The creative personality of a journalist
The correspondence between the social role, the principles of activity and internal motives gives rise to a creative individuality in journalism.
The need for a bright, creative individuality is due to the fact that: firstly, journalism carries diverse information, goes beyond the average statistical reflection of reality, and, secondly, in the process of interaction between journalism and the audience, there is a limit of depersonalization, beyond which the effectiveness of influencing the audience falls.
Typology of creative individuals in journalism:
- type of creative orientation (aimed at self-expression, transformation of social situations);
– type of information-transforming activity (researchers);
- the type of subject-active attitude to reality (universally active, perform practical, organizational functions).
The regulators of creative individuality are self-organization, self-control, self-regulation, norms of professional ethics.
Chapter 4. Creative process in journalism
What is creativity?
Is a librarian who lends books creative? And when does he compile a rubricator for the catalog where these books can be found?
Does a janitor have a creative profession?
Does a writer have a creative profession? What if it's a graphomaniac?
After reflecting on these questions, let's define creativity in a general sense.
Creation- this is a socially expedient and subjectively significant discovery of a new one in the field of production, management, science, technology, etc. Creativity is born when the work associated with the reconstruction of existing knowledge, methods and forms of activity no longer satisfies social and personal needs.
Creativity is the birth of the new. Is journalism a creative activity? Does the journalistic text create something new? At first glance, this is a rhetorical question, but on the one hand, in journalism there are genre canons that have been established for years, a lot of journalistic clichés, on the other hand, a journalist reports on something new that someone has already invented, put on stage, proposed in politics, etc. .
Today, the term "creativity" is often used as a synonym for the concept of "creativity". According to some philosophical studies, the term creativity refers to the ability to do or in some other way to implement something new: a new solution to a problem, a new method or tool, a new work of art.
Any subject of activity, including a journalist, who has a high degree of creativity, is characterized by a high level of intelligence and a high degree of irrationality. Irrationality is the basis for solving many extraordinary problems in an extraordinary way. Irrationality in journalism is reflected in the intuitive nature of the application of the principles of activity and the corporatism of participation in the creative process. The nature of intuition consists in the unconscious processing of sensory and rational information, in the unconscious regulation of mental activity. Journalistic intuition synthesizes scientific, artistic flair and "practical wisdom".
Creativity in journalism has a special, specific character. So, from the standpoint of scientific knowledge, the discovery of new facts and patterns is new. And from the standpoint of journalism, creativity is the widest notification of the audience about the most interesting facts.
Any creativity is subjective, that is, it bears the imprint of the author's personality, his position, preferences, habits. But in addition to the subject, the object of creativity and the content of reality also act as dominants in the creative process. The peculiarity of journalistic creativity lies in the fact that all these three aspects should be in the center of attention, in an organic combination, not to hinder the development of each other.
Distinctive features of a professional journalist have always been respect for accurate knowledge and its bearer, awareness of the priority of the specialist's information in relation to the subjective reactions to the correspondent's world.
In any profession there are creative and uncreative moments. The question is in the nature of the ratio of creative and non-creative principles in activity. If handicraft operations have an auxiliary value, such activity is considered creative. From this point of view, journalism is certainly a creative profession.
The creative nature of journalism is revealed in how and at what qualitative level it satisfies the public need for knowledge, norms, the awareness and acceptance of which ensures the active life of the individual, social group, and society as a whole.
Denote features of journalism as a kind of creativity:
1. Direct direct the dependence of the journalist and the entire media system on social, economic relations and ideology. The connection of journalism with practice, with ideology is found in the efficiency and relevance of publications. The journalist talks about life at the moment of its development. The opposition media also depend on the existing ideology in the sense that they fight against this ideology. The difference in the reflection of certain ideological concepts is expressed in the media system in an individualized approach to the formation of the fundamental positions of activity, since the publications stand on different ideological positions and the cultural positions of publications and journalists are different, and the ways of organizing the production of information are also different.
2. The interdependence of spiritual and practical principles in journalistic creativity. The original idea of a journalistic work is always looking for confirmation in practice. A journalist, before creating his work, works in the “field conditions”, checks all his conclusions on specific practical examples. The spiritual and practical nature is also manifested in the peculiarities of the creative process, in which the point of view of a journalist is always tested by a specific situation. A journalist writes his text with the expectation of changing reality, improving it by changing the consciousness of his audience.
The initial focus on the spiritual development of the audience and on practice dictates the need to create such conditions in which the consumer of information is not only a potential participant in the information process, but also develops the creativity of the audience, its positive qualities: self-esteem, a sense of beauty, etc.
3. Journalism–collectivist kind of creativity. This feature of creativity is ensured in journalism by the complexity of the media itself - the systematic construction of radio and television programs, the model of a newspaper and magazine, as well as the availability of a methodology for preparing the release of printed, audio and audiovisual products of the mass media. A journalist alone cannot publish a newspaper or broadcast a program. An editor, a cameraman or a sound engineer, a photographer, a layout operator, etc. work alongside him. Each of them at his stage brings something of his own to the creative process. In the daily work of the editorial board, the unity of the collectivist and individual principles in creativity is manifested.
A journalist can be creatively realized most fully only if his personal aspirations coincide with the direction of the editorial office in which he works. If a journalist sincerely likes work in a yellow newspaper, likes to present any fact as a sensation, and for this he is even ready to add something, he is in harmony with himself and with the team and, paradoxically, the public benefit from the realization of his creative potential will be higher than if he worked in a quality newspaper. And if in this situation there is a person who is scrupulous by nature, relying only on facts, he will suffer. In all cases, for the maximum realization of journalistic potential, it is necessary that the interests of the journalist and the interests of the newspaper coincide.
For the normal work of the editorial office, the cooperation or co-creation of the journalist and all accomplices of the creative process is necessary.
The creative environment performs the following functions in relation to the journalist:
ü critical (assessment of finished materials and methods of activity);
ü selective (selection of the most successful texts);
ü programming (setting a program of action, explaining how to act in certain cases).
4. Regularity and consistency of creative actions, depending on the frequency of airing or publications. If a writer can sit at a desk and wait for inspiration, then a journalist can hardly afford it. By the time the issue goes to press, all publications must be ready, and by the time the next issue is published, they may already be outdated.
The systematic nature of journalistic actions involves the use of messages and interpretations of information, interpretations of the problem by other media; synthetic impact and separation of functions of different forms of influence of the media, etc.
5. A journalist has to apply to the current, ordinary facts, revealing the common sense in them. He cannot write about fantastic, fictional events, only about everyday life, about what happened in real life. The task of a journalist is to see socially significant phenomena behind ordinary facts, to explain their essence.
6. Predictability of the interaction of the text with the consciousness and behavior of the audience. The text is written based on a particular reaction of the audience. Thus, an informational note is designed for a rational cognitive reaction, a feuilleton implies an emotionally lively reaction, “laughter through tears”, and an interview is a more detailed acquaintance with the phenomenon, an analysis of causes and consequences, a reaction of co-creation, the participation of the audience in this analysis process. Unlike a journalistic one, the intended reaction to an artistic or scientific text is not embedded in it.
Objects and subjects of the creative process The main objects of the creative journalistic process: surrounding reality; individuals (both individuals and groups, communities); social institutions; mass media audience. Main subjects: § mass media; § journalists; § media audience; § social institutions.At different stages of communication, the creative process, under different conditions, objects and subjects can change places, perform the tasks of the other side. However, the main figures in the media have been and remain the journalist on the one hand and the audience on the other.
CREATION- Creation of new cultural or material values.
Value- importance, significance, benefit, utility something
Mastery - High art V some areas
Skill - Ability do something based on knowledge, experience, skill.
Journalistic creativity as a professional activity
Creativity in its most general form is the emergence of something new in any area of human practice. As a result of the creative act, new realities are created, which together form culture. These realities can represent material values and be characterized by a material-energy nature (tools, knowledge, lighting devices) - their creation is associated with the biological nature of man; may represent spiritual values, characterized nature of information(works of science, literature, art ...), or in other words - information products. The impetus for the creation of new realities that have an informational nature is the information needs of a person. Information needs arise in connection with the cognitive process and the need for communication, determined by the social role of a person, his duties, lifestyle. The information product is designed to satisfy the information needs of a person.
The specificity of the information product is that it is an inseparable unity of knowledge and creativity. Therefore, the creation of an information product includes both of these sides. Each person cognizes objective reality, creating its image in his inner world directly through his own contact with it - or indirectly through information products created by other people.
No person can acquire the knowledge he needs about the world, relying only on his direct experience. For the comprehensive orientation of the individual, the collective, and society, the information accumulated by mankind throughout its long history and continuously supplemented today serves. The information that arises in the process of mastering the world by people is social. A higher level of human interaction with reality is the creation of social information, information products.
Social information is produced in the process of human activity, reflects facts from the point of view of social significance and serves to communicate between people and achieve their goals, due to their social position. Creation of information products is creativity. In the flow of information circulating in society, journalistic information stands out. Journalistic information, in terms of its significance and prevalence, may be the most social one.
The specificity of journalistic information lies in the unity of the spiritual (informational) and social and administrative principles.
IN spiritually journalistic information is characterized by: - ideological richness (because the audience must not only get acquainted with journalistic material, but also learn ideas and views); - relevance (which consists in topicality, acuteness of topics); - popularity (intelligibility): in whatever genre a journalist works, his message should be clear and understandable: the language should not contain special terms if they are not explained by the journalist and are addressed to a mass audience, complex stylistic constructions, turns, vague hints should also be avoided, associations.
IN social management characterizes journalistic information (according to G.V. Lazutina):
First of all, this is novelty: journalists report on everything new - about what has changed or should change; The media help people to adjust their behavior, their actions, intentions, taking into account new living conditions or influence the actions of the authorities and other organizations in order to prevent negative changes in real life; not all facts are of interest to a journalist, but first of all news, every professional strives to find information that would be useful, necessary and interesting at the same time;
The next important feature is efficiency: a journalist must convey information quickly, because the news may become outdated;
Korkonosenko adds to this: documentary in the reflection of reality (facts, accuracy), reliability (unlike the artist, for whom the main thing is to create an image); brevity of the material,
Analyticity (a reserve for increasing the effectiveness of press influence on the audience),
Thus, journalistic information combines the documentary validity of information, their comprehension from the standpoint of social interests, evidence of the author's personal perception of the observed events. In addition, according to Lazutina, journalistic information should contain news, be operational, relevant, meet the needs of the audience, be interesting, useful and understandable to readers.
Journalism is permeated with creativity, it is creativity by definition. A journalist has to make decisions in specific conditions, refuting the schemes that have been steadily existing in social practice and in the public consciousness, one way or another - to create something new.
The beginning of a journalist's creative activity is given by the information and control connections of a person and his environment, which allow receiving, retaining, accumulating, processing information signals from the environment, turning them into an information product.
Creative activity exists in two forms - amateur (amateurism) and professional. The first is the voluntary work of those who wish, the second is the institutionally organized performance of duties for the production of certain information products in society by the relevant professional groups. Journalists are one of the professional groups. Journalistic creativity is incompatible with dilettantism and incompetence. The work of a journalist is professional; is subject to certain laws, given algorithms, depends on knowledge, training, practical skills, corporate traditions.
In journalistic creativity, the desire to create a new, original is inseparable from the fulfillment of strict duties and tasks. The creativity of a journalist is limited by strict laws and enclosed in a clearly defined chronological framework.
The specificity of journalistic creativity lies in the fact that, unlike artists, journalists participate not in artistic, but in social and cultural creativity. Their most important task is to change and develop the elements of culture, to create its value-normative coordinates, to provide cultural equipment for social processes. Or in other words, the creation of operational information products designed to quickly change reality.
Thus, the specificity of journalistic creativity is due to the peculiarities of the product of journalistic activity - journalistic information.
Due to the specifics of journalistic information, the main criterion of professionalism in journalistic creativity can be called the ability to convey the social significance of the material. Hence - the peculiarities of the creative content of the profession of a journalist - the active interaction of a journalist with social reality, a special requirement - objectivity. (Factors that reduce objectivity: 1) general laws of cognition (not a single fragment of reality can be fully reflected by the human psyche); 2) the creative nature of consciousness (the ability to "replace" any "cut off" essential connection with a non-essential one); 3) the nature of the circumstances in which the work of a journalist is carried out).
The phenomenon of journalistic creativity
Journalism is a creative profession, it is not for nothing that applicants pass a creative competition when entering the faculties of journalism. The ability to be creative is a common property and a distinctive feature of a person as a biological species, although the level of creative abilities in people is different. Many scientists believe that less than one percent of people are aware of and reveal their creative potential. The phenomenon of creativity lies in the ability of a person to create something objectively new, something that did not exist in the world before him. Creativity permeates human life, especially in childhood. In the future, in study or work, in some this ability is enhanced, in others it fades, because it requires concentration, some “fixation” on one thing. Often not all people are capable of this, because their interest is dispersed. “Emotional and mental concentration” on something sooner or later leads a person to insights. So we can say that creativity and work are very closely related. Work is one of the stages of labor, with a predominance of a mechanical, familiar and often manual type of activity. In the process of creativity, all levels of the psyche are involved: the subconscious, the conscious and the superconscious, which denote creative intuition and its highest degree - inspiration.
Creativity differs from craft in that the motives for creative activity are within the personality, they are not caused by external factors, while craft is usually encouraged from the outside: the need for food, earnings, etc. Of course, there are cases of significant creative discoveries made under duress. For example, Beria's sharashki, described by Solzhenitsyn in the novel "In the First Circle", but even there coercion was only a "trigger" for the creative process of gifted people. The real reason for creative self-forgetfulness is that the search for truth becomes more important for the individual than her everyday or life needs. Of course, creativity is impossible without reproductive activity (accumulation of knowledge, acquisition of skills, etc.). It is the accumulation of previous experience that serves as a springboard for the creative transformation of the known and the discovery of the new.
And here it is necessary to repeat that labor is the basis, the basis for creativity. If labor is an activity aimed at creating a socially useful product to meet the material or spiritual needs of a person, then creativity is the creation of a fundamentally new product. If creativity is based on a reproductive base, then we can assume that the more solid this base, the more prerequisites for creativity. That is why a whole system of education is provided for the so-called creative professions, thanks to which a specialist not only studies someone else's experience, highlights the patterns of the technology of the profession, is imbued with the spirit, traditions, makes a critical opinion about what has not yet been done - all this will help him concentrate his own potential and make creative process more productive (musicians, vocalists, athletes).
Creativity can be professional and amateur. Unfortunately, among amateurs in journalism there is a large dropout; sometimes, a person can spontaneously, but deeply master the type of activity, make a master out of himself. But this is the lot of units. It also happens that a person who has the opportunity to gain professional knowledge turns out to be unsuitable later. This means that the choice of the sphere of creativity was accidental or thoughtless, or in the process of learning there was a stratification of their ideas about the profession and about their personality. Readiness for successful professional activity is determined by the following factors:
- How accurately a person imagines the essence of the profession and its social role.
- How much he has natural abilities and how he develops his qualities in order to optimally suit this type of creativity.
- To what extent he has mastered the skills and learned the basic methods of work necessary for this type of creativity (a composer is impossible without knowing the notes)
- Creativity always grows out of a variety of associations, for which a person needs a stock of knowledge not only in the field of his chosen specialty.
- Finally, the significance of the motives for choosing one's profession: "Yourself in art or art in itself?"
In the knowledge of the profession and mastering the skill, 3 steps can be distinguished:
A) training, i.e. use of ready-made techniques and skills as the sum of previous collective experience)
B) skill, i.e. the ability to apply someone else's experience to solve new problems in new conditions
C) skill is the highest manifestation of professionalism. Fluency in all the previous + the ability to enrich the methods of activity with their own additions and even discoveries.
At the same time, it happens that a gap arises between the master and the artisans. No wonder B. Shaw defined the criterion of mastery in this way: "There are fifty ways to say yes and fifty ways to say no, and only one way to write it." The writer, journalist and publicist had in mind that a word intended for public information passes through several filters in the mind of the creator, sifting out random, dull, inexpressive options. In a short time, a journalist needs to present a picture of the world, so the responsibility for every word is great. If in oral and private conversation you can correct your thought, then in any public periodic communication, each word is perceived once, as they say "here and now", the profession does not leave time for corrections, because there is always that reader or listener who no longer meet with a journalist - will not want to. This means that the journalist's creative blunder will be irrevocable, and his mistake will affect the attitude towards the activities of other colleagues. In this sense, the profession of a journalist dialectically combines the individual and the collective. (Rubinov, p. 24).
The specifics of journalistic creativity
Journalism as a creative profession has gone through several stages in its development. She, like any other profession, was born in the process of division of labor caused by the complication of human society, the increase in connections and functions between its structural elements. This has led to the growth of messages needed by a person to understand the world around him. It became difficult for an ordinary person to navigate the vast information flows, he needed the help of people who made the search and selection of information their main occupation. This is how the profession of a journalist was born, about which many touching and playful words have been said. For example: "The first duty of the press is to obtain the latest and most accurate information about ongoing events and immediately publish them so that they become the property of the nation." Being informed has always been seen as a privilege. This is reflected even in ancient myths, for example, Scandinavian myths depicted the supreme god Odin with two ravens on his shoulders. One was called the Thinker, the other was the Rememberer. At dawn, the ravens scattered around the world, and returned to breakfast, informing Odin about everything that was happening in the world. Even the highest deity needed constant information.
The history of journalism in the context of the development of society
The profession didn't take off... The origin and development of journalism is closely connected with the stage in the development of society at which mythological knowledge ceases to be a tool for explaining the world. The Renaissance expanded the geographical, economic, political ideas of mankind about the structure of the world. Europe has developed stable state systems with specific political and economic conditions. The development of science caused an acceleration in the pace of the technological process, which led to the invention of the printing press, which made it possible to realize the need of a dynamically changing world for operational information.
The first type of periodicals were newspapers that appeared almost simultaneously in major European shopping centers - Venice, Hamburg, Rotterdam, Antwerp, Cologne, London. Then the university cities of Paris and Vienna played their part in the dissemination of the newspaper as a type of periodical information. Religious wars in Western Europe and the establishment of Protestantism in Northern Europe contributed to an increase in the literacy rate of the population and, consequently, an increase in the potential audience of the periodical press. That is why the next type of periodical press is the magazine, almost simultaneously emerging in the major educational centers of Europe. The magazine gave preference to educational and analytical information, was free from daily routine, allowed to accumulate the most important information over the past time (usually a month), which did not lose its significance in case of delays in delivery to the reader due to a poorly developed road network or military-political complications. environment.
At the same time, in the light of the intensification of the socio-political struggle, the press becomes an important tool for influencing public opinion, which was clearly manifested during the years of the first English bourgeois and great French revolutions.
In Russia, journalism originated later, during the reign of Peter I, but it went through the same stages of development as in Europe. A feature of the Russian version was the initial use of journalism as a way to control public opinion. Over time, the division between the press of facts and the press of opinion intensified in the press. A distinctive feature of the new wave in journalism, which began in the United States and spread to 1840-50. to Europe, there was a bet on the fact, that is, on information. The publicist expressing the opinion of a party or group was replaced by an outwardly impartial reporter, whose professional level depended on the ability to find sensations, feel hot news and send them to the editor faster than others. (Dickens was on duty in parliament for 2 hours and wrote a report in a carriage that rushed him to the editorial office). The press of fact won its final victory only by the beginning of the 20th century, when a mass readership had taken shape in the world. The craving of reporters for the fact had and still has two varieties: from journalistic feat to journalistic unscrupulousness, the ability to climb into the keyhole. But at the same time, there was a separation of universal (rather informational) journalism from analytical journalism, the latter becoming more and more specialized, delving into the problems of sports, politics, medicine, theater, etc. and requiring purely professional knowledge in one area or another. That is why specialists began to come into journalism, first as experts and consultants, and then as observers and commentators. The difference between these two types lies in the degree of attention to cause-and-effect relationships. Development in the late 19th - early 20th century. analytical journalism led to the emergence of another subtype of the specialty - a journalist-researcher, who, analyzing life phenomena, used data from related sciences. Sociology has contributed particularly much in this direction. The specifics of life at the end of the 20th century. led to the formation of another subspecies of the specialty: investigative journalist, and the genre of investigative journalism is becoming not only the most difficult, but also the most in demand, because it helps to overcome the growing distrust of the media. Distrust is not only a feature of modern SM, it periodically arose as a reaction to the excessive bias of the press, which many journalists and writers wrote about (an example is Mark Twain's feuilleton "Journalism in Tennessee")
There were other examples - journalists changed professions and observed life in its natural course: Jack London, V. Gilyarovsky, M. Gorky. Journalists tried to be the first to get to the front, to the barricades, to the epicenter of an epidemic or natural action.
In the 19th century, despite the further separation of literature and journalism both in terms of subject matter and methods of reflection, the press continued to cooperate with literature. Writers came to journalism to become publishers, editors, publicists (Pushkin, Dostoevsky, Herzen in Russia), others left journalism for literature in order to free themselves from the dependence of the publisher, owner and devote themselves to pure creativity. M. Twain, J. London, J. K. Jerome, Chekhov, Gorky, Bulgakov, Veresaev, Serafimovich, etc. This symbiosis gave journalism new shades and, above all, increased the skill of writing. The text acquired a figurative and artistic character, the figurative load of words increased, which led to a greater effect, strengthened the function of managing public opinion.
The development of journalism in the world during the XIX-XX centuries. was synchronous and multifaceted: scientific and technological progress and the expansion of the audience caused the development of a typological system of media. The development of society, socio-political institutions, as well as technological progress led to the emergence of new types of mass media at a pace that the history of mankind did not know before. The Czech writer and journalist Karel Capek called the newspaper an everyday miracle, he knew the laws of its production, so he joked: “Even if the whole editorial office is knocked down by the flu, the newspaper will still come out.” Journalists call the newspaper "the history of the world in one day."
The newspaper formed the main features of the profession of a journalist: a strict periodicity of publication prescribed a high self-organization of the individual, responsibility to the editorial staff, the ability to think about the interests of the reader, constant greedy attention to the life around him, the ability to subordinate himself to the steady rhythm of the newspaper, the habit of sleepless nights to complete urgent tasks, readiness to risk for the news. It was this feature of the profession that was expressed by military commissar K. Simonov in the song of a front-line correspondent: “Three days without sleep, three days of walking for the sake of a few lines in the newspaper.” The development of new ways of transmitting information has only enlarged the generic features of the profession of a journalist.
In 1895, the nature of radio waves was discovered, and after 20 years, radio became one of the most accessible channels of information.
In the first quarter of the 20th century, experiments in the field of television were going on in different countries, and at the turn of the 40-50s. television becomes a mass media, it is called the "Beloved of the 20th century."
At the turn of the 60-80s. for military and scientific purposes, experiments are underway to create a computer network. And in less than 20 years, the "World Wide Web" or the Internet is being created, erasing borders, national and racial differences, destroying information barriers. Thus, the connection between the pace of the political and economic development of society, the processes of liberalization and democratization becomes obvious. With the advent of each new type of media, fears were born that innovations would cancel the previous forms of information dissemination, but this has not happened so far. Journalism researcher E. Bagirov accurately defined the issue of combining different types of periodic messages: “Radio, overtaking all other means during the day with prompt, concise news releases, reports WHAT is happening in the world at the moment. In the evening, power passes to television, and it demonstrates in vivid pictures HOW this happens. The next morning, the newspapers give a detailed analysis of WHY this happened. The advent of the Internet has not yet changed the balance of power.
Journalism education and the demands of the times
An important role in the development of journalism as a profession was played by the development of journalism education, which began in the 20th century. There is still a debate: journalism: is it a profession that can be learned or an art that requires only talent. The dispute continues, but there are fewer supporters of the genetic predisposition to journalism, the profession becomes too complicated, requiring special knowledge. Professionalism in any field is associated with competence, a high level of training, an extensive body of knowledge, the presence of common professional goals and a general level of professional excellence, the presence of common standards without which professional activity is not allowed, and the presence of motivation caused by disinterestedness, and not selfish considerations. . All scientists emphasize the altruistic nature of activity, which underlies most professions, especially creative ones. Only on the terms of serving the public good did society give some of its functions to one or another profession, delegate to it some of the privileges in education, in social status. Violation of public trust leads to the degradation of the profession. It is precisely with the aim of protecting the profession itself from unscrupulous representatives who could damage its public reputation that trade unions are created and codes of professional conduct are developed. Journalism in Russia has also formed its own organizations, for example, the Union of Journalists of Russia, the Guild of Broadcasters, the Guild of Court Reporters, and so on. The Union of Journalists of Russia has a special body - the “Grand Jury”, which monitors the observance of professional ethics, issues a public censure, which, although it does not have the force of law, affects the morale of both violators and other representatives of the profession, warning of possible responsibility. Although everything is usually limited only to moral condemnation, in most cases the successful career of violators is put on hold and they leave the profession. Journalism as a whole is inherent in the consciousness of its public service up to self-sacrifice, which journalists most often say with irony: “If you see hundreds of thousands of normal people trying to get out of somewhere, and a bunch of psychos climbing towards them, you know: this is a report being prepared” . Journalists have awards that are awarded to those who served the profession and society with talent and honesty. In Russia, these are the Golden Pen, Tefi, Golden Gong, Prize them. Artem Borovik" and others. The purpose of the award is to disseminate high standards in the professional environment, to demonstrate public recognition of the best specialists.
Journalism is changing. She is a mirror of society and changes with it. For example, at first, at the stage of pra-journalism, the dissemination of information was carried out through messengers, heralds, etc., then at the time of printing, journalism becomes written, finally, in the last 50-60 years, thanks to electronic media, it again gravitates in the oral word, to personal communication with the help of technical devices with each member of the audience . Journalism becomes interactive. The audience gets the opportunity to express their opinion. A person can stand out from the crowd, and his voice will be heard throughout the country.
Journalism is full of paradoxes. It gives the floor to an individual, and it also becomes global, overcoming state, spatial boundaries; even Time can stop a journalist. You can hear and see the message of the correspondent at the moment when he speaks it. Thanks to the means of communication, "direct lines" have become a reality of modern radio and television broadcasting. And wherever you are, you can hear and see the sound of rain in Moscow, the flood in Thailand, the explosions in Iraq, the launch of a spaceship in Baikonur, or the noise of battle in a distant war. (An example is M. Koltsov's reports).
Journalism today is many-sided and diverse, it exists in the form of printed materials (newspapers, various magazines, bulletins - these are its oldest forms), it is represented by radio and television programs that are broadcast over the air, via cable networks, and wired radio broadcasting was still preserved. Finally, journalism has embraced the Internet as if its creation was meant for it. Journalism on the Internet in a matter of years has gone through all the stages of its four-century development: from textual form to multimedia. The very pace of development of the means of transmission of information in the 20 - early. 21st century they say that human thought is looking for ways to meet social needs for information, otherwise these inventions would not make sense.
Journalism today informs, develops, enlightens, entertains, unites, alas, sometimes corrupts. She gives people everything they want from her. Its technical capabilities have overtaken the moral improvement of a person, now his task is to adequately use the array of information that journalism can provide him as a system of mass information and communication. Both journalists and the audience are interconnected, if the audience does not form, support and defend its requirements for journalism, the latter can turn into a means of manipulating the mass audience by any unscrupulous structures.
Journalism is one of the humanitarian professions because it uses the word as a tool, which in itself is a spiritual product of human activity, and in addition, journalism refers to the spiritual realm: the thoughts and feelings of a person. The word is not an instrument of journalism alone, it is an instrument of literature, politics, pedagogy, religion, and jurisprudence. Journalism is often compared to literature. They have a lot in common: a reflection of the surrounding world through the word, but a lot of fundamentally different things, first of all - the nature and purpose of reflection. Working with the word, the writer and journalist is looking for the only true one that will convey his vision of any life phenomenon. They will or should have the same exactingness to the word: “You will have to write and then throw away or burn a lot of material before you begin to feel free in this environment. You can start right now, and I believe that quantity will turn into quality,” wrote R. Bradbury. However, the goal of a journalist is beyond his own thoughts and feelings, he must be the heart, eyes, ears of his public. That is why the words of B. Pascal absolutely apply to him: “Everything that is written for the pleasure of the author himself costs absolutely nothing”, since a journalist should strive for maximum objectivity. The task of the writer is different, he is the singer of human individuality and uniqueness, he shows the universal in the particular. Chernyshevsky compared the writer with the historian: "The scientist writes about what happened, the writer about how it usually happens." A journalist can afford neither generalizations nor conjectures, his tool is facts and only facts.
“If you gather a whole room of journalists and ask them if there is a new event, everyone will raise their hand. If you then ask who has fresh unpublished information about this event, almost everyone will lower their hand, ”stated a well-known correspondent, author of the book“ Universal Journalist ”D. Randall. It just so happened that almost everyone has their own opinion (interesting or not - another conversation), but only a few have fresh information. A journalist writes for an audience, all in its mass character, and for each individual person. How likely is it that his word will suit everyone? This is a most difficult problem, over which everyone who picks up a pen constantly thinks. An example of these searches is reflected in the story of the famous feuilletonist Nad. Taffy.(...). The answer lies in the soul of a journalist, only then will he become interesting to everyone when he finds something general that they have in common.
A journalist must be accurate and prompt, only the latest news is interesting. The lack of news, really fresh and interesting to many people, has ruined more than one newspaper, no matter how interesting crossword puzzles or anecdotes are printed there. It is for the sake of news that they buy a newspaper, turn on the radio or TV, everything else can be found anywhere, up to talking on a crowded morning bus. A journalist should have a nose for the news, his task is to tear off the touch of the familiar from the phenomena of reality, to see the incredible in the obvious, to have a fresh look, to guess the connection of events, to present to public attention a problem that worries, albeit unconsciously, society (NTV Award - The Last Hundred grams, E. Boyko). The pursuit of news is a difficult, exhausting job, conversations with people, constant attention to their words, intonations, facial expressions, gestures - a huge stress, but only in this way can one find those facts that, like lightning bolts, illuminate the flow of life events and indicate it direction. Many journalists complain about their work and dream of the creative freedom of a writer; quite a few good journalists have moved into the writing workshop in order to free their creative energy, their imagination from the dictates of fact. There are far fewer writers who are able to accept the strict requirements of journalism, to abandon the creative I for the sake of the majesty of the Fact.
We have already noted the similarities between a journalist and a scientist, especially those engaged in research in the humanities. Both must remain true to the facts, but it is not the task of the journalist to establish patterns. He can note certain patterns in the life of society, but no more, because his main task is to tell the audience about his observations so that public opinion develops in its depths, which will already put forward figures to solve the highlighted problems.
In the process of media development, the following stable functions were assigned to them, the meaning of each of which could change depending on the specific time and specific country. The main function of the media is considered to be informational, which reflects the desire of mankind to observe the changes taking place in society. Another function is communicative, as it provides the transfer of human experience in space and time. Another function is cultural and educational, which allows you to broadcast the cultural, scientific, moral and ethical achievements of the elite of society to the broad masses. The fourth function is considered to be the ideological or value-orienting function. The fifth function is relaxation. The sixth is the information and reference function. The seventh function is advertising. At different times, the ratio of these functions is different, all of the above functions come to the fore in turn and create different combinations.
Journalism as a way of self-education of society and personality
The modern complication of the world requires a person to deeply master specialized knowledge. The second half of the twentieth century showed that neither general nor even higher education in the humanities is enough to master journalism. That is why since 1947 the first faculties of journalism began to work in the Soviet Union, the number of which increased incredibly during the years of perestroika. Along with general humanitarian knowledge in the field of philosophy, history, sociology, law, journalists study the history and theory of the profession, the economic and legal foundations of the functioning of the media, study in creative laboratories, where they master both the experience of the past and learn to apply theoretical knowledge in their own creative practice. A modern journalist needs to be proficient in information technology, have the skills of photography and video filming, sound recording, and, of course, he needs to be legally literate and a communicatively advanced specialist. Despite the complex complex requirements of the specialty, journalism is still an open profession, where a person's personal abilities, his enthusiasm and dedication to the cause continue to play a great role. That is why many special departments have been opened recently for people who would like to come into journalism, having already studied at another university and had life experience behind them. This provides an influx into the profession of not only talented people who bring with them a fresh look at life's problem situations. In addition, a modern journalist increasingly needs special knowledge in a particular industry. For an observer in the field of economics, banking, agriculture, sports, etc., the knowledge acquired at the faculty of journalism and in the course of one's own creative activity may not be enough. That is why journalism opens the door for those professionals who are ready to master the primary skills of the profession, to clearly and easily cover socially significant and important problems in the field of their first specialty. The most favorable conditions for expanding their future professional activities and life opportunities are represented by the university. Over the years of study, you can try yourself in different guises, since the young man has inexhaustible energy and an insatiable curiosity for everything new. The modern world requires complex knowledge and readiness for mobile restructuring in the field of activity and very often a change of residence from a specialist. A specialist with additional competence, and especially in the field of journalism, may be more successful in the field of his main professional activity. Journalism instills in a person the skills of self-organization and organization of people, the skills of elementary management, public opinion management, which, in addition to testing and expanding one's personal capabilities, will make the work itself more efficient. Journalism contributes to the development of personality, improves communication skills, teaches to select the main thing from the secondary, to be attentive to the word, develop a culture of interpretation. All this allows a person to overcome one of the most pressing problems - the effect of broken communication.
The saturation of information flows, in addition to the good, brought a negative effect: it became difficult to compose a complete picture of the world from the information mosaic. Knowledge of the laws of communication, which journalism provides, allows a person to cope with this problem and return the psychologically necessary feelings of knowledge of the laws of development of society and their place in it. Another additional benefit from journalism is also important - every specialist in the humanitarian field needs newsmaker skills in order to draw the attention of the press to their work, its problems, and its significance for the urban community. Willy-nilly, humanitarians have to have the skills of a PR, that is, to know what will be interesting to the press, how to present important news and raise their social significance. But, finally, the last, but important factor is the material side of journalism. For those who manage to master at least the basic skills of creating texts, additional earnings are provided in the form of a fee. Because by the nature of their work, they have access to information that is closed to journalists, which will always be in demand by the media. Journalism classes allow each person to expand the circle of acquaintances, increase the number of useful and interesting contacts, and retain a sense of spiritual youth and the pace of life for a long time. Modern journalists have a wide scope for employment. The information civilization stimulates the creation of new media that need new personnel. With efficiency and psychological mobility, a person has the prospect of getting an interesting job from his native city to the capital itself, which is confirmed by the experience of recent graduates of the TSU Department of Journalism.
Cultural studies and art history
Journalism today. Creativity in journalism has a personal aspect and implies the presence of abilities due to which a text is created that is distinguished by novelty, originality and uniqueness. Journalistic creativity exists among other types of creativity. Life is creativity, and therefore history is creativity.
65. Journalistic creativity in our days.
The socio-political formation has changed, and journalism has also changed. Analysis, research and highly artistic journalism have been replaced by fluent information, commentary, versification of events and sensationalism. The high principles of morality and morality that have always existed in Russian, Soviet journalism have almost disappeared from the Russian media.
Journalism today reflects the interests and aspirations of the Russian ruling elite and regional elites. Journalism is increasingly becoming information capital. Being capitalized, the journalism of our days competes in the skill of gossip, intrigue, mastering the techniques of the paparazzi. Journalism is rapidly turning yellow.
The owners of the modern press, publishers, founders vying with each other say that yellowness and porno-sexological topics in the newspaper are necessary. The reader needs them. Among them is the editor-in-chief of the newspaper "Komsomolskaya Pravda", the general director of the publishing house "Komsomolskaya Pravda" V. Sungorkin.
A lot of space in the modern newspaper is occupied by custom materials. The editors and the journalist are paid for the prepared material. And the journalist here obediently fulfills the will of the customer, his conceptual guidelines. Naturally, there is little left of creativity here.
Creativity in modern journalism is a rare phenomenon. Most of all, on the newspaper pages, we observe the journalistic craft. The craft is the skills of journalism. As a rule, the materials of a craftsman journalist are not very deep, superficial, often stamped.
The second step on the road to creativity is mastery. It presupposes possession of all kinds of genres of journalism. Knowledge of the secrets of composition and the concept of material. Journalistic skills have their own stylistic features.
The third step on the road to creativity is talent. Talent means a high level of ability development. The presence of talent in journalism should be judged by the results of the journalist's activities, which should be distinguished by a fundamental novelty, originality of approach.
The creativity of a journalist is an activity, the result of which is the creation of new highly artistic texts of great moral and spiritual significance. Creativity in journalism has a personal aspect and implies the presence of abilities, thanks to which a text is created that is distinguished by novelty, originality, and uniqueness.
The English scientist G. Wallace identified four stages of the creative process: preparation, maturation, insight, verification.
The central, specifically creative moment was considered insight intuitive grasp of the desired result.
Journalistic creativity exists among other types of creativity. For example, the work of an actor. K. S. Stanislavsky put forward the notion of superconsciousness as the highest concentration of the spiritual forces of a person in the process of generating a product of creativity. K. S. Stanislavsky understood superconsciousness as the highest stage of the creative process, different from its conscious and unconscious components. Super-consciousness in creativity, according to Stanislavsky, acts as a mechanism of creative intuition.
Creativity is the experience of a journalist who knows what he wants to say, on behalf of whom to say and in the name of what to say. Journalistic creativity is multifaceted. Its origins are in social and political life, economics, history, philosophy, culture, etc.
“Life is creativity, and therefore history is creativity. Creation is a sacrifice…”, wrote the Russian philosopher Sergey Nikolaevich Bulgakov. So, according to Bulgakov, creativity stems from life, from its diversity. Therefore, in order to become a real creator, a creative person, a journalist must deeply understand life, its deep processes.
“... it is in the power of journalists and non-professional newspaper volunteers to remove partitions, create a sense of unity in our diverse life, show people with a fresh look how interesting their work is, how it is connected with everything that is being done around.
Indeed, these are not empty words: a fascinating, full of surprises life goes on everywhere, even in the most boring-looking institution with its long-established, unchanging order, ”wrote A. Z. Rubinov.
Knowledge of life, life situations, the ability to analyze them are inherent in journalistic creativity. Journalistic creativity has many components. The main tool of creativity is the word. The creator of the word, its master A. M. Remizov wrote: “The world is a dictionary. You can hit me with a word and seduce me.
The word in the work of a journalist plays a leading role. It is the word that helps the journalist to reflect the desire to create a text that expresses something new, not previously published. A new twist on a theme, or a new theme, composition, or concept.
Creativity is a difficult and multifaceted, many-sided process. Creativity is not born in a vacuum. There are many components in its anticipation. And the most important component of creativity is work. Daily work of writing. “You have to write every day, not only for exercise, a verbal person blooms like a flower. And often you yourself do not know what other flowers and leaves the soul keeps.
Yes. real creativity loves work. Hard work, up to a sweat.
The creative state is a difficult and uncomfortable thing. The poet N. Zabolotsky, referring to creativity, wrote: "In order not to crush the water in the mortar, the soul must work day and night, and day and night."
Yes, there is a lot of “water” in journalistic work now. "Information water" filled the newspaper pages, television programs, radio stations.
In Y. Nagibin's story "A typist lives on the 6th floor" I read: "Creative state internal aggravation."
Without a creative state, creativity is impossible. True creativity is preceded by a lot of painstaking work. The state of the threshold of creativity was well expressed by V. A. Soloukhin. Here is what he wrote:
“Oh, the whiteness of a sheet of paper!
No curl, no dash, no mark.
Not a thought, not a blot. Silence.
And blindness. neutral paper.
While she is boundless and pure
Need either naivety or courage
For the first spotting step
Leave a trace and not erase the trace.
Many journalists have left and will leave their creative mark in journalism. Different topics, different methods and methodologies of journalistic creativity make this creative track unique and inimitable.
In the multi-theme, the multi-color of creativity is our wealth, our property. Naturally, this wealth is used to some extent in journalism. And therefore, the journalistic creativity of each era, based on what has been achieved, has every opportunity for creative growth.
Many interesting, creative-minded journalists have worked and are working in Russian, Soviet, Russian journalism these are Gleb Uspensky, Vladimir Korolenko, Vladimir Gilyarovsky, Vlas Doroshevich, Anton Chekhov, Alexander Gorky, Larisa Reisner, Mikhail Koltsov, Boris Polevoy, Konstantin Simonov, Petr Lidov, Valentin Ovechkin, Efim Dorosh, Anatoly Gudimov, Evgeny Ryabchikov, Tatyana Tess, Anatoly Agranovsky, Andrey Vaksberg, Olga Tchaikovskaya, Yaroslav Golovanov, Anatoly Rubinov, Valery Agranovsky, Vasily Peskov, Yuri Rost, Alexander Nevzorov, Boris Reznik, Alexander Minkin, Dmitry Kholodov, Andrey Loshak, Fedor Pavlov-Andreevich, Dmitry Sokolov-Mitrich and many other journalists who have worked and are working in the central media.
Master journalists also work here, in the provinces. The Irkutsk mass media are also rich in creative personalities. Among them, I would name Yuri Udodenko, Lyubov Sukharevskaya, Alexei Komarov, Tatyana Sazonova, Nadezhda Kuznetsova and others. Their work has received wide recognition from readers and listeners. Their materials are waiting, reading, listening ...
As well as other works that may interest you |
|||
| 57359. | Processing verbal information models | 291KB | |
| Basic concepts: model; information model; verbal information model; annotation; abstract. Synopsis Synopsis from lat. Create an outline for 2. Save the document in your own folder under the name Abstract. | |||
| 57361. | Number and number 3. Pairing of numbers at the borders 3. Written numbers 3. Pairing of old items | 35.5KB | |
| Numbers of all creatures Who should be the first Who should be the last Who should be under the number 1 Who should be under the number 2 Who is the susid right-handed squirrel Who is the susid left-handed giraffe | |||
| 57362. | Warehouse number 3. Straight curved lines. Trikutnik | 34KB | |
| Meta: on the basis of the combination of two groups of objects, look at the warehouse of the number 3; learn with crooked lines with a tricot; to fully improve the habits of usnoi lіchbi; develop logical thoughts. | |||
| 57363. | Number i number 4. Written number 4. Pairing of numbers at the boundary 4 | 33KB | |
| Meta: show how to make the number 4 by adding 1 to the previous number; recognize with the number 4 read and write the next number; develop logical thought respect. The date of the number 4 | |||
Duties of a journalist in the production of information. Conditions of specialization of a journalist. Semantic, syntactic and pragmatic aspects of creativity. The content and form of a journalistic work. Analytical-integrating work of a journalist. Requirements for working with facts. The process of causal analysis. Forms of analysis. Factors of content-formal unity. Editorial activity as creativity
The subject of mass information activity is a journalist.
In whatever area of journalism he works, his work is always associated with creativity. That is how it should be perceived.
There is so much talk about the pragmatism of this type of creative activity that it seems that journalism as a whole is not self-sufficient, it is, as it were, not a goal, but a means to achieve some other goals that lie outside it: the transfer of information from an individual source to a mass consumer, formation of public opinion in a certain direction, ensuring the adoption of specific government decisions. Consequently, there is an opinion: the result of a journalist's creativity is the material itself, but the effect caused by it.
This is only partly so. After all, every journalist takes up the pen in the need for creativity, in search of self-expression. By daily signing journalistic works with his name, he aims to describe the social environment, inform readers about the most important current news, tell about the fate of his heroes, their thoughts and feelings, and, possibly, publish the truth about himself. And this is already such a high goal, for which it is worth living and working, even if this particular journalist did not achieve the adoption of government regulations on his publications.
Journalism always balances between creativity and craft. It is a craft that is applied in nature, aimed at achieving the expected result associated with the formation of public opinion in a certain direction, with the service nature of the journalist's activities. Journalism is a creative work connected with the birth of new spiritual entities, with the creation of previously non-existent, unknown, socially useful values.
A modern newspaper or magazine, radio program or TV show is a product of collective creativity, but this does not solve the problem of talent, creative individuality in journalistic work. A bright personality, has deep knowledge, the ability to present information simply and clearly, good speech, universal attractiveness, is needed in any journalism.
The professional duties of a journalist in the production of information can be reduced to the following.
1. Participation in planning, current and future, including the promotion of their original ideas, the search for information, the genre solution of the material, the conduct of information campaigns, the opening of new headings, updating the design of the publication.
Young journalists sometimes pose a question, not without meaning: is it possible to plan news? And if the news itself is uncontrollable, then how can its coverage be controlled? In fact, an experienced journalist knows that in society there is a huge amount of predictable events and expected news to be covered in his newspaper. Once every two months, a session of the city council takes place, visits to the city by the President or the Chairman of the Cabinet of Ministers are preliminarily planned, the theater completes the preparation of a new performance and its premiere is scheduled for a specific date, the academic year and the heating season begin on a specific date, football matches take place according to a pre-compiled calendar. championship, etc.
It turns out that many events are predictable. They are pushing the journalist to a purposeful, and not a spontaneous search for news. A good journalist always organizes his work, he knows what he will write about tomorrow, the day after tomorrow and on the third day. Creativity begins from the planning process. This is its first step. The better a journalist imagines his immediate and distant future, the easier it is for him to carry out his professional functions.
2. Organizational work involves establishing contacts with everyone who can deliver news, inform about upcoming events, participate in identifying problems and finding ways to solve them. In other words, this type of journalist's duties includes the creation by him of a strong network of sources for his mass information activities and its constant replenishment and improvement. This also includes working with freelance writers, and the formation of feedback channels (that is, from readers to the newspaper).
3. Participation in the preparation for the release of information: creation of own informational texts. Let us draw the attention of the future journalist, this stage begins after the completion of the collection of information, when the sources of information are stool, the journalist got acquainted with all possible versions of events, the interpretation of the facts by specialists. Only then does he have the right to take up the creation of his own journalistic work.
The journalist notes the ability to write in any conditions. Well, if he has an office at home and in the editorial office, a voice recorder and a personal computer. All this facilitates creative work and makes it comfortable. But a journalist is able to write his journalistic works both on the window sill in the institution, and on his knee in the field, and on the table of the carriage compartment, and in the "Etna volcano", as the writer Savva Dangulov figuratively put it in the novel "Kuznetsky Most". The need to work in any conditions is caused by such a quality of journalism as efficiency. The success of the case here is decided not by those who write better, but by those who are the first to report important news. A journalist has no right to wait for inspiration, to fall into a creative stagnation. He must always be ready to give out the final product of creativity - a journalistic text.
4. Analysis of own activities, which can be of an individual and collective nature, carried out alone or at various kinds of "meetings", meetings. A journalist should perceive each of his publications as a small miracle, appreciate every word that appears behind his signature. He must carefully re-read the new publication, analyze the editorial corrections, if any, think again about the fact that he used all the information sources to create this material, correctly structured his text compositionally, and gave all the arguments to prove his position.
In editorial offices where professionals work, there is a practice, justified by the experience of many generations of media workers, to hold creative meetings on planning and discussing published figures. At these meetings, journalists in their team evaluate the work of colleagues and their own, determine the best material for the issue, and point out shortcomings. A journalist should always be ready for criticism, take it calmly, as a part of his professional activity. The absence of benevolent criticism, through which shortcomings in creative work are revealed and ways of obtaining a new, higher professional level, can only harm the organization of the mass media. Entering the fascinating world of journalistic creativity, know that the absence of criticism from colleagues and self-criticism, exactingness to oneself is the path to creative stagnation, and then to creative death.
5. Individual literary creativity. This paragraph allegedly contains a demand that is impossible for a certain part of the workers of the pen who are not engaged in literary creativity. But the modern practice of information production (including in foreign countries) is based on the fact that a journalist should not be just an empirical reteller of what he heard or a descriptor of what he saw, but to carry out his creative analytical activities, conduct independent journalistic investigations, be an expert on a particular topic, write only information notes, but also analytical articles, documentary books.
It is clear that this is a high level of journalistic activity, but even a beginner should strive to rise to it. There is a famous saying: "Every soldier carries a marshal's baton in his backpack." It is necessary to focus on the top examples of journalistic creativity. No, the tradition of the unity of writing and journalistic work began to take shape in the 19th century, and in the 20th it reached its peak. Ernest Gemingway, Albert Camus, Konstantin Simonov, Oles Gonchar, Fedor Abramov, Sergey Plachinda were considered shameful to work in journalism. Moreover, they saw journalism as a box of themes and images, plots and conflicts. From the essay book "Around the bush" by Fyodor Abramov, his famous tetralogy "Brothers and Sisters" grew up. Ten years of his life in journalism was presented in the book "I remain a journalist" by Konstantin Simonov. The journalistic heritage of E. Gemingueya has been carefully collected and published.
And if these books reflected the campaign from top to bottom, representatives of literature to journalism, then there are many examples of movement in the opposite direction, from bottom to top, through journalism to literature. with such brilliance and craftsmanship, containing such deep and rich content, do not age with time, can be collected into a book and withstand more than one edition. Let's refer to the one-volume "Favorites" by Anatoly Agra-sky, which was published in 1980 and which included his journalistic works over twenty years of his creative life.
But in journalism there is another way of literary creativity: the purposeful creation of their journalistic (documentary) books devoted to individual topics, problems, heroes. This path has a long tradition associated with the works of "Frigate" Pallas "" by Ivan Goncharov (vol. 1-2, 1858), "Sakhalin Island" by Anton Chekhov (1893), "To the Arctic through the tropics" by Nikolai Trublaini (1931), " England" (1931), "My Paris" (1933) by Ilya Ehrenburg and many others.
The journalist must deeply know the classics of journalistic creativity and study it all his life; know at least university courses in the history of journalism (both national and foreign) and constantly replenish their knowledge, mastering the experience of modern leading masters. No matter how talented a journalist is by nature, he must be well aware that there is only one way of literary study - to read and reread the classics.
An outstanding Colombian writer, 1982 Nobel Prize winner Gabriel Garcia Marquez spoke convincingly about this: “There is a tendency to disparage literary culture,” he noted, “to believe in spontaneity, inspiration. The truth is that literature is a science, which it is necessary to master that ten thousand years of literary development lie behind every story that is being written now, and in order to know this literature - this is where modesty and edification are needed. And a little further: "After all, you do not study literature at the university, but only by reading and re-reading writers."
And if this expression is relevant for literature, which should be studied, then it is doubly true for journalism, where the element of handicraft is traditionally great. Reading journalistic classics should become the usual professional duty of any media worker. Journalism is a profession that works in the paradigm: "Understand others and create your own texts" - and in this sequence, because without understanding others and learning to understand others, there is no way to create your own texts.
A young journalist who is starting to master the profession can already be advised to put a marshal's baton in his backpack, that is, already now to conceive his journalistic book. It can be devoted to some important, socially significant topic: our university and its scientists, social protection of the disabled and public organizations that protect them, the Kharkov Zoo or the Kharkov Philharmonic, the Opera House or the Literary Museum, the state of maternity hospitals or the problems of garbage collection from the territory of the city, children's creativity and the fate of young professionals who are forced to trade in the bazaar after university, etc., etc. Many topics contain human personal and social life. The journalist must find his own among them. And here we come to another important problem of journalism as creativity.
The fact is that the creative work of a journalist achieves the greatest effect with his specialization. Modern mass information activity provides for various types of specialization: sectoral (newspaper, photo, radio and television journalism, Internet journalism), thematic (politics, society, economics, culture, etc.) and role-based (reporter, correspondent, columnist, presenter TV programs, direction editor, editor-in-chief, etc.). Since the training of a journalist in Ukrainian higher educational institutions is based on newspaper journalism, and other industry specializations should be implemented on its basis, then we will lay out the laws of thematic specialization on the basis of newspaper journalism.
Thematic specialization includes the following.
1. Clarification, revealed its theme in line with "affinity", as Grigory Skovoroda spoke. The topic should be attractive to the journalist, possess the qualities of attraction. It is impossible to force yourself to do something uninteresting for you all your life. Some are interested in sports, others in theater, third in politics, fourth in high technology, fifth in gardening, etc. A journalist must find for himself that area of life that he likes to study and describe. This will be the affinity - in the discovery for yourself of a sphere of life that is attractive to you from birth, what you like, to your heart.
2. Studying your topic, deep mastery of existing knowledge and ways to get acquainted with the latest in this area. A journalist should visit shops and scientific libraries, read literature on his specialization, especially novelties, not be limited to books that accidentally fell into his hands, but strive to exhaustively master the topic. A sign of professionalism is the maintenance of abstracts of read scientific works, the compilation of a thematic bibliography.
For example, the Polish journalist Mariusz Szczygel, who works for Gazeta Wyborcza, in his documentary book about the Czech Republic "Gottland" (2006, Russian translation 2010) submitted a three-page bibliography of literature as evidence of his conscientiousness in collecting information for his portrait essays and reports.
Mandatory for the thematic specialization of a journalist is a systematic acquaintance with scientific periodicals (magazines and newspapers) in his field, which will provide him with complete information about new products, make him involved in the life of the region. The skills produced in this way will make it possible to put the thematic specialization of a journalist on a professional basis.
3. Create your own dossier on the topic covered, and over time, possibly an archive. In storage folders systematized according to certain headings, a journalist compiles newspaper and magazine clippings, postcards, extracts from books, photocopies of articles and sections from monographs, his own publications and notebooks with interview materials, a bibliography of scientific works that he regularly replenishes, etc.
The Poltava Literary and Memorial Museum of V. G. Korolenko has his journalistic dossier. It is worth it, because it is a chest of drawers with two halves and five floors of drawers. The dossier for the outstanding publicist and editor of the leading Russian liberal-democratic magazine of the early twentieth century, Russian Wealth, was collected by the whole family. A daughter or wife reads a newspaper, finds interesting materials about the State Duma, the work of zemstvos, budget allocations for education, etc., makes a clipping and puts it in a special folder. When V. G. Korolenko begins to work on a certain topic, he rereads these materials, adds his new observations; and soon there is a solid journalistic article. Modern technologies make it possible, of course, to maintain electronic dossiers.
The journalist's dossier must be systematically completed. From the very beginning of your professional activity, you should accustom yourself to creative discipline and diligence in maintaining a dossier. A journalist must work in such a way that not a single publication in his specialization passes his attention, not a single interview with a hero whose life and work he professionally follows goes unnoticed. The journalist re-reads the dossier in preparation for the next interview with his hero or before writing a new essay.
As already clear from the above, there can be several dossiers. For example, if a journalist specializes in covering political life, then he can maintain a dossier on contemporary politicians. It is unlikely that any ordinary citizen remembers, after four years of office, the election programs of the current deputies of the Verkhovna Rada, who are again rushing into deputy chairs. But in the journalist's file, there is a four-year-old postcard waiting in the wings with the text of the candidate's appeal to his voters and with a promise to defend their interests in parliament. Only a professionally acting journalist who maintains a dossier can take advantage of the opportunity and compare the word and deed of the deputy, comparing promises and their fulfillment. Thus, the dossier is kept not for the abstract pleasure of useless curiosity, but for its application in daily creative work.
4. Creation of a home library on its topic, selection of special literature, ruling the journalist for a daily reference apparatus, with which he systematically gets acquainted and checks in his information activities; this should also include a subscription to general and professional publications, edited for the author as a source of operational information.
Of course, it is impossible to buy all the publications that interested the journalist, so an important place in thematic specialization should be given to work in the library, but a certain part of the literature must be at home. Of particular value are reference publications (reference books, dictionaries, encyclopedias), for which you should never spare money. You should always have at least a minimum of sources at hand, where you can look, if necessary, during creative work.
The home library should be replenished by subscribing to general and professional publications, which serve as a source of operational information for the author. And here we recall that it is impossible to subscribe to the entire volume of periodicals, however, you need to know it, so the question of the need for work in the library is again updated.
5. The study of the circle of scientists and officials who can provide information in this area of specialization.
You should get to know them personally, make a list of them with phone numbers and business addresses, and have it on your desktop. The network of sources must be maintained in working condition. It is impossible that you turn to the official you need, but he completely forgot you, and you explain to him a quarter of the reptile who you are and remind you where and when you met. Therefore, from time to time you should maintain contacts with newsmakers and remind them of yourself, be interested in their activities and write not only about problems, but also about people who deal with them and solve them, such people are not only your stable suppliers, but also consultants, with with the help of which you can always understand the new material for yourself, understand the problems and the best ways to solve them.
6. Organize around yourself a circle of freelance writers who are able to create journalistic texts on your subject.
In this sense, the journalist already acts as an educator and teacher, teaches young colleagues in mass information activities in their thematic direction, consults and explains. Neglecting to work with freelance writers in the current mass information situation is hardly justified; as a rule, many gifted people accumulate around editorial offices who are not averse to trying their hand at journalism; it is hardly worth pushing them away, given the same openness of our profession, its creative nature and the opportunity to work within its framework for everyone who has an inclination and talent for it.
Properly organized specialization ensures the high efficiency of a journalist's professional activity, is a guarantee of his success and popularity among the readership.
Problems of creativity of a journalist today are considered in three aspects:
1) semantic; that is, content-semantic, provides for the consideration of issues, the work is selected and reflected from a million-sided reality, the episodes are depicted, the plot is built, what kind of problems are raised;
2) syntactic, that is, compositional and textual, provides for consideration of issues related to the construction of a journalistic text, the use of figurative-artistic and scientific-conceptual parts in it, the mastery of headings and leads, the proportionality of the introductory and final parts;
3) pragmatic, applied, provides for consideration of questions, how the text is perceived by the audience, what feedback comes through the feedback channels, especially touched readers, etc.
1. Semantic aspect designed to consider the content side of a journalistic work. Unlike fiction, grounded on the essentiality of formal qualities, the social functioning of a journalistic text is supported by its own semantic style.
Like any consequence of a person's spiritual activity, a journalistic work constitutes a substantive-formal unity. Both content and form are complex phenomena with an internal structure.
1) the subject of reflection and
2) assessment of the reflected.
The presence of these two parts reflects the ratio in the work of two types of information: external, coming from the world (the program of the object), and internal products by the author himself based on his observations of reality (the program of the subject).
The subject of reflection is the event-factual and thematic realities of the work; it is precisely the described phenomenon, an event as an integrity, a fact or a system of facts reflected in the material, it is a plot and a conflict of reality, which the author is obliged to reproduce adequately and reliably.
Evaluation of what is displayed is problematic, the ideological and conceptual level of the work, this is the main problem and its branches, staging questions and the multiplicity of its diverse turns, this is the author’s view of the subject, arguments and evidence in favor of his social position, his fundamental concept, which can be reduced to guiding directives, conclusions, pragmatic recommendations, but may include in-philosophical reflections, ethical ideas.
The ratio of the subject and assessment varies significantly until the possibility of the former being replaced by the latter and vice versa. It depends on the chosen genre and the goal. An informational note of 10-20 lines, the task of which is to report a fact or event, does not provide coverage of the author's assessment of what is displayed. Here there will be only a statement of fact, and that's it. The object of reflection will completely displace the assessment. In the reporting genre, which provides for a story about an event seen by an eyewitness, there is already a place for an assessment (or assessments) that will not occupy a predominant place. The genre of the article contains a large volume of factual material that "will require" the author's ordering, generalization, explanation, and then the subject and assessment will balance in it. In a review, the assessment of a work of art is actually assumed by genre requirements, therefore, its specific weight will increase, and the subject will take the place of the cause, the causative agent of this assessment. And finally, in the essay genre, the views of the journalist will dominate, and the facts will be subordinated to the illustrative purpose. The subject here completely gives way to evaluation.
Defending the right to life in journalism of internal information, commenting and evaluations, it is nevertheless necessary to recognize that the soul of mass information activity is a fact that appears as a phenomenon or their combination. He is a full-fledged owner not only of many genres, but also of many newspapers, radio and television programs. Millions of readers around the world daily open the newspaper, hoping to learn from it about the events of our time, and not about the opinion of some journalist about them. The realization of this compels theorists to develop steel requirements for working with facts. These requirements can be outlined as follows:
1. Credibility implies the need to perceive the facts as they are in reality, deliberately not to decorate them or distort them. This basis is opposite to the principle of subjectivity, which is always included in the action when it comes to assessments, comments, and the development of an analytical picture of the system of events. Reliability implies independence from subjective tastes, preferences, sympathies. This is a supra-party category, which in turn consists of the requirements:
a) scientific character as objectivity in the presentation and description of facts;
b) truthfulness, providing for the absence of deliberate lies;
c) accuracy, which requires submitting only verified information;
d) comprehensiveness and exhaustibility, which means the need to cover the fact from different angles, not to hush up its unpleasant or inconvenient components.
2. causal perception sets the journalist to search for sources of facts, hidden mechanisms of their birth, placing them in such a chronological sequence corresponding to the real course of events.
Establishing cause-and-effect relationships is the most important link in the search work of a journalist. This is a complex and sometimes lengthy process leading the author to develop his own position, to create his own concept of events. Therefore, it is especially important. This process includes the following steps:
a) thoughtful selection of observed facts and phenomena; at this stage, the journalist separates the fact or group of facts that he intends to investigate; he, as it were, closes them in an imaginary circle of his own attention in order to focus on them, to achieve vigilance;
b) establishing the essential features of the observed facts; consideration of the chronology of events; descriptions of attributive features of phenomena; the fact is as if placed under a magnifying glass and studied carefully in all its various characteristics;
c) hypothetical conclusions about the causes of a given fact or phenomenon; on the basis of the study, assumptions are made about causal relationships in a given system of events that correspond to those established in the process of studying the facts; facts are brought into a certain system, lined up in a logical sequence;
d) verification of the obtained generalizations in other ways is carried out by checking the facts themselves, the reliability of which is best confirmed from three independent sources, as well as by searching for facts related to the main event, indirectly highlighting it, finally, a deductive (from general to particular) verification is carried out; the journalist once again inspects the constructed structure, finding out that all the available facts fit into the concept and do not contradict it.
3. Historicism encourages us to consider facts in development, to trace the evolution of phenomena, to see what they were yesterday, turned out to be today and will become in the future. The ambush of historicism does not belong only to the science of history, but is a general philosophical method of approach to clarifying the essence of facts and phenomena. Nor does it belong to the past stage of their functioning. On the contrary, historicism provides for the consideration of the fact in the chronological section of modernity, but it turns out that it can be understood only by taking modernity as a bridge from the past to the future.
4. dialectic requires to perceive facts and phenomena in the unity and struggle of opposites, to see how the accumulated quantity turns into quality, how the negation of negation is realized. This is the application of the main laws of dialectics to working with facts. Seeing a fact in the context of other similar or opposite phenomena, elucidating the degree of its maturity, perfection, perfection, the degree of presence of positive and negative principles in it - all this constitutes dialectic as the principle of working with facts.
A journalist, as a subject of mass information activity, not only collects and relays news and messages, but also summarizes them, analyzes them, and gives his commentary. As already mentioned, there is an opinion according to which a journalist should not even undertake such work; his position, they say, is of no interest to anyone, readers do not need comments. Such an attitude is generated not by the natural state of things, not by strength, but by the weakness of our journalism, the absence in it of truly big, significant names, talented workers of the pen and microphone. We don't even have a common national newspaper that would be so influential, not to pay and not to read it would be a shame to every educated person.
But as soon as a sufficiently authoritative journalistic name appears in the information space of Ukraine, readers are interested in the opinion of this journalist, his point of view on events is perceived as an organic part of his professional activity, and really influences the formation of public opinion and public consciousness. This applies to well-known journalists: Vitaly Portnikov, a columnist for the Zerkalo Nedeli newspaper, Sergei Rakhmanin, columnist for the same newspaper, Oleg Romanchuk, editor of the Universum magazine, Yuri Makarov, editor of the Ukrainian Week magazine, popular TV presenters Roman Skrypin, Mykola Veresnya, Roman Chaika, Andrey Kulikov. Moreover, the emergence of bright names in the future on the horizon of Ukrainian journalism cannot occur only within the framework of relaying informational activities, but is possible in the conditions of the analytical work of a journalist, the expression of his well-grounded and reasoned views on current problems of public life.
Researchers distinguish the following stages of the analytical-integrating work of a journalist:
1) focusing on a particular situation, state of affairs, fact that needs to be investigated, and highlighting a phenomenon from a million-sided reality;
2) establishing the composition of the problem or phenomenon;
3) analysis, consideration of the situation, the state of things, the totality of facts, if analysis is understood as a method of research, which consists in the mental or practical division of the whole into its component parts;
4) synthesis or assessment of the situation, state of affairs, the sum of facts as a whole; at this stage, analysis turns into synthesis, we understand it as a method of studying an object or phenomenon
in the integrity, unity and interconnection of its parts; 5) summary, practical conclusion from the analysis and synthesis.
In the form of a diagram, the analytical-integrating work of a journalist can be represented as follows:
The types of analysis in journalism are very diverse. Among them are the following main ones:
1. Direct analytic action consists in a linear, logically consistent presentation of the author's concept as objective, the only one possible under the conditions of acceptance of factual and mental arguments. The reader is convinced by the facts directly cited by the author, the statements of authoritative scientists or politicians, the journalist's own reflections on the topic.
According to the type of direct analytical action, well-known works in the history of Ukrainian journalism are built: "Foreword [to" Hromada "1878]" and "Strange thoughts about the Ukrainian national cause"
(1892) Mikhail Drahomanov, "Letters from the Ukraine of the Dnieper"
(1893) Boris Grinchenko, "What is Progress?" (1903) by Ivan Franko, "Testament to the Fighters for Liberation" (1950) by Vladimir Vinnichenko and many other works.
For example, in the named work of Ivan Franko, which was first published in the weekly Postup (1903, Nos. 2-26), the author offers a broad, voluminous understanding of social progress not only as an increase in material wealth, but also as development and accumulation of spiritual inconvenient. Using numerous examples from history, the author shows how hard it was for mankind to pave the way forward. From the foregoing, he concludes that progress does not cover the entire human race, does not proceed evenly, but in waves, and is not tied to one geographical place.
Ivan Franko considers the division of labor to be the internal springs of development, leading to its acceleration, productivity growth and improvement. The increase of wealth on earth does not, however, lead to an improvement in the lives of all people. The bloody wound of our time is social inequality: the accumulation of wealth in a small number of businessmen and the poverty of millions. This situation gave rise to numerous theories, with the help of which mankind was looking for a way out of the crisis.
Further, I. Franko leaves the historical argument, which he mainly used before, and proceeds to consider the existing concepts of social progress. J. Rousseau, followed by Leo Tolstoy, are calling for a return to primitive society, when there was no division of labor, and each person provided for his own existence. I. Franko sees his own denial of progress in this theory.
With the discovery by Charles Darwin of the law of the struggle for existence in the living world, other theories arose that tried to adapt Darwinism in public life. Anarchists placed themselves between Tolstoyism and Darwinism, demanding to leave all the benefits of civilization, but to abolish only the state. According to I. Franko, the destruction of the state will entail a big disaster. He refers to the example of old Poland, where noble arbitrariness and equality turned into anarchy and led to the decline of this great country. Therefore, this theory is wrong.
Communists recognize the progressive significance of the division of labor, but want to eliminate its negative consequences by introducing community of property and community of use. Supporters of the ideas of K. Marx formed a whole social democratic party, which seeks to seize power in the state and, with the help of the state, implement its program of equality. What would the state be like?
“Ahead of everything,” I. Franko establishes by direct analytical action, “and the almighty power of the state would have fallen a terrible burden on the life of every single man. Each husband’s own will and own opinion would have to disappear, become zanidity, because suddenly the state recognizes it as harmful ", unnecessary. Education, with the aim of educating people who are not free, but only members of the state for the well-being, would become a dead spiritual drill, official. People would grow up and live in such dependence, under such care of the state, about which there is now no language in the most absolute police states The people's state would have happened as a huge people's prison."
The prophetic visions of I. Franko, made long before the Russian Bolshevik-Marxists carried out a tragic social experiment on the territory of the vast Russian Empire, are surprising.
What exit did Franco see? How to overcome social evil? The publicist came to the conclusion that neither a return to the patriarchal era, nor the destruction of the state, nor the socialization of property can be considered as ways to solve this problem. But the fight against every single disaster, with every single injustice, the destruction of the sources of that disaster and injustice, the protection of each individual person is the path on which the gait of development will be carried out in the future.
1. Franco throughout his journalistic work uses direct analytical action as a type of analysis. He went through the canonical stages of the analytical-integrating work of a journalist: he focused on a certain situation, formulated the problem; established its composition, divided the whole into parts, considered its components; moved on to synthesis and united the parts again into a whole; offered his pragmatic conclusion from the analysis. The work of I. Franko "What is progress?" is a model of journalistic skill.
2. Commenting is used when it becomes necessary to consider a certain relevant document, event or situation. The most important property of this type of analysis is a conscientious presentation of an event or document. In journalistic practice, however, there are also cases when the subject of analysis itself does not require description, since it is well known. Then the presentation can be reduced as much as possible and summarized only with an indication of what the journalist is expressing his comment about. The attributive feature of this type of analysis is its dependence on the subject, its close connection with it.
An example here is the article by Ivan Bagryany "The Oracle of the Black Imperialist Night (Reflections on the New" Program of the CPSU ")", which was first published in the newspaper "Ukrainian News" on August 13 and 20, 1961.
Considering the program of the CPSU, according to which a communist paradise should be built in the USSR in two decades, before 1980, the publicist makes unexpected and essentially paradoxical comments. When reading the program, he says, “one particularly characteristic feature is striking with the utmost brightness: all the hyperbole about the imminent coming of the kingdom of communism is based on something completely non-communist and is constructed (...) as a contrast to what is not communist a paradise that serves as a black shadow to the bright light of the near future, which the Moscow oracle draws. That "something" is. the current reality in the USSR. The oracle (combined oracle, CPSU), without noticing it, gave itself worse than nowhere evidence, a sentence , the approval of the fiasco of all his 45-year-old enthusiasts crucified for the so-called "construction of socialism-communism" in the USSR; confirmed his shameless falsity about the heartbreaking volumes of that construction ".
The whole article consists of such witty, well-aimed observations, the main type of analysis in which is commenting on the text of the party program.
An example of the application of this type of analysis to an event is the article by Miroslav Marinovich "The Chronicle of Agony" (first edition in the newspaper "Galitskaya Zarya", Drogobych, August 1991). It consists of three small comments on the August coup of the State Committee for the State of Emergency in Moscow. The author does not publish events, because they are well known and widely covered in the then mass media.And the conclusions from those events are not immediately comprehended in clear verbal formulas.But some of them the publicist offers readers without hesitation.
“A separate word must be said to those who rubbed their hands and welcomed the coup,” writes M. Marinovich. “We cannot allow such a convincing lesson to pass without leaving a trace for you. old allied structures. Some of you thought that he was defending a holy idea, but in fact you were defending vile, vile and miserable creatures. At one time, the mind did not tell you which side the truth is on - now let burning shame be your teacher " H
We note the particular effectiveness of commenting as a type of analysis, since the consideration of a topical political event or document always arouses great interest among readers, such material will certainly be read and the analytical reflections expressed by the journalist will be perceived by the public consciousness of contemporaries.
3. Analysis in the form of a presentation of a logical or chronologically sequential chain of events. This type of analysis is used when an event or person is not well known, or when information about them is received for the first time. It is not enough just to hint at the hero or situation, their description is necessary. As a rule, this type of analysis is applied to a bright, self-sufficiently expressive social phenomenon, the very presentation of which includes the author's tendency, which does not even need additional verbalization.
As an example, Miroslav Marinovich's article "The Non-Stone Soul from Grenoble" (first edition in the newspaper "Galician Dawn", 1992, August 20), dedicated to Galina Ignatievna Khotkevich, the famous writer's daughter, can serve as an example. The type of analysis chosen by the publicist consists in a chronologically sequential presentation of her biography: "At the age of eight, little Galya learned what a" member of the family of an enemy of the people "is, the author begins and continues: - The war finally scattered the orphaned family nest; the roar of the front drove the fugitives by all the roads of Europe, and Galya knew from her mother that everything could be lost on the road, except for a few boxes with her father's banduras, drawings and manuscripts.
In the whirlwind of war, the girl lost both her mother and her father. Salvation came in a tent with a red cross, where French was spoken. So Galina ended up in France. But for the rest of her life she carried the memory of her father and love for Ukraine. In distant Grenoble, she teaches music and at her school teaches pregnant French women to sing Ukrainian lullabies. She proves that this contributes to the birth of a healthy, harmoniously balanced with the world of the child.
The fate of Galina Khotkevich in the presentation of M. Marinovich looks like a specific weight of the Ukrainian history of the twentieth century. It does not require additional explanations, verbal passages about the anti-humanism of the Soviet regime, the invincibility of the free Ukrainian spirit, which, even in the unnatural conditions of a foreign land, remains true to itself. The reader will see all this for himself and draw unambiguous conclusions for himself. The intervention of the author with his explanations would look primitive and superfluous in such material, and therefore he does not resort to it. The very presentation of the chain of events eloquently testifies to the trend of the article.
4. Reproduction of the course of one's own opinion, which develops in accordance with the facts, the journalist masters them. This type of analysis requires, in contrast to the previous one, especially active subjective intervention in the development of the theme, associated with the presence in the work of the image of the narrator, the author's "I". The publicist sets out events, arguments and assessments in a personified way, in the first person, using his life experience, telling readers about his hypotheses and assumptions, ways to test them and approve them on a certain life position.
This type of analysis is chosen by Yevhen Sverstiuk in the article "The Grains of Ukrainian-Israeli Solidarity", which was handed over in December 1977 to the Soviet camp where the political prisoner was kept, released, distributed underground, and published for the first time in 1990. This work is not just written in the first person, but the author's subjectivity is declared in it by the repeated use of the pronoun "I" and verbs in the first person singular of the present tense.
Emphasizing the common features in the historical fate of Ukrainians and Jews, E. Sverstiuk refuted the everyday notion of their mutual antipathy. He actively refers to his own life experience, tells what types of attitudes towards Jewry he met among the Ukrainians and expresses the conclusion: it remains a fact that the Ukrainian people have a tendency to have common affairs with the Jews and value them more than condemn them. "In the Ukrainian samizdat, I have not seen a single thing with anti-Semitic overtones," the author says further. From this point of view, "rapprochement between the Ukrainians and the Zionists in the camps is rather a long-standing traditional position of the Ukrainians, continued in the camps."
E. Sverstiuk lists his acquaintances of Jewish dissidents, with whom fate brought him together in Soviet dungeons. Gives each a brief description, creating convincing and attractive images. These are the vital arguments that influenced the definition of his position, and therefore they are especially strong for the reader. The author leads us through his own life experience, shows how his position was made. Memories of childhood, when he went to school with Jewish peers, the war, when his village saved Jews from the Nazi genocide, and finally, evidence of the "loyalty and dignity" of those Jews who were in the UPA, designed to complete the development of the idea of solidarity between the two peoples in the fight against the totalitarian communist regime.
The press in the Ukrainian SSR, in its anti-Ukrainianism and anti-Semitism, was busy pushing the two peoples together. And it sometimes works at the household level. But you can not let the flames of ethnic hatred be fanned. Moreover, according to E. Sverstiuk, in the revival of Israel - a prototype of the restoration of Ukrainian independence. And again, an energetic subjective intonation: "But I believe that we will rise again and survive where no one would believe."
After leading the readers along the paths of his arguments and considerations, E. Sverstiuk joined them to his life and thought experience, created a situation in which it is impossible not to believe him, and achieved a special depth of analysis.
5. Interviews and references (citations). This type of analysis is common in the work of both experienced journalists and beginners. It is used to give an accurate assessment of a fact or phenomenon by attracting the views and statements of famous figures: politicians, scientists, writers, etc. The logic of using this type of analysis is that the journalist strengthens his authority, relying on the opinion (thoughts) of experts this area, statesmen, from which his own assessment looks not unfounded and approximate, but deep and balanced. Therefore, the name of this type of analysis is not accurate enough, because the concept of "interview" extends to any statements, written or oral, that could be made public not only in a conversation with a journalist (journalists), but also made at a meeting, rally, in a conversation with voters and others. situations.
Quoting speeches, interviews and statements of famous people is the norm in modern newspaper practice. The host of the "7 Days" program invites the Prime Minister or the Chairman of the Administration of the President of Ukraine to speak in his program, not because he himself cannot comment on a certain event or does not have his own point of view on it, but because the opinion of a high-ranking government official is of interest to a much larger number persons than the opinion of a journalist. These are people who are endowed with real power, authorized to make government decisions. That is why their performances are able to arouse the high interest of the audience.
The professional qualities of a journalist are measured by the extent to which he manages to attract influential figures to his programs or publications, to make his PMI a communication channel for the most authoritative information. The journalist's use of the thoughts of specialists is his professional skill. The program or the newspaper as a whole benefits from this, its circulation or viewership grows.
The use of an interview as a type of analysis of a problem or situation does not exclude the possibility for the journalist himself to come up with his own assessment of this issue. But in this case, the assessment of the journalist to look more convincing will inspire the trust of the recipients.
Let's take an example from the work of the editor-in-chief of Literaturnaya Ukraina, Vasily Plyushch, without whose article in the heading "Actual commentary" at one time not a newspaper issue was obtained. In the issue of June 15, 2000, his analytical material "Energy and Energy" was published, the subject of which is an examination of the crisis situation in the fuel and energy complex of Ukraine. The text contains numerous references to interviews with Prime Minister V. Yushchenko, Chairman of the Verkhovna Rada I. Plyushch, Chairman of the National Security and Defense Council Y. Marchuk, and statements on this subject by the President of Ukraine. It is clear that we are not talking about exclusive, but about collective interviews given at press conferences. But they provided credibility to the journalist's conclusion on preventing an energy catastrophe.
It is clear that it is possible to use the interview genre as a whole to analyze a particular problem. Then it is directed only at her, and the journalist's question is formed in such a way as to reveal it in a logical sequence, exhaustively present it to the reader.
This type of analysis is indispensable in the case when a young journalist, without a popular name yet, does not understand the problem deeply enough, believes that his commentary or conclusion WILL NOT be perfect. Then he is simply obliged to turn to a specialist in this field with a request to clarify the facts he has established, and he publishes this interview in his material. A compositionally convenient place for placing such a part is at the end of the article, after the facts described. But this is not the only possible option. The language of a specialist can sound after various parts of the text, accompany the presentation of the journalist.
The semantic aspect is most fully represented in journalism, since journalism itself is usually considered mainly as a message to the reader of a certain content (semantics) of statements and actions. Much less attention is paid to the formal (syntactic) aspect. This is not entirely fair. It is clear that the form of presentation of content in journalism is marked by a more crafty level than in fiction, in particular poetry, but here too there are secrets of skill, with the help of which an ordinary event can be presented as sensational, make the reader cry over the fate of the hero of an ordinary essay or think over well-known, but one-sidedly perceived problems, to see them in a plurality of aspects, to involve them in cooperation in solving them.
2. Syntactic aspect, as already mentioned, it provides for the study of the construction and organization of journalistic systems, starting from the usual newspaper text, such as: notes, correspondence, and ending with the structure of weekly programs of the central national channel. Unlike the previous semantic, content aspect, the syntactic level of analysis consists in considering the form of journalistic works.
The form is understood as any means of expressing the content, both textual and illustrative.
With regard to a printed publication or a radio and television program, it is customary to talk about the following elements of the form:
1) genre, which means modifications of genres, various collections of materials, headings, sections, cycles, thematic bands, issues or programs;
2) plot-compositional, which include the plot, composition, characters, font design, illustrative design, a combination of pre-recorded plots with a live report from the studio, and the like;
3) lexical and stylistic, that is, language, style, figurative and expressive means, tonality, individual manner of a journalist, style of the publication as a whole.
At the same time, it should be understood that there are different levels of content-formal unity:
1) a separate test;
2) bands, bands, television or radio broadcasts;
3) newspaper, magazine, publication in general, radio studio or TV channel.
A journalistic work, as a consequence of mass information activity, succeeds in conditions of content-formal unity. Artistry and aestheticism are of the same importance in journalism as in literature and other forms of art, despite the pragmatic, applied nature of this kind of spiritual work. But due to the specifics of journalism, the content-formal unity is influenced by the following factors:
1) reality, life, objective reality in its general and specific manifestations; this influence can be direct and indirect;
3) the type of publication, its fundamental orientation, traditions, the need to cover the phenomenon that is the basis of the material;
4) the nature of the audience, taking into account the interests of the addressee;
5) the pressure of strictly professional moments (urgency of publication, space limit in the newspaper, etc.);
6) stereotypes and traditions, accepted norms in the approach to such material (thematic, genre, etc.).
The syntactic aspect of journalism will be given a significant place in the professional training of a journalist in the course "Theory and Methods of Journalistic Creativity" and in a number of disciplines of specialization, namely: "Information genres", "Analytical genres", "Artistic and journalistic genres", "Design technique publications and others.
3. Pragmatic aspect determined by the immediate reaction of readers to the publication or radio and television broadcast. It is measured by the number of reviews - letters and telegrams, phone calls, verbal suggestions from visitors - received by the editorial office after the publication of a journalistic work. Evidence of a high effect is the attention paid to the problem of power structures: either directly due to the publication, or indirectly due to the purposeful formation of public opinion.
New opportunities for the implementation of feedback and inter-activity are provided by Internet journalism. Modern online publishing is a special way of being texts on the web. Unlike paper journalism, online publication is built in the form of a complex model, the main components of which are the author's material, readers' comments on it, the author's explanation of the comments, and new readers' reviews. The pendulum of attention can swing between the author's and the reader's positions ad infinitum. The possibility of commenting is not only evidence of feedback, but also the enrichment of the topic with facts, assessments, and conceptual solutions proposed by readers.
An important aspect of journalistic creativity is editorial activity. In a broader sense, editing is understood as processing, preparing for printing a certain text, manuscript, correcting it in accordance with the requests of the publication, reducing the material if necessary, its compositional restructuring, that is, any work to improve the text. In this sense, every journalist was an editor, as he prepared for publication the manuscripts of his own and other authors.
In a narrower sense, editorial activity consists in managing the publication, determining its strategic and tactical tasks, content and nature, organizing a creative team to achieve a specific goal, final approval of materials for publication or broadcast. This mission is assigned not to each journalist individually, but to the editor-in-chief of the publication. Its activities are no less creative than other subjects of mass information activity, but are carried out against a wider social background, and are associated with important organizational functions.
At one time, the outstanding Ukrainian journalist and publicist Mikhail Drahomanov (1841-1895) in his correspondence with the representative of the younger generation Ivan Franko (1856-1916) formulated the important foundations of editorial work. In a letter dated March 15, 1885, summarizing his twenty-year experience of cooperation in journals and his own editorial activity, he warned I. Franko, who was then preparing to publish the journal Postup, against possible mistakes: “Do not get infected with two editorial diseases,” wrote M. Drahomanov: - a) to consider the public as very stupid writers, thinking that, they say, the public will not understand this and that, will not be interested in that, etc. Give any serious matter to the public, tell it simply, but seriously, and the public will understand. b) Do not consider employees stupider than yourself; select people of your own choice, work with them basically - and then give them free rein to do - and do not particularly delay talking about burning matters by the time you yourself are about to talk, maybe better than ready employee in the finished article."
These tips are: first, to respect the public and treat it as an equal interlocutor and, secondly, to guarantee the freedom of creativity of the editorial staff, having agreed with them to observe only the main principles, not to interfere in their work about every little thing - can serve as a guide for every modern editor .
“Editing, like any craft brought to the pinnacle of perfection,” noted Ivan Koshelivets, who for many years edited the leading Ukrainian emigration magazine Modernity, “could and should be art. The complexity of the editorial craft begins with the little things that we have in general do not attach importance: the choice of fonts, format, uniform external design of safety, in the end, each number has several hundred thousand printed characters, and all of them should stand in their places, without any superfluous.In short, a good editor's magazine should please the eye reader, like a beautiful dress from Dior. And already with regard to the main thing - planning: so that each number is on a par with others and in content. And also: perhaps the most difficult thing is to be able to sometimes say no to a deeply revered author.
Among the functions of the editor-in-chief, the following should be noted as the most important:
1) formation of the face of the publication, its informational and problem-thematic orientation;
2) creation of a visual image of the publication, selection of fonts, image signs, illustrative material;
3) planning the publication and work of the creative team, determining the content of the pages, creating headings;
4) conducting political, economic, cultural and other information campaigns on the pages of the publication;
5) involvement in the publication of prominent politicians, scientists, artists;
6) organization of discussions, polemics, joint search for truth, clashes of opinions, defending one's position in one's publication, vyyaskravlyuetsya when discussing it with opponents.
The work of an editor looks so important that in the history of journalism, the periodization of a particular publication is often determined by the name of the editor-in-chief, for example, the well-known phenomenon of the Novy Mir magazine during its editing by Alexander Tvardovsky (March 1950 - August 1954; June 1958 - February 1970) . The magazine, thanks to the editor, especially in the second period, gathered around itself the best forces of writers, publicists, literary critics, under the conditions of a totalitarian regime, they tried to remain on universal positions and maintain a high level of classical Russian literature with their work.
This, of course, is far from the only example of the editor's decisive influence on the policy and position of the journal.
The possibility of creativity and the self-realization associated with it attracts talented young people to journalism (and, as we see, the foundations).
Loading...
