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Copyright of Cuadernos de Literatura is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Alpha: Revista de Artes, Letras y Filosofía is the property of Universidad de Los Lagos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Anagramas is the property of Editorial Universidad de Medellin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study relies on Entman's definition of frames and framing functions to analyze how the Chilean government and news media framed a natural disaster occurring in Chile in 2014. Using structural topic modeling, 705 news stories and 174 official press releases were analyzed to identify under which conditions the media may attribute blame when natural disasters are framed beyond the realm of an accident. Findings indicate the government portrayed its own performance as a successful one where all actors did their job to minimize disaster consequences. Yet, the media narrative did not reflect the government's efficiency frame, portraying the official response as a result of lessons learned from a previous disaster. Taken together, the results suggest that when the media align with a particular political side, disaster characteristics are not the main issue to report on. This study departs from a description of journalistic practices in time of disasters towards a more complex view of the relationship between government and the press when it comes to disaster coverage. [ABSTRACT FROM AUTHOR]

This study analyzes the beginnings and development of the Chilean crime or police story, later known as the crónica roja, a Latin American branch of contemporary literary journalism. While the held belief is that this new Chilean genre was influenced by the fait divers and the chronique judiciaire that appeared in nineteenth-century French print journalism, in fact, a more complex cultural mediation took place. After considering the particular historical and cultural features of both French and Chilean societies at the time, taking special note of their respective journalistic traditions and the manner in which the French press entered Chilean print culture, the study compares the narrative treatment of criminal actions reported in three Chilean newspapers, El Chileno, El Mercurio de Valparaíso, and La República, against Le Petit Journal, a popular French daily well known in Chile. The historical and comparative analysis shows that French faits divers criminels and chroniques judiciaires share more similarities with the Chilean folletín crime books than with the country's more famous crónica roja. The reasons are twofold. First, the French texts' sensationalist tone and penchant for narrative detail did not have a place in the logic of the informative journalism that began imposing itself in Chile at the fin-de-siècle. It was a logic the Chilean folletín could largely ignore given its different editors, format, and target audience. And second, the Chilean press began adopting a moralizing and didactic tone in its crónica roja more in line with the rationale of its elite readership, which equated criminal activity with the lower classes, than with its growing populist audience, which favored these more sensationalist narratives. [ABSTRACT FROM AUTHOR]