Journalistic activity: characteristics, patterns, motives and incentives.
Journalistic creativity as a professional activity. The concept of creativity. Creativity as the highest form of labor. The emergence of a specialized nature of creativity. Amateurism and professionalism as forms of organization of creative activity; training, skill and mastery as the main steps in the development of a professional. Interests and abilities.
The educational activity of a journalist. Theoretical and empirical methods of cognition in the work of a journalist.
Levels of the degree of generalization of general methods of cognition: philosophical, general scientific, socio-psychological / sociological, interdisciplinary / interdisciplinary. Empirical and theoretical methods in journalistic creativity. Psychology in journalism. Literary criticism.
Method of observation in journalism. Non-included and included observation.
Types of documents and rules for the work of a journalist with them. Document Analysis.
The work of a journalist with documents. Types of documents. Document analysis. Rules for citing documents in journalistic materials. Research and investigative activities of a journalist in the preparation of materials.
Organizational and legal aspects journalistic activity. Mass media law.
The definition of a journalist in the Law of the Russian Federation "On the Mass Media". The right of a journalist to receive information, access to documents, to be received by an official, etc. Obligations imposed by law on a journalist. The concepts of professional duty, responsibility, conscience, honor and dignity in the activities of a journalist.
Bringing a journalist to criminal, administrative, disciplinary and material liability.
The basic concepts of law in the activities of a journalist: honor, dignity, slander, insult, humiliation of honor and dignity.
The concepts of "business reputation", "prestige", "good name". Information "damaging" and "dishonoring".
Question-answer methods of collecting information. Rules for conducting interviews and participation in a press conference.
Interviewing is a common method of gathering information. Types of respondents. An interview is a situation of communication. Audience, interrogation, conversation - other types of communication.
Technological aspects of creating an interview. Organizational stages of its preparation.
Specific features of problem interviews.
Types of biographical interviews.
The concepts of "fact" and "news" in modern journalism.
Fact is the basis of a journalistic work. Two concepts of "fact" and its definition. Opinions, explanations, hypotheses.
Journalistic demands for fact. The facts are ordinary and the facts of science.
True and false fact. Verification process. Differences between a real fact and a verbal one. The concept of "news". Information essence of news. news requirements. Context. Sensation.
A well-maintained country house-estate suits a person of any temperament: a lover of a quiet family life, an individualist and an active, sociable follower of a healthy lifestyle. But still, most people in the 21st century prefer comfort to "wild" romance.
Andrey Petrovich Kashkarov
How to make a country house cozy and comfortable
Introduction from the author
If it is possible to pay, then it is better to pay for a beautiful landscape. This should be the principle of restoring a house in a village.
A country house should be beautiful and comfortable, or How to make your home more comfortable
A well-maintained country house-estate suits a person of any temperament: a lover of a quiet family life and our smaller brothers, an individualist who prefers to save his precious inner world in solitude - these settle on farms, so that the neighbor’s house was not even visible, and active, sociable, followers healthy lifestyle; the latter choose densely populated villages saturated with social infrastructure (shops, clubs, schools).
In the 21st century, people prefer comfort to "wild" romance. For example, the statistics in the nearby large village of Smetanino (800 houses) today are as follows: 24% of families have a washing machine in the village house, 2% have a dishwasher, more than half of my neighbors admitted that they have satellite TV and the Internet (connection to network via mobile phones and modems).
There are several reasons for the transformation of old houses into comfortable estates: today not only the income level of the population is growing (especially in megacities), but also the average age, so if the prospect of a romantic candlelit dinner on a farm does not scare many, then carrying water from a well every day is possible far from all owners of rural real estate. Therefore, if the "house in the village" becomes not just a second home, but also a farm office, then the improvement (external and internal) requires attention both financially and technically.
I bought my house, lost in the wilderness of the Vologda forests, in 2007. It consisted of two residential huts (two rooms in each, each hut has a corner for a kitchen and two stoves: each room has its own stove), a huge area for storing hay, an extension - a stable, an extension of a barn, two pantries (later I made them comfortable rooms) and outbuildings. This very "bright" house has only 16 windows with double frames, traditionally (in the North of Russia) located at a height of 2 meters from the ground, and therefore "equipped" with a large and well-insulated basement-underfloor.
The house stands on a foundation made of large boulders, sprinkled with sand from the nearest (400 m from the house) river Vaga.
When processing documents in the local technical inventory division (BTI), I had to make a new building passport, where the number 1955 was adopted for the year of birth of the house; it is recorded from the words of the former owners, unless other clarifying documents have been preserved. Thus, even a fifty-year-old house can be ennobled to a state in which life in it becomes comfortable and relaxed. Next, I will tell you how to turn a nondescript house into a cozy homestead.
There are a lot of abandoned farmhouses-huts scattered across the territory of Russia, approximately one for every five dozen inhabitants of the country; today the price for them has increased, but in the "outback" it is still quite acceptable - about a hundred thousand rubles (depending on the region and other conditions).
On fig. 1 is an illustration of what the house looked like when it was purchased in 2007.
Rice. 1. Abandoned house on a remote farm Borovichikha
On fig. 2 shows the destroyed bathhouse and outbuildings (2007).
Rice. 2. Ruined bathhouse and outbuildings
On fig. 3 shows a view of the interior decoration of the house (2007).
Rice. 3. View of the interior decoration of the house before improvement
It is absolutely clear that such a situation cannot satisfy any zealous owner. After a careful and deep inspection of all the premises and the foundation, the discovery of hidden defects, the next step is to develop a plan and draw up a cost estimate. In my case, they took a little more than 120,000 rubles.
Step-by-step work order
After drawing up a work plan, I began to repair the foundation. One crown rotted and had to be replaced with the help of three people from the local construction team. On the one hand, the house was raised on jacks, and with the help of a winch, a new log was "brought" into the log house. This repair in terms of the foundation turned out to be enough, since the rest of the crowns did not have problem areas.
Then an audit of the internal ceilings was carried out, the "horse" (the corner crowning the roof) was replaced, and the external walls were carefully examined. Approximately 15% of the entire area of the outer walls were logs cracked from old age. I filled small gaps with stone wool (mineral wool based on stone - it protects well from heat and cold, is safe for health) and "macroflex" mounting foam. Why do I recommend this particular product over others (cheaper)? Foam "macroflex" in the process of drying is less susceptible to "swelling" than similar compositions from other manufacturers; with a reasonable approach to business, a small layer of such foam is almost ideal for filling small (not through) cracks in wooden structures, that is, it saves material and money, the foam almost does not have to be removed (cut) after work is completed, which will inevitably follow when using cheaper building products.
Almost at the same time, I organized the construction of a new bathhouse (a log house and an extension to it) with a total size of 3 × 6 m. The log cabin of the bathhouse was installed by a construction team of 2 people in one day, 20 meters from the main estate.
The walls of the bath, made of logs (350 mm in diameter), are lined with forest moss. The floor is made with a sloping "corner to the center" for natural water drainage. The extension boards are overlapped. Mounting foam is also laid between the flooring boards of the extension (including the ceiling), as well as in the corners between the walls of the log house and the floor for thermal insulation.
I have a minibus available, so the transportation of building materials (logs, boards up to 3 m long and other tools) was not associated with difficulties and material costs.
In the wall (closest to the exit from the residential hut), with the help of a hand drill, I drilled two holes with a diameter of 45 mm for a water supply hose to the “manual” sink mixer, to the washing (and dishwasher) machines, to the shower stall installed on the lead and, respectively (second tap), total drain. After laying metal-plastic pipes, these holes are also insulated with mineral wool (for harsh winters in the North of Russia, this is extremely important).
Pipes are mounted underground to a depth of 80 cm (so that they do not freeze in winter) and are connected to a pumping station that takes water from a well.
The peculiarity of my improved house is that I have embodied here almost all the innovations in the field of electronics. For example, a pumping station can supply water to a house (and barn) both automatically (when the pressure in the hydraulic circuit decreases) and forcibly (very useful for washing a car and watering garden beds) - it is turned on by radio control. Cellular alarms notify me when the front door is opened and any movement inside the house (movement sensors are installed), portable video cameras located on the four cardinal points are not fiction, they “record” the image in digital format on a special medium for 24 hours. All these preventive innovations contribute not only to safety, but also allow you to feel in complete comfort.
During the first year of stay in the village, they managed to build a new bathhouse, a woodshed, toilets in the house and outside the house (summer), a shed and a garage for tools, and expand the barn. Almost all the work was carried out on their own; it is impossible not to notice that it is difficult or even completely impossible to do without women's hands.
The construction team was involved only to install the log cabin of the bathhouse and replace the lower crown in the main estate.
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Faculty of Philology and Journalism
Department of Theory of Journalism
Fundamentals of the creative activity of a journalist
LECTURE 1. Features of the creative activity of a journalist
LECTURE 2. Method and method of journalistic creativity
LECTURE 3. The process of creating a journalistic work
LECTURE 4. Formation of the concept of a journalistic work: choice of topic
LECTURE 5. The problem in a journalistic work
LECTURE 6. The idea of a journalistic work
LECTURE 7. Genre as a method of creating a journalistic work
LECTURE 8. The construction of a journalistic work
LECTURE 9. Professional analysis of a journalistic work
GLOSSARY (conceptual apparatus of the course)
LECTURE1 . Features of the creative activity of a journalist
The main types of creative activity of a journalist.
Professionalism and dilettantism in journalism.
Features of the creative activity of a journalist.
Moral features of creative work in journalism.
What types of creative activity of a journalist do we already know? What do journalists create?
Creative activity is the creation of new (objectively or subjectively) realities of a material-energy or informational nature.
At the heart of any creativity is the processing of information, its recombination.
What is the difference and unity of craft and creativity?
Reproductive activity: craft - reproduction, replication of what is already known; the goal is in finished form, as a sample. "I set the craft as a footstool..."
Creative activity: search for new solutions, the goal is finally formed in the process, the result is unpredictable. More novelty!
What is the difference between a professional and an amateur?
Dilettantism: reliance on generative models spontaneous adherence to the laws of journalistic activity
Professionalism: conscious use and improvement of methods, understanding, awareness of the processes of their activities.
Levels of professionalism:
Learning (craft)
Skill/ability to solve new problems in new conditions
Mastery (best performance of functions, ability to improve methods)
What are the features of the creative activity of a journalist?
Individual-collective character
Production and creative nature
Conditions and factors affecting creativity:
Objective time, place, type of publication, social formation
Subjective: personality traits of a journalist, level and development of abilities.
Moral foundations of creative activity:
Creative behavior: "Find your place in the common work and at the same time remain yourself." (M. Prishvin)
"The goal of creativity is self-giving, not hype, not success ..." (B. Pasternak)
Planning of creative self-development, self-training, self-education.
ASSIGNMENT: Based on the information received, describe your own experience and level of journalistic work?
What kind of it do you know from your own experience?
Give examples of your reproductive, amateurish, professional work; what generative models did you use?
Do you have experience of collective journalistic work? What product was created with your participation?
Which objective and subjective factors of creativity "work for you", and which ones should be overcome, changed, developed...?
Determine the main goal for which you want to go into journalism in order to plan for creative self-development.
LECTURE 2. Method and method of journalistic creativity
Methods for obtaining information;
Methods of comprehension of the essence;
Methods of presenting information;
Methods of influencing the audience.
When starting to work on a topic, a journalist builds a HIERARCHY OF GOALS: which of the possible tasks is the main one? And if you can also highlight the information task, then you can already determine the genre of the future work. We are looking for a way to solve problems, we are looking for means, that is, we are solving the question of a method.
METHOD of activity - that combination of real components of activity, thanks to which the result is achieved.
METHOD is a sequence evidence-based actions of a mental and practical nature necessary to solve problems of one type or another.
If we have no idea about scientifically based methods, then the generative model works. Or we draw from the piggy bank of someone else's experience.
Consider first the methods of cognitive activity (those related to the collection and understanding of data). They are associated with methods of presenting information, i.e. creating a text, although there is already an experience of separation - into collectors and processors of information.
METHODS OF OBTAINING INFORMATION - observation, study of documents, conversation (survey, communication), experiment. According to Kim, it is also forecasting and a biographical method.
METHODS OF COMPREHENSION OF THE ESSENCE - the functions of methods for solving theoretical problems are the knowledge that a journalist possesses. Three levels of knowledge:
Basic - philosophical knowledge, methodological level. (In the "basis" of the older generation - Marxist dialectics, the clerical press is based on theology, the yellow - often on archaic, pre-scientific, such as magic, astrology ...);
Knowledge about a person and society, accumulated by specific, more often humanities, the use of their methods of studying reality;
Empirical knowledge at the level of "common sense" is what is called the knowledge of life: very useful, but also dangerous! At this level, "moves" are sought not to the source of information, but to verification or proof of one's idea, this is a kind of verification by practice. But without scientific knowledge, it can lead to error.
The more levels mastered, the wider the choice of methods, the less standard, the more creative freedom. We must learn to use our university education for this!
We include all new information in the system of previously accumulated knowledge and process it according to the rules set by this knowledge; Are there any rules set by the science of journalism? Yes. These are the rules by which journalistic genres "work".
But this is a separate (next) topic -
METHODS OF PRESENTING INFORMATION, i.e. questions of creating a text.
These methods are considered by Lazutina as an "assembly" of elementary expressive means, by Kim - as the formation of compositional structures, by Tertychny - as methods of intellectual actions, algorithms of logical operations. It is more practical to consider them according to Shklovsky (this will be BODIES 7).
We will immediately name the main
METHODS OF INFLUENCE ON THE AUDIENCE -
Belief
Suggestion.
These methods are already associated with the result of journalistic creativity.
TASK: re-read the journalistic text you liked and determine about it / the methods of obtaining information and the levels of knowledge used by the journalist. At what levels did you have to work?
LECTURE 3. The process of creating a journalistic work
The main stages of the cognitive process (on the example of the development of a specific topic)
Acquaintance with the situation;
Journalistic research and journalistic investigation;
From fact to intention.
According to Lazutina, the initial stage of a creative act in journalism is a conscious, purposeful cognitive activity that involves obtaining sufficiently reliable operational knowledge about the current reality.
The simplest (for the record) task is to establish a fact, to determine how significant the changes associated with it are. This is an ACQUAINTANCE WITH THE SITUATION. (Example: "the range of goods for gardeners and gardeners has expanded." This is relevant for the start of spring work; so what's new there?)
If we prepare analytical, problematic material, then our cognitive activity will take the form of JOURNALISTIC RESEARCH.
And if you need to study a situation in which the facts are hidden, then getting the hidden facts and revealing their meaning will already be JOURNALISTIC INVESTIGATION.
Consider the main stages of practical cognitive work.
Let's take as an example a fact and a topic from the note above: new products for gardeners - what no one has written about yet? - about the tool!
- reveal the address of the real situation(possible object):
shops selling goods for the garden;
-determine the problems in the context of which this situation is significant, their connections:
Does the quality of goods - tools - correspond to local conditions, the capabilities of buyers? Are prices available? We proceed from the fact that our gardeners are mostly middle-aged, not very healthy, poor people who rely on manual labor.
Now we can develop an application for a topic- something like this:
"on the novelty and quality of the tool offered to gardeners" ...
- planning and organizing the practical course of work:
shop visits, customer surveys.
Collection of preliminary data (most often: the method of obtaining information - the study of documents, reading).
We are looking for books on the principle of novelty, relevance, proximity to the topic. It turns out that there is a tool that replaced the five most famous and necessary! Making it possible to work with a minimum of effort!
- definition of specificOsubject study:
This tool is Fokine's flat cutter.
- directed study of the object(information collection methods: interviews, observation):
We ask this product in stores - the sellers either do not know, or "it happens, but they take it badly", but in some places there are flat cutters ...
We ask the passengers of the garden train - almost no one knows, some say "expensive, heavy", but there are also rave reviews. It turns out that there are fake ones in stores (expensive, heavy, not Fokine / flat cutters - a wonderful invention is simply discredited!
- concretization of the idea(according to Agranovsky - a fully developed concept);
- implementation of the plan
Additional features: if time permits, include personal testing of the tool in work in the directed study of the object. Then, next to this topic, another one, no less interesting and important, can grow up: a new approach not just to performing the usual operations, but a new principle of agriculture, which is already conquering the world!
ASSIGNMENT: Write an application for the topic of your next journalistic speech. Perform step by step all cognitive operations. Write in 3-4 sentences the concept of the future material. Expand the concept into text.
LECTURE 4. Formation of the concept of a journalistic work: choice of topic
Facts of science and facts of ordinary consciousness;
Theme as an object and as a subject of journalistic development.
What situations does a journalist work with?
What determines the relevance of the topic.
The concept is the semantic core of a journalistic work, including its theme, problem, idea. We start by choosing a topic.
From the 1st semester: what sources of topics do you know?
A fact is a real phenomenon, a real event: facts of everyday consciousness, scientific facts.
But even this selected part of the object is considered in many ways - as a SITUATION, i.e. a set of interconnected facts.
The situations are different:
scale - local and global,
in time - situations of current reality, relevant
Situations of yesterday, may be
All situations of the distant past!
according to the degree of development of the leading contradiction:
Situations are positive (contradictions have not matured)
Problematic situations (contradictions are indicated)
Conflict situations (antagonistic contradictions)
Situations at a turning point
What does the development of a leading contradiction mean? Life moves forward through the struggle of opposites, overcoming contradictions. Who knows how to assess the degree of inconsistency of the situation, he has the opportunity to "take the topic through the problem." What does it give? According to G.V. Lazutina, the journalist chooses only one thing to reflect the broader situation: the problem that has matured in it. Considering through it the local life material, he deals with the difficulties common to many, sets a common creative task, then the network makes the topic GENERALLY SIGNIFICANT.
The more clearly the journalist saw the connection between a specific situation and an urgent life problem, the deeper he understood it and received more valuable new knowledge on it, mastering specific material, the MORE RELEVANT his publication will be and the more resonance it will cause.
SO, A COMPLETE ANSWER TO THE QUESTION WHAT THE MATERIAL IS ABOUT SHOULD INCLUDE NOT ONLY THE SITUATION, BUT ALSO THE PROBLEM IN THE LIGHT OF WHICH IT IS CONSIDERED.
ASSIGNMENT: Select a subject from the "Youth and Elections" object, focusing on the student newspaper.
Describe (very briefly) the situation, using the facts of ordinary consciousness and the facts of science; statistical, sociological data.
Determine the scale and time of consideration of the situation, the leading contradiction and the degree of its development.
Formulate a life problem in the light of which the situation is considered. And FULLY state your topic.
LECTURE 5. The problem with journalism
What problems does a journalist work with;
Sources of burning questions;
Variants of journalistic "exit to the problem".
So, we know that it is useful to consider the subject in the light of a larger social problem in choosing a topic.
The Greek word problema means - a task, it is a certain stage in the deployment of the struggle of opposites.
Journalism works both with problems that have not yet been solved, and with those whose solutions have already been found by science or proposed by politicians. But journalism, as it were, tries on a ready-made solution for practice, helps to find solutions, offers its own (more on this in connection with the idea of the work, this is the next topic).
V.M. Gorokhov highlights the psychological aspect - for a journalist, awareness of a problematic situation can serve as a trigger for the creative process (questions for yourself: where to find information? how to write?). It is important to formulate the MAIN question that your work will answer. This is called "going to the problem" from the circle of many possible questions. And how to distinguish between issues that are important to the reader?
Journalism extracts its questions from readers' letters, in the process of professional communication, from classical art (today's sounding of eternal questions). The level, the quality of the questions asked is always based on the knowledge already available ("universal answerer"...).
The way out to the problem is through conflict: there are many specific acute situations in life; which of them should be chosen as productive? In the same situation, internal and external contradictions may appear. We should be interested in those opposites in the struggle of which one can see the movement of social processes. For example: outwardly - a family quarrel, internal contradiction - between the ordinary right to housing and the law; hence the question - what now prevails in the minds of people? This understanding of the problems helps people better navigate reality.
From practical journalistic experience (according to Agranovsky): approaching the problem through an "interfering detail" - that part of the factual material, the use of which threatens to destroy the idea, contradicts the emerging concept. Quite often, this detail reveals just an internal, hidden contradiction. Working with him requires courage and skill. The master level is the consideration of internal conflicts, in which, as it were, one side is both right and wrong: here the contradiction sharpens to a paradox, on which such complex genres as, for example, feuilleton are based...
The conflict can have a plot-forming value, make the work sharp, interesting for the reader.
Exercise. Consider the following situation as problematic.
A capable student receives an invitation to an internship in the United States, and upon graduation - the possibility of employment there in a prestigious research center. A lonely sick mother remains at home, to whom he regularly sends money, and a supervisor who had high hopes for the student.
A year later, my mother receives a letter: I am getting married, the bride will not agree to my return to Russia. Instead of an answer comes the news of the death of the mother. The bride says it's sad, but now there's no problem...
Formulate the themes that you see in this situation.
Which of the problems do you consider the main one?
What is the significance of the conflict for the construction of the plot (can one or more conflicts be chosen?)
LECTURE 6. The idea of a journalistic work
The main properties of a journalistic idea
Basic idea and working idea
Sources of journalistic ideas
IDEA - the main idea of the work, which embodies the author's discovery - the achieved understanding of the subject and purpose of the narrative, which is a certain value for the audience.
This is the answer to the question posed, not necessarily a complete and detailed solution of the problem, but an indication of the path to its solution. A professional tip from an authoritative source is not always more valuable than a journalistic idea!
PROPERTIES: - reality, i.e. reflection of reality plus impact on the surrounding world;
Validity, universality plus influence on social processes outside the considered situation;
Ideological - ethical orientation.
The text reflects two levels of reality - objective reality and subjective point of view, the inner world of a journalist.
According to V. Pronin, the idea of a journalistic work at the moment of its perception works as a special type of control connection.
It causes 3 types of reaction to the publication:
Engagement reactions - external or internal actions of the recipient of information, in which his attitude to situations, ideas is revealed;
Execution reactions - actions for the direct implementation of recommendations or behaviors, that is, a campaign effect;
Social guarantee reactions are actions in which the responsibility of certain forces for the necessary consequences of the publication is manifested.
We distinguish between a supporting idea (a system of values, an ideology on the basis of which a journalist makes his judgments), and a working idea (the same hint for making a specific decision).
The time of the acute struggle of basic ideas is the destabilization of the mass consciousness; according to Fichtelius, the norm is the rejection of basic ideas, the refusal to judge what is good and what is bad. But this is outside the Russian tradition.
The powerful impact of the working ideas of Ovechkin, Agranovsky ... A hint from the authorities on behalf of the people's desire, public opinion. The government's rejection of journalistic ideas - "the dog barks, the wind blows"?
According to G. Lazutina, the working idea now retains its prompting, motivating character, but becomes variable.
Some sustainable options:
Take note and act on your own discretion (draw conclusions)
Act as conditions permit
Don't let this happen again
There are such and such options for solving the problem - based on your conditions, determine the preferred one and act,
The solution to the problem is unknown, connect to the search.
Pluralism of ideas, democratic approach - for self-government? Yes, in all journalism. And in a separate newspaper?
"To take the topic as an idea" means to put forward a working hypothesis, a preliminary version of the answer to the question posed. Where do the "original" ideas come from? Practice, smart books, communication with thinking people; the formalization of those ideas that are already "floating in the air" are being formed in the mass consciousness.
To create a text: an idea is also a form…according to Hegel.
ASSIGNMENT: Suggest a supporting and working idea for the following situation.
Journalism applicants find time to write and publish, junior students publish very little, senior students strive for the minimum (doing what is given). Of these, those who are the best students write the most and best of all ... And professionals are obtained, as a rule, from those who are constantly engaged in journalism ...
LECTURE 7. Genre as a method of creationjournalistic work
Genre as a form of reflection of reality
On the conventional nature of the genre
Subject-functional foundations of the genre
Genre is, first of all, a stable form of REFLECTION OF REALITY, and only in the last account - a form of text. Therefore, different journalists write very different materials in the same genre. According to Shklovsky, a genre is an order of "examination of the world" that has developed in the mass consciousness and then fixed by writers and journalists. The genre has a CONDITIONAL NATURE - it is a kind of unspoken agreement between writers and readers: we talk about reality according to certain rules - then we are understood correctly. readers do not study genres, but use them. By indicating the genre of the work - "feuilleton", "essay" - we prepare the reader for how this text should be perceived. Due to the violation of the laws of the genre, the work may not be understood or accepted by the reader (the innovation of the discoverers requires special explanations, a long education of the audience).
The genre has a SUBJECT-FUNCTIONAL BASIS, that is, it is determined as a result of choosing a subject and determining the function of a future work. Depending on these components, the method of solving the problem is chosen, "the order of examining the world" - the method of reflecting reality, that is, the genre. This method will have a formative value: as a result of certain actions of a journalist, a text will be formed.
Formative features of genres
On the "mixing" and "purity" of genres in journalism
What rules must be observed in order to get a work of this particular genre?
The choice of a subject corresponding to this particular genre. Each genre "works" with a SPECIFIC TYPE OF OBJECT. For example, a reportage can be about a football match, about a fire, about a holiday - but always about an event, moreover, about an event that lasts, takes place before our eyes, and is observed. Any review - on a book, a film - is always about a product of spiritual production ... Each genre is "specialized" in its subject;
Awareness of the function corresponding to the genre. Each genre has its own INFORMATION FUNCTION. Among the tasks facing a journalist (to fulfill the task of the editorial board, to punish those guilty of violating the law, to surpass everyone who will write about the same in other publications ..., to evaluate something important ...), there is always the task of an informational plan - to show, explain , to give an assessment ... that's the solution to this problem and defines the genre as its second component. Each genre answers its own question - "how did it happen" (reportage), "what to do" (article), etc. These questions must be kept in mind - the reader is waiting for an answer to them;
Solving a creative problem by a METHOD peculiar to this genre. Each genre performs its informational function in a certain way, using its own "order of inspection of the world": the report observes, interviews interrogate, correspondence builds a chain of causes and effects ... In information genres, the method of obtaining information (observation, questioning, etc.) in analytics, you can collect material in all ways - by reading documents, talking, observing - and the solution of the information problem is provided by a certain set of intellectual operations, like a technology for comprehending life material that needs to be reported;
As a result, a stable FORM of the text appears, but not a standard pattern of presentation! We are talking about the INTERNAL FORM, that is, the logical basis of its construction! And the external form is style, vocabulary, etc. - can and should be peculiar to different authors.
Speaking of "mixture of genres", one should keep in mind not a mixture of elements of different forms (for example, reportage or dialogic "pieces" in an essay), but a reasonable combination of methods reflected in the text. But the genre, with all the originality of the works, is recognizable by the combination of its main pillars:
SUBJECT - FUNCTION - METHOD - FORM
ASSIGNMENT: Highlight the main genre-forming factors in the journalistic works of the genres you have studied (these can be your own or other people's texts). Thus, one can understand not how the work was written, but how the author's thought worked on it, following the law of the genre consciously or intuitively.
LECTURE 8The construction of a journalistic work
The concept of EMU - electronic expressive means of journalism
Factual, figurative, normative rows of EMU
The plot and composition of a journalistic work
Journalistic information is objectified, acquiring the nature of the information level through the language of journalism, which is denoted by the concept of EMU - the elementary expressive means of journalism. EMU is the "building material" of the text.
This includes:
A factual series is a fact as an element of reality, a fact as an element of consciousness (a means of cognition), a fact as an element of a text.
The figurative row is made up of elements of history, images of culture and science, folklore (moreover, the image can be formed from conceptual vocabulary, from documentary life historicism). Associated with an emotional assessment of facts.
Normative series are semantic units in which social experience is also fixed, but first of all, these are judgments in which certain establishments of society are fixed. For example, legal, industrial, moral standards.
These series correspond to Prokhorov's conclusions that information can be evaluative, normative, but also ascribed. This latter is already a synthesis of the EMU, that is, the idea is the material, the way of its expression.
According to G. Lazutina, the means of organizing a journalistic text is the EMU moment. G. Lazutina highlights the reasons for this of which the most significant situations.
The necessary and sufficient number of subtopics in a journalistic text should correspond to the number of tasks facing the author in organizing the contact of the text with the addressee and be fundamentally reduced to four. These main tasks are:
Introduction to the situation (ends with the selection of the topic);
Problem designation;
Presentation of assessments, ideas and arguments;
Practical formulation of the question (testing the idea with practice).
Composition is a means of organizing the text, acting as a system of rules for its construction in terms of combining subtopics.
The most common options for the plot of a journalistic work:
The plot is event-based, which is built "in the course of obtaining information,
Logoplot (in analytical genres).
G. Lazutina speaks about external and internal connections between the EMU, other authors mention the external and internal form of the work. The outer form is all expressive means, while the inner one is the logical structure, it is easier to represent it through the concept. But the most interesting thing is according to Shklovsky, where the content is presented not as "content" poured into a vessel form, but as content, a system of internal connections that "hold back" various elements of the text, linking them.
LECTURE 9. Professional analysis of a journalistic work
Criteria for evaluating a journalistic work
Methodology for analyzing a journalistic work according to the rule of the golden section
Criteria for evaluating a journalistic work:
The novelty of a real concrete situation, the reliability of its reproduction and the validity of the interpretation;
The scale and significance of the problem, from the point of view of which the real specific situation is considered;
Efficiency of the material;
Constructiveness and persuasiveness of the idea;
Sufficient completeness and brightness of EMU, motivation for their use;
Clarity and motivation of the montage and compositional solution of the work;
Semantic accuracy, brightness, memorability of a journalistic image;
Logical and lexical-stylistic literacy of the material.
Many years of experience in teaching future journalists to work in analytical genres have shown that the most common mistakes include violations of logical connections when building the concept of a work.
The question that the author intends to answer is often posed "off topic" (or with a significant deviation from the topic stated at the beginning of the text). The idea is not the answer to the question; the connection of an idea with a problem can be lost simply because the author was distracted by a bright detail, a random association, etc. At the same time, the text seems quite logical to the author himself if he builds a presentation according to the stages of collecting material or follows the reasoning of the people from whom he received information. It can be difficult for the author to single out the main elements of the content in his own work - a topic, a problem, an idea, and the formulation of the concept is sought in this case in the last paragraphs of the text. But the final conclusion does not always follow from what the journalist wrote above...
The task is to quickly and clearly show the author, without retelling the whole work, what did he really say- and help to see it through the eyes of the reader.
The reader perceives a journalistic work intuitively obeying the universal law of harmony, according to which the most important semantic elements of the concept are arranged according to the golden section rule. For this, the reader does not need any measurements, does not need to know anything about the secrets of "perfect proportions" 3:2 or 5:3. The figurative expression "perceive with the heart" takes on an almost literal meaning if, stretching the text into one column, imagine its length as a person's height and draw a line through the heart: this is the line of the golden section. At this point, the description of the situation usually ends (the reader's introduction to the topic) and the problem of the work is indicated. At the same distance from the end of the text, an idea is always expressed - the true thought of the author, which can be further developed, argued, or can be replaced by a predetermined, "necessary" conclusion.
Even if the topic was not defined in the first third of the text, or the author formulated the problem in the title, or expressed the main idea at the very beginning, the reference points of the concept will still be in the “golden” places, only the main question and the answer to it will sound this time in different form.
To see how the problem is presented to the reader, you just need to measure a third of the text by eye and read 1-2 previous paragraphs.
Here, as a rule, there is either an interrogative sentence, or the words "but", "however", "although" - the problem can be indicated through a conflict, through a comparison of two opposing facts or statements. Here is the place of the main question, from here you can see how it is related to the topic.
At the same distance from the end of the text (1/3, 2/5 plus or minus a paragraph) - the second line of the golden section. Here the author expressed his main idea, but not necessarily in the form of a rational statement: perhaps through a significant detail, a remark from a dialogue... In the final lines of the text, the idea is usually repeated - either in a clearer formulation or in a figurative form. That is why, when the last paragraphs are shortened (which happens very often), the composition suffers, but the text does not become meaningless.
Thus, when editing your own or someone else's text, having previously looked into the places of the golden section, you can immediately "grab" the concept of the work, evaluate its consistency, and then, reading the entire text, follow how the concept will be deployed.
ASSIGNMENT: Underline in journalistic materials one of the issues quality newspaper lines located at the points of the "golden section". Is the concept of each material logically built? Repeat the experiment on your own manuscripts and publications.
GLOSSARY (conceptual apparatus of the course)
Compiled on the basis of the textbook by G.V. Lazutina "Fundamentals of creative activity of a journalist".
Creative activity- the creation of new (objectively or subjectively) realities of material-energy or information - as in journalism - nature.
Mastery- the highest level of professionalism, the ability to improve the very method of this type of creativity.
Genre- a stable form of reflection of reality, according to Shklovsky - "the order of inspection (comprehension) of the world", which forms a stable form of a journalistic text.
Journalistic research- identification of non-obvious connections between facts, identification of possible ways to solve the problem.
Journalistic investigation- obtaining deliberately concealed data, revealing their significance.
Intention- a mental image of a future work, including in a folded form both its theme, and the idea, and the principle of its organization ("move").
The idea of the work- the main idea in which the author's "discovery" is embodied - the understanding of the subject and purpose of the narrative achieved by him.
Concept- the semantic "core" of the work, including the theme, problem, idea. Composition can be part of the idea.
Method- a sequence of scientifically based actions of a mental and practical nature necessary to solve problems of one type or another.
Generative model- an idea of the characteristic features of works created by one or another type of creative activity.
Problem- a reflection of the counteraction of opposites, a question arising from this contradiction. The task of a journalist is to formulate this question and suggest possible ways to solve it.
Situation- a combination of conditions, circumstances that create a certain situation, position.
Subject as a subject of journalistic development - the real situation in the context of a broader problem; one of the sides of the studied object (vital material).
Technology(from Greek - "science of skill") - a procedure recommended in order to guarantee the achievement of a regular result of an activity.
Fact(from lat. Factum) - done, accomplished; real, very real event or phenomenon.
EMU- elementary expressive means of journalism, the language through which journalistic information reveals itself. EMU is the "building material" of a journalistic text.
journalist creative amateurism professionalism
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Continuity and innovation permeate the entire cultural life of society. Representatives of each new generation are engaged not only in the assimilation, but also in the innovative processing of the cultural achievements of the past, the creation of new cultural values, or, in other words, creativity.
Modern definitions of "creativity" can be found in various literature (philosophical, cultural, psychological, pedagogical) and other areas. In this regard, some definitions are of a scientific (theoretical) nature, others, on the contrary, are of an active nature, and others represent a more emotional, individual view or attitude towards creativity. Let's try to consider several definitions of "creativity" and derive a more complete one, suitable for the topic of our study.
Creativity is a process of activity that creates qualitatively new material and spiritual values or the result of creating a subjectively new one. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. The result of creativity cannot be directly deduced from the initial conditions. No one, except perhaps the author, can get exactly the same result if the same initial situation is created for him. Thus, in the process of creativity, the author puts into the material some possibilities that are not reducible to labor operations or a logical conclusion, and in the end expresses some aspects of his personality. It is this fact that gives the products of creativity an additional value in comparison with the products of production. Creativity is a human activity that creates fundamentally new material and spiritual values. Creativity always involves a certain rejection of the old and the creation of cultural innovations. But in different cultures, the direction and nature of creativity can vary significantly. The Western model of creativity is focused mainly on changing the external environment by a person, bringing the world in line with the creative person's own plan. In the East, among humanitarian-educated people, internal creativity prevails, in which the transforming activity is directed by the creator towards himself. Its goal is to transform its own spiritual world.
Yu.B. Borev defines creativity as a historically evolutionary form of human activity, expressed in various activities and leading to the development of personality. The main criterion for the spiritual development of a person is the mastery of a complete and full-fledged process of creativity. Creativity is a derivative of the individual's realization of unique potentials in a certain area. Therefore, there is a direct connection between the process of creativity and the realization of human abilities in socially significant activities, which acquire the character of self-realization. Thus, creative activity is amateur activity, covering the change of reality and self-realization of the individual in the process of creating material and spiritual values, which helps to expand the limits of human capabilities. If a person has mastered creativity to the full extent - both in terms of the process of its flow and in terms of results - it means that he has reached the level of spiritual development. He can experience the moments of unity of all internal forces. If a person has reached the level of spiritual development, no matter what activity he is engaged in, one thing remains - to wish him a happy journey. And look at him at least sometimes. After all, no doubt, he will teach something good.
Creativity is an attribute of human activity, its necessary, essential, inalienable property. It predetermined the emergence of man and human society, and underlies the further progress of material and spiritual production. Creativity is the highest form of activity and independent activity of a person and society. It contains an element of the new, involves original and productive activity, the ability to solve problem situations, productive imagination, combined with a critical attitude towards the achieved result. The scope of creativity covers actions from non-standard solution of a simple problem to the full realization of the unique potentials of an individual in a certain area.
Creativity is:
activity that generates something qualitatively new, which has never existed before;
creation of something new, valuable not only for this person, but also for others;
The process of creating subjective values.
There are different types of creativity:
production and technical
inventive
scientific
political
organizational
philosophical
artistic
mythological
religious
everyday household items, etc.
in other words, the types of creativity correspond to the types of practical and spiritual activity.
Researchers of the creative factor of a person and the phenomenon of the intelligentsia single out artistic, scientific, technical, sports-tactical, as well as military-tactical creativity as independent types.
S. L. Rubinshtein for the first time correctly pointed out the characteristic features of inventive creativity: “The specificity of an invention, which distinguishes it from other forms of creative intellectual activity, lies in the fact that it must create a thing, a real object, a mechanism or a technique that solves a certain problem. the originality of the creative work of the inventor is determined: the inventor must introduce something new into the context of reality, into the actual course of some kind of activity. This is something essentially different than solving a theoretical problem in which it is necessary to take into account a limited number of abstractly distinguished conditions. At the same time, reality is historically mediated human activity, technology: it embodies the historical development of scientific thought. Therefore, in the process of invention, one must proceed from the context of reality, in which something new must be introduced, and take into account the corresponding scientific context. This determines the general direction and specific nature of the various links in the process of invention."
Through creativity, historical development and the connection of generations are realized. It continuously expands the possibilities of a person, creating conditions for conquering new heights. A precondition for creative activity is the process of cognition, the accumulation of knowledge about the subject that is to be changed.
Creativity can take various forms - from the discovery of new laws of nature to the invention of new means and tactics for the destruction of people in the course of hostilities. One and the same discovery can be used both for the benefit and to the detriment of a person. So, the two main driving forces of cultural creativity are an individual and a people or a multitude of people who form a cultural community and create something new in their daily activities. Culture acts as a field of realization creativity person. However, it not only encourages a person to be creative, but also imposes certain restrictions on him. Cultural prohibitions are designed to protect society from the destructive actions of criminal anti-social elements, limit the influence of supporters of fascism, racism, various forms of extremism that disrupts public life, and prevent predatory attitudes towards nature.
Creativity, as a necessary condition, includes the habituation of its subject into culture, the actualization of some results of people's past activities. The interaction that arises in the creative process between different qualitative levels of culture raises the question of the relationship between tradition and innovation, because it is impossible to understand the nature and essence of innovation in science, art, technology, to correctly explain the nature of innovation in culture, language, and in various forms of social activity without regard to dialectics of the development of tradition. Consequently, tradition is one of the internal determinations of creativity. It forms the basis, the original base of the creative act, instills in the subject of creativity a certain psychological attitude that contributes to the realization of certain needs of society.
The people are made up of individuals. It is the individual who is capable of active creative activity. When we say that the people create culture, this means that the authorship of individual creations is not emphasized and does not remain in people's memory. Different people contribute to what is called the creativity of the people. Before a personality can start active creative actions, it must be formed in a social environment that supports creativity, and does not extinguish, suppress it. If the creativity of the individual coincides with the main direction social progress, then it can make a significant contribution to world culture. The names of many prominent philosophers, scientists, inventors, artists, writers have firmly entered the history. Often, thanks to their titanic efforts, a real breakthrough took place in culture from one qualitative state to another. The activity of the individual can sometimes be directed against the main line of social progress. There are not so many people whose creative activity can be assessed completely unequivocally - either as good or as bad. Thus, the creators of nuclear weapons not only brought the world to the brink of survival, but also laid the foundation for the development of nuclear energy, which contributed to the solution of complex economic problems.
The transforming activity of a person educates him, the subject of creativity, instills in him the appropriate knowledge, skills, educates the will, makes him comprehensively developed, allows you to create qualitatively new levels of material and spiritual culture, father-in-law, to create. Thus, the principle of activity, the unity of labor and creativity reveal the sociological aspect of the analysis of the foundations of creativity. The culturological aspect proceeds from the principle of continuity, the unity of tradition and innovation. Creative activity is the main component of culture, its essence. Culture and creativity are closely interconnected, moreover, they are interdependent. It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material). Creativity is possible only on the basis of continuity in the development of culture. The subject of creativity can realize its task only by interacting with the spiritual experience of mankind, with the historical experience of civilization. Creative activity is amateur activity, covering the change of reality and self-realization of the individual in the process of creating material and spiritual values, new more progressive forms of management, education, etc. and pushing the limits of human capabilities. Creativity is based on the principle of activity, and more specifically, labor activity. The process of practical transformation of the surrounding world by a person, in principle, determines the formation of the person himself. Creativity is an attribute of the activity of only the human race. The generic essence of a person, his most important attributive property, is objective activity, the essence of which is creativity. However, this attribute is not inherent in a person from birth. At this time, it is present only as a possibility. Creativity is not a gift of nature, but a property acquired through labor activity. It is transformative activity, inclusion in it that is a necessary condition for the development of the ability to be creative.
G.S. Batishchev in his book "The Dialectic of Creativity" wrote that creativity and activity are fundamentally opposite forms of human activity. A different opinion is held by philosophers who consider creativity as a human activity of the highest level of cognition and transformation of the surrounding natural and social world, creating new objects and qualities, patterns of behavior and communication, new images and knowledge.
The development of any activity, in turn, is determined by the dialectic of the relationship between process and result orientation. In the case of complete disregard for the intended goal, the activity is likened to "field behavior" (according to Levin) or is characterized by dispersion and randomness. When focused only on the result, the activity loses its own goal-setting creative character, and its subject turns into a Homo faber - a doer. It is the harmonious combination of discipline and diligence with initiative that ensures the creative nature of labor, its true purposefulness.
In this sense, creativity as a process of exploring the unknown, creating a new one, knowing one's nature, self-improvement of the personality and the creation of goodness, beauty and harmony is the essence of the human race, which means both the process and the result of realizing the potential of each individual.
The condition for creative activity is the combination and simultaneous development of fine and creative skills - mastery of creative operations with the development of expressive means of the language of fine arts. All creative operations, as mentioned above - change, transformation, layout, are trained on abstract material better and more fully than when depicting integral objects. Creative skills are most trained on non-standard tasks.
An equally important condition for the formation of abilities for creative activity is the principle of differentiation and integration. Creativity itself, built on a non-standard combination of different elements, cannot be built on ready-made, rigidly formed forms. Therefore, all abilities for creativity must be built on the development of the qualities of mental processes that serve it - perception, memory, thinking and imagination. In each phase, different qualities of mental processes are leading.
These qualities should in each case focus on the formation of the ability to:
to independently see and pose problems and topics;
possess the skills of independent search for their implementation;
· To be fluent in all special skills, creative style of activity.
In the formation of creative abilities, self-knowledge and the search for an individual style of activity are mandatory, based on psychophysiological characteristics, which include: the speed of inclusion in work, the duration of working capacity, the conditions necessary for the awakening and flow of creativity. In addition, you need to analyze your mental processes, try to find ways of activity that will help compensate for the missing qualities.
The way of creative activity is the improvement of the way of activity. The method of creative activity is equal to the way of activity and the way of creativity (type of thinking). Mode of activity - covers the real features of the labor process, directly performed actions. It is devoid of creativity.
An important concept in this topic is "method". A method is a sum of techniques that best suit a person's approach to displaying reality and remain beyond the reader's perception. A method is a sequence of scientifically substantiated actions of a mental and practical nature necessary for solving problems of one type or another. "Method of creative activity" - a combination of real components of activity, thanks to which the intended result is achieved. The mode of activity always includes certain methods as one of the means of activity. However, in another respect, on the contrary, the concept of "method" is broader.
Self-knowledge includes the choice of one's theme in art, finding the conditions most favorable for creativity, developing a mode and rhythm of activity corresponding to the dynamics of working capacity.
The classics in the psychology of creativity argue that only a person who has found his own individual style of activity becomes a genius in any kind of creativity.
In addition, systematic and constant involvement in creativity and the search for something new in the performance of all types of activities are necessary, the requirement not to allow the standard and template to appear anywhere. Initially, this causes volitional efforts, and then turns into a habit and turns on automatically as a personal formation.
The maintenance of creative potential is facilitated by setting new goals and objectives, mastering more complex types of creative activity, since functioning in a practiced type of activity reduces energy tone and creativity.
