников. Ответственность
за нарушение негласного договора, существовавшего между писателями и
цензорами, возлагалась именно на редакцию «Современника», а вовсе не
на цензуру. Такое восприятие цензуры в первой части статьи объясняется
специфическими отношениями между либеральной бюрократией и литера-
турным сообществом в начале царствования Александра II, когда обе сто-
роны надеялись на продуктивное взаимодействие. На фоне завершавшейся
эпохи «мрачного семилетия» писатели с энтузиазмом реагировали на жесты
либерального крыла правительства, демонстрировавшего готовность идти
на контакт с обществом. Материалом послужила переписка, в ко-
торой отразилась реакция писателей (преимущественно петербургских) на
эпизод 1856 г., когда публикация «Стихотворений» Н.А. Некрасова и пере-
печатка некоторых его произведений на страницах «Современника» вызвала
грандиозный скандал в цензурном ведомстве и в писательских кругах.

{Emma Schick, University of Colorado Boulder} Maisie comes back home, unexpected, on a Tuesday afternoon. One minute, you’re about to be carsick in the back of Mom’s beat up, sour smelling minivan. The next, there’s a girl on the front porch you don’t recognize. She’s smoking a cigarette and grins around it when she sees you, putting up her hand to wave.

Jurnalisme sastrawi merupakan salah satu bagian dari jurnalisme baru atau new journalism yang dicetuskan oleh Tom Wolfe pada awal 1960-an. Saat itu media cetak tengah bersaing ketat dengan popularitas siaran televisi. Sebenarnya pada tahun 1700-an sudah mulai muncul esai-esai naratif yang ditulis oleh beberapa penulis seperti Ernest Hemingway, A.J. Liebling dan Joseph Mitchell. Bahkan pada tahun 1946 John Harsey menulis Hiroshima sebanyak satu majalah penuh di majalah The New Yorker, dan berhasil meraih penghargaan Pulitzer Prize.

Εντούτοις, επιστρέφοντας και πάλι στην αθωότητα των eighties, εντοπίζουμε ένα βασικό σημείο της αντιφατικότητας που τα χαρακτηρίζει. Γιατί όσο αθώα και να είναι σε κάποιους τομείς, άλλο τόσο διεφθαρμένα είναι σε άλλους. Και το δυστυχέστερο είναι πως η αθωότητα μάς έχει πια τελειώσει, προ πολλού. Ενώ η διαφθορά μάς κατατρέχει· δεν έχει μόνο εδραιωθεί, αλλά όσο πάει και θεριεύει. Ανίατα, αισθάνομαι…

This dissertation examines the role of avant-garde networks in the development of modernist Persian fiction between the 1940s and the mid 1970s. It argues that small, independent literary journals, manifestos, and societies performed major interventions in the key literary debates of their era, particularly debates regarding the nature of mimesis and the desirability of realism, and the social responsibility of the artist. It also argues that their critical and fictional output encouraged the development of certain narrative techniques (specifically, techniques producing ontological uncertainty) that became hallmarks of modernism in Persian fiction.

The study of modern Persian literature has been dominated by methodologies which presuppose literature as a direct representation of reality, and consider the artist as a type of disguised political essayist. Fiction, in particular, has been read primarily as the Iranian intelligentsia’s depiction of the political and social crises of the times. What this dissertation offers, in contrast, is a study that prioritizes the artist’s set of aesthetic agendas, associations, and allegiances alongside the usually foregrounded political ones. In doing so, we encounter the vibrant world of Iran’s postwar modernists: a world driven by little magazines, underground art collectives, manifestoes, and competing avant-garde movements.

At the center of this project are journals such as Jong-e Isfahan (The Isfahan Anthology) and Khorus Jangi (The Fighting Cock), which, because of their oppositional stance against both the classicism of traditional Persian poetic schools and the dogmatism of socialist realism, have been sidelined by previous studies. Since these writers and critics (such as Jalil Ziapour and Abolhasan Najafi) were actively engaged with contemporary movements such as French surrealism and the nouveau roman, a comparative approach is undertaken throughout.

Finally, this dissertation examines key works from these journals and their associated artists (such as Bahram Sadeqi and Hushang Golshiri) with an eye to their usage of narrative techniques that complicate the relationship between the fictional work and objective reality -- subverting the hierarchies governing levels of reality (such as dreams, memories, and alternate worlds) as well as those governing levels of narration (such as embedded stories, letters, and found manuscripts) within the work itself.

1 PRIMERA PARTE. ESCRITURA DEL ESPACIO: LA CIUDAD COMO RELATO 7 Monsiváis y la ciudad 9 La ciudad como espacio simbólico 13 El edén subvertido: de la nostalgia al desencanto 15 La opresión sin salida: el fin de la utopía urbana 20 La desaparición de lo urbano: la ciudad posapocalíptica 24 La capital del miedo: violencia y segregación 30 Nueva Babel: desterritorialización y multiculturalidad 34 El nuevo espacio público: fragmentación, descentramiento y simultaneidad 38 Ciudad de doble signo: Horizonte popular y modernización cultural 44 SEGUNDA PARTE. ESPACIO DE LA ESCRITURA: LA CRÓNICA URBANA 55 La ciudad inabarcable: una estética del fragmento 57 Una escritura tentativa: el sentido de lo fugaz 62 Ciudad virtual, ciudad del espectáculo 68 Tras una ciudad alternativa 73 Fronteras de la escritura, escritura de las fronteras 80 Ciudad y memoria: la conquista del espacio público 86 La calle y la mirada: del flâneur al voyeur urbano 95 La ciudad como cuerpo (grotesco) 105 Festejar es territorializar: el carnaval urbano 112 Crónica e identidad: el orden (dialógico) del caos 119 NARRAR LA CIUDAD: DEL ESPACIO A LA ESCRITURA (NOTAS A MANERA DE CONCLUSIÓN) 127 BIBLIOGRAFÍA 143 Digamos que uno no tiene por qué amar aquel lugar al que pertenece, sino que uno pertenece a los lugares que ama José Manuel Fajardo hospital, burdel, cárcel, purgatorio e infierno, donde como una flor la aberración florece […] ¡te amo, oh capital infame! Cortesanos y bandidos, también soléis brindar placeres que a comprender no alcanzan los vulgares profanos Charles Baudelaire, Spleen de París (Epílogo) Leemos mal el mundo, y decimos luego que nos engaña Rabindranath Tagore Si por esta ciudad no hubiera sido, quien sabe en qué lenguaje mis palabras purgaran su reposo más terrible Sandro Cohen, Los cuerpos de la furia

“(…) o presente livro é um espelho da arrancada conceitual do campo das narrativas jornalísticas. Compõe um conjunto de artigos que revela a pioneira busca da delimitação de um objeto singular.
A diversidade e a complexidade conceitual e epistemológica aparecem aqui em distintas perspectivas, desde a positivista até a construtivista.
Desde a ótica da analise do discurso, da pragmática, da etnografia ou do ensaísmo crítico, alguns capítulos buscam descobrir as intencionalidades implícitas ou explícitas, a retórica da argumentação narrativa, como o sentido é ordenado, qual é a identidade e as relações de poder dos atores envolvidos. Outros se dedicam a revelar até que ponto o caráter mercantil dos meios influencia e modifica o conteúdo narrativo.
Mais revelador ainda do pioneirismo das reflexões aqui reunidas são os diferentes suportes objetos de estudo: o livro-reportagem, o telejornal, a mídia impressa, as redes sociais, etc., e os diferentes gêneros narrativos: o jornalismo informativo (notícias, reportagens), opinativo (redes sociais) ou interpretativo (biografias, livros-reportagem).
Retomemos a questão básica: em diferentes suportes e gêneros, a narrativa jornalística mantém uma fidelidade ao real ou se ficcionaliza?
No estágio em que nos encontramos, uma resposta genérica é impossível, precisamos verificar caso a caso. Quando acumularmos suficiente informações, talvez seja possível formular hipóteses consistentes. Por enquanto, é bom manter a curiosidade que alimenta novas indagações: a narrativa jornalística é uma representação fiel dos fatos ou se submete à força da intriga que determina a ficcionalização do real?
O leitor atento deste livro poderá observar até que ponto o campo mantém coerência interna e densidade suficiente para explicar o empírico. Os estudos da narrativa jornalística estão longe de constituir um campo particular, e mais distante ainda de alcançarem o status de uma teoria autônoma.
Creio, no entanto, que os pioneiros estudos revelam um inequívoco passo rumo a uma disciplina autônoma e promissora. Se ainda não temos a teoria, temos já uma disciplina singular.” (Excerto do prefácio de  Luiz G. Motta)