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THE FICTION OF FACT: TOWARD A JOURN...

JONES, DAN RICHARD.

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THE FICTION OF FACT: TOWARD A JOURNALISTIC AESTHETIC (NEW JOURNALISM; HERSEY, CAPOTE, WOLFE).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	THE FICTION OF FACT: TOWARD A JOURNALISTIC AESTHETIC (NEW JOURNALISM; HERSEY, CAPOTE, WOLFE)./
作者:	JONES, DAN RICHARD.
面頁冊數:	218 p.
附註:	Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2905.
Contained By:	Dissertation Abstracts International45-09A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8428255

THE FICTION OF FACT: TOWARD A JOURNALISTIC AESTHETIC (NEW JOURNALISM; HERSEY, CAPOTE, WOLFE).
JONES, DAN RICHARD.

THE FICTION OF FACT: TOWARD A JOURNALISTIC AESTHETIC (NEW JOURNALISM; HERSEY, CAPOTE, WOLFE). - 218 p.

Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2905.

Thesis (Ph.D.)--The University of Iowa, 1984.

The aesthetic dimension of the New Journalism has never been adequately assessed. This aspect of the genre is typically characterized as a function of the adaptation of literary technique to factual content. Such an approach characterizes particular texts as assemblages of facts and fictional devices, but fails to apprehend the quality of aesthetic experience as understood by readers.Subjects--Topical Terms:

1017604
American Studies.

THE FICTION OF FACT: TOWARD A JOURNALISTIC AESTHETIC (NEW JOURNALISM; HERSEY, CAPOTE, WOLFE).
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245 1 4 $a THE FICTION OF FACT: TOWARD A JOURNALISTIC AESTHETIC (NEW JOURNALISM; HERSEY, CAPOTE, WOLFE).
300 $a 218 p.
500 $a Source: Dissertation Abstracts International, Volume: 45-09, Section: A, page: 2905.
502 $a Thesis (Ph.D.)--The University of Iowa, 1984.
520 $a The aesthetic dimension of the New Journalism has never been adequately assessed. This aspect of the genre is typically characterized as a function of the adaptation of literary technique to factual content. Such an approach characterizes particular texts as assemblages of facts and fictional devices, but fails to apprehend the quality of aesthetic experience as understood by readers.
520 $a That experience is best understood as a social experience. The genre is properly characterized not as a series of texts which display a variety of technical qualities, but rather as an attempt by a culture to deal with social change. New Journalism was born during a period of cultural discohesion; a historical review reveals that similar periods of transformation have produced similar kinds of journalistic response. Relying on concepts drawn from symbolic interactionism, it is apparent that the primary need of the self during such periods of change is for symbols capable of encompassing new and unprecedented realities within the boundaries of familiar value systems. New Journalism, and new journalism generally, do not initiate change; rather, they respond to change by adapting existing symbolic forms to unfamiliar circumstances. Particular texts are perceived as shared social objects; the experience of reading such texts, which reaffirm cultural values as they reunite self and society, is best described as aesthetic.
520 $a Analyses of three texts demonstrate these concepts. John Hersey's Hiroshima is often cited as a predecessor to New Journalism. Hersey extracts from the chaos produced by the first military use of the atomic bomb a vision of order, reinforced by subtle allusions to Western value systems. Truman Capote's In Cold Blood takes an event which lies at the boundary of cultural consciousness--mass murder--and makes of it a parable, based on familiar popular images, which testifies to the resilience of American core values. Tom Wolfe's Radical Chic and Mau-Mauing the Flak Catchers converts social concerns into objects of amusement, allaying readers' fears of social disintegration and thus stabilizing the culture's symbolic environment. All three works produce satisfying aesthetic experiences for readers by rendering comprehensible, in terms of familiar symbolic strategies, otherwise anomalous events.
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