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The essay presents an examination into the narratological theories of the literary scholar Gerald Prince, overviewing several of his major works and asserting a central theoretical approach which is valid within several analytic contexts. Topics addressed include discussion of Prince's views on the centrality of the narratee within literary analysis, a reading of the short story "Zusya on the Roof," by Nicole Krauss, and the reading audience of "The New Yorker" magazine.

This paper explores the relationship between Woody Allen's short fiction and the immediate literary context represented by the tradition of The New Yorker, the magazine where he published most of his texts and which exerted considerable influence on an entire class of twentieth-century American writers. A closer look into what makes this high degree of compatibility between Allen's short fiction and what came to be referred to as 'The New Yorker short story' provides valuable insight into the dominant aesthetic coordinates of the literary tradition cultivated by the magazine, as well as into the universe of Woody Allen's short fiction. [ABSTRACT FROM AUTHOR]

Purpose – This paper aims to observe, measure and record comparative cognitive processes in print and online to explain the differences, if any, in the readers’ information-gathering processes and their subsequent comprehension and retention of information. It also examined the strategies that readers adopt that differ from print when reading online. Standardized reading comprehension scores were also collected. The results indicated that the participants demonstrated functional equivalency in both media, but they had a preference for print. The linear individualistic mentality learned through print gave the study group participants the skills to successfully navigate through the dense web of information that constitutes the Internet. Story presentation and hierarchy, key elements of the print design process, are less evident or absent online. As a consequence, as previous research has demonstrated, online readers are more poorly informed than print readers – but not in this case. The research from this study demonstrates that when the authors of the print media are those who also control the integrity of online content, print and Web readers are equally well-informed. Design/methodology/approach – Coded texts from The Guardian Newspaper, The Economist and The New Yorker were used in a media lab to measure the study group’s ability to read and retrieve information from the publications’ print and Web editions. They were scored on how well they retrieved the core information in the articles from both media. Focus-group sessions probed for information about reading in print and online at the end of the reading sessions. This gave valuable insight into the coping strategies that the participants used when engaging with online texts. There were two sessions, each of three hours, and the participants were university students. Findings – The study results show that the group participants were functionally equivalent in both print and online reading. However, they had a profound distrust for online content in general, which they found to be inaccurate and unstable. Web sites, they conclude, never achieve “fixity”. When reading online, the study group scrolls through the text to retrieve facts and then goes to a print source to verify the accuracy of the content. They do not engage with the content online as they do with print. While acknowledging that the publications in the study were reputable and of a high quality, the group still found scrolling through the Web sites tedious. The printed page was to the study group, a cultural object. Research limitations/implications – This was a small study with 11 participants in a controlled environment on two evenings, each lasting three hours. While the readings were intense, the researchers saw no evidence of fatigue. The group were very vocal during the focus-group sessions and gave valuable insights into the reading process. The stories were exactly the same in both media, were well-written and edited. Typographic cues that give the reader priorities when engaging with the texts were transferred from the print to the online editions. HTML texts to this group are an impediment to the reading process, and the amount of texts require too much time to read. A larger study with a more diverse readership reading more general news is required to verify the findings. This is being planned. As one from the study group stated “I grew up with print but younger people do not have the benefits of print”. Practical implications – Typography provides a language with visual form and through that form, conveys the meaning of a text. The print reader decodes what she reads on the printed page, allowing her to quickly absorb and parse large amount of text, discarding redundant content. The question now becomes which print-reading operations are being transferred to the proce [ABSTRACT FROM AUTHOR]

The article presents literary criticism of the book "Lolita" by Vladimir Nabokov and the short story "Lolita" by Dorothy Parker. Particular focus is given to the state of both authors' careers in 1955, the year the works were published, and to their professional relationships with one another. Details on Parker's review of Nabokov's novel are presented. Other topics include Nabokov's attempts to publish his book and Parker's relationship with the periodical the New Yorker.

This is the twelfth in a series of articles on archival collections of interest to mass communication historians. Readers of Journalism History are invited to suggest collections that they would like to see appear in future articles, and the editors would welcome volunteers to write such articles. [ABSTRACT FROM AUTHOR]

The article features artist and Art Editor of "New Yorker" Francoise Mouly. Topics covered include her encounter with the work of Art Spiegelman and Art where she discovered that Art was a passionate advocate of what comics could do and graphic arts and objects that could get printed, her time spent in "The New Yorker's" library were she found the portrayal of American culture in images that communicate effectively and her love for the creative process when all artists come up with images.

An interview with environmentalist writer Elizabeth Kolbert is presented. Topics discussed include her moved from Bronx to Larchmont, New York, her first book "The Prophet of Love and Other Tales of Power and Deceit," and her work in the periodical "The New Yorker." She also mentioned the difficulty to learn the language of climatology and other sciences, her visit to the Great Barrier Reef, and her learning about climate change.

This article discusses the discovery of the lost play "Exorcism," by Eugene O'Neill. The Yale University in New Haven, Connecticut, which owns the rights to O'Neill's literary estate, made a deal with the "New Yorker" publication on the discreetness of the play. It is inferred that the play was based on the suicide attempt of O'Neill. Arguments on the release of the play have been raised since O'Neill attempted to delete the play from historical memory.

Starting from 1934, the covers of The New Yorker began to portray images of melancholy animals looking at the changes occurring in the American landscape at the time, endangering their presence in the modern way of living. The essay chronicles the story of the vanishing animal, a recurring theme of the magazine's covers from the mid-thirties to the mid-sixties, as a visual counterpart to the advancement of progress and the effects it had on the landscape, as well as on the utopian pastoral ideal that it purported to democratize among the middle class. The thread linking these New Yorker covers therefore offers a modern rendition of an American Paradise Lost, and the artists' illustrations become what Akira Mizuta Lippit calls 'virtual shelters for displaced animals.' Among several popular magazines, The New Yorker was by far the greatest chronicler of this loss, despite its urban focus, or perhaps thanks to it, as it allowed a sense of unbiased detachment and urbane condescendence towards the suburbs and the country. [ABSTRACT FROM AUTHOR]

This article reads Elizabeth Bishop's poems of the 1950s in their first publishing context, the New Yorker magazine, and in relation to their scene of production, the economic and architectural environments of mid-century Brazil. The New Yorker had an important mediating function in relation to Bishop's own role as cultural go-between, and remains a crucial interpretative context for her poetry's characteristic provisionality and self-ironies. In specifying these material aspects of the outside world in which the Brazil poems were accommodated – the buildings in which they were written and the magazine in which they were published – the article offers a new perspective on the questions of belonging that lie at the heart of Bishop's unsettled poetics, and so on the politics of her writing at mid-century. [ABSTRACT FROM PUBLISHER]

An interview with Portuguese-born artist Jorge Colombo is presented. He mentions that he was not surprised with the notoriety of his cityscape cover work on the iPhone for "The New Yorker." He states that he worked as a graphic designer and an illustrator, and did artistic photography. He adds that Brushes application on his iPhone changes his idea of approaching a piece of art because he initially do a line-work.

The article discusses the discovery of the home of couple Ted Hughes, a British poet and Sylvia Plath, an American novelist and poet at Court Green, England. It cites the submission of Plath with the list and business correspondence with "The New Yorker" in 1962 with annotations from her leisure reading and personal library. It also mentions the uncovering of the old dormitory room of Plath in Lawrence House, Smith College.

An essay is presented which explores the author's experiences with humor and his recollections of being a funny man throughout his life. He comments on his inability to be funny later in life and blames the problem on the Cartoon Caption Contest of the periodical "The New Yorker." The concept of funniness is examined and the author suggests that when funny people are faced with limitations, they realize that they are not as funny as they originally considered themselves to be.

William James Sidis was a reclusive former child prodigy whom the New Yorker found in 1937 and mocked as an eccentric failure. Sidis sued the magazine, leading to one of America's landmark rulings on invasion of privacy. Analyzing themes in the New Yorker article and other news coverage of Sidis, this study finds both anti-intellectualism, including disparagement of Sidis's masculinity, and deference to psychological experts. Some coverage also indicates that the press sought to impose a particular vision of success on Sidis. [ABSTRACT FROM AUTHOR]

The essay discusses the ways in which cartoons published in the periodical "The New Yorker" critically depicted the relationship between television, domesticity, and symbolic mobility in the U.S. The author explains the importance of physical and symbolic mobility to American identity. He then goes on to explain the benefits of viewing cartoons as primary historical sources.

The article discusses how the paradigm of cooperation, rather than competition, emerging in the field of ecology in the mid-20th century gave urban intellectuals in New York City a new way to frame the city's social issues. In particular, the publication of the work of nature writer Rachel Carson in "The New Yorker" magazine is seen as encouraging the rise of urban and community ecology, which in turn fueled the work of urban activists like Jane Jacobs, whose 1961 book "The Death and Life of Great American Cities" opposed the destruction of neighborhoods through urban renewal.

This article explores how Richard H. Rovere's "Letter from Washington" helped the New Yorker become a prominent voice on U.S. politics in the years following World War II. He combined the style of a literary critic with a detached approach to politics to create a style that distinguished the New Yorker's Washington reports from those of its competitors and helped shape the magazine's reputation as a powerful player in the postwar political culture. His consistent support of the anti-Communist foreign policy that was pursued by the Harry Truman and Dwight Eisenhower administrations reinforced the Cold War consensus in the early 1950s. This article draws on archival materials, including the Rovere and the New Yorker papers, as well as the political pieces that he contributed to the magazine between 1948 and 1954, when he established his reputation as a Washington correspondent. [ABSTRACT FROM AUTHOR]

This essay discusses the article "Paris Letters" by Janet Flanner, which appeared in the periodical "The New Yorker." The content and rhetoric of these pieces reverse the traditional hierarchy between French and American cultures, showing her readers that superiority means seeing as the master subject—a seductive perspective for an economically emergent readership.

For fifty years, journalist Janet Flanner wrote a bi-weekly "Letter from Paris" column for the New Yorker magazine. While her professional legacy included influencing American literary journalism by developing the journalistic essay, she also recorded a little-known series of radio commentaries in 1945-46 from the hotspots of Europe in the critical months surrounding the end of World War II. This article offers a detailed examination of the content and themes of those commentaries. It notes her focus on deprivations caused by the war and its aftermath, the plight of women in the war-ravaged countries, the post-war political landscape in France and Italy, and the obligation of the Allies to help rebuild France and Italy. The study concludes that her foray into radio was an important indicator of the growing significance of this medium. [ABSTRACT FROM AUTHOR]

An essay on writer Muriel Spark's relationship with the "New Yorker" magazine is presented. Comments on her writing career, Scottish literature, her autobiography "Curriculum Vitae," and the history of the magazine are offered. The magazine considered publishing her writing in 1959, and Spark's relationship with her editor developed. In 1961 Spark was offered a first-reading contract, as New York City began to shape her fiction. Further correspondence is presented and analyzed.

A literary criticism of the book "The Visitor" by Maeve Brennan is presented. It ponders on the notion that there is something far more interesting at work in the representations of home, urban life, and the self in evidence in Brennan's writing. It also aims to show that Brennan's growth as a writer of lends provocative and challenging insight into contemporary discussions of place, homeland and identity in the United States and Ireland by examining her work.

Why has integration and interoperability of design and manufacturing knowledge proven so difficult? There is a common puzzle that appears in your Sunday newspaper or The New Yorker magazine. [ABSTRACT FROM AUTHOR]

An American icon and important press institution, the New Yorker magazine has actively protected its freedoms of expression against the chilling effect of libel law since its inception in 1925. This history examines how the magazine and the law firm Greenbaum, Wolff & Ernst created editorial and legal procedures and strategies to combat libel complaints in the New Yorker's first forty years of existence. During these years, libel threats influenced the New Yorker's editorial decision-making and processes, content, and use of human and financial resources. Although the history of American libel law is well documented, the social effects of libel law on particular publications are not. This study helps to fill the gap. [ABSTRACT FROM AUTHOR]

The article focuses on professional hockey and the editorial policy of the periodical "The New Yorker." In even its earliest months of publication during the winter of 1925, "The New Yorker" sought to position itself as an upscale humor magazine. But the often-too-slim periodical was notoriously uneven in its first numbers, and it was difficult for its few readers to see how editor Harold Ross would develop the reputation for sophistication he desired for "The New Yorker." Part of the initial problem was that the editor himself was uncertain whether a Manhattan aristocracy was to be the audience for his magazine or the primary target of its mockery. One attempt to strike a balance between these early positions was represented by the Rea Irwin illustration of "Eustace Tilley," who went to the Madison Square Garden to watch a game of professional hockey. And, yet, hockey reportage held considerable significance during the first decade of publishing "The New Yorker," as the story itself quickly evolved beyond the discussion of a successful business venture, especially in the five years during which hockey was covered by Niven Busch, a young Manhattan writer who later found success as a novelist and screenwriter in Hollywood.

The article reports on the arguments made by Susan Sontag on her contribution in the New Yorker and George Ochoa's letter of disagreement to Sontag's belief. This concern the anatomy of courage in connection with the September 11, 2001 terrorist attacks. It discusses how this disagreement turned into the disputed questions about courage and examines the idea of courage as a virtue. Sontag believes that the 9/11 hijackers were not cowards since they were willing to die for a cause they believed in while Ochoa cited Aristotle's analysis that a courageous person is one who faces fearful things as he ought and as reason directs "for the sake of what is noble."

This essay reflects on the personality of William Maxwell, fiction editor of the "New Yorker," based on his correspondence. Proof of Maxwell's enthusiasm as a letter-writer was found in the University of Illinois-Urbana library. A presentation of the four kinds of motives for keeping a journal like poetic, historical, utopian and amorous were noted as well as the presence of the amorous motive in every letters of Maxwell's. Illustration of the writer's passion for accuracy in his habit of paying meticulous attention to the tiniest detail was mentioned.

The article provide information on the literary celebrities and the politics of consumption during the postcolonial India. A photograph of several of writers was shown in an issue of the New Yorker regarding the 50th anniversary of India's independence. According to the author, the photograph call for critical attention including on the selection of writers and their arrangement.

The article presents an analysis of the cartoons contained in "The New Yorker," from its inception in 1925 until the 75th anniversary issue in 2000. The author looks at the longevity of many of the cartoonists, citing Charles Addams, Alan Dunn, and George Price as examples. An analysis of the work of James Thurber is presented. The cartoon selection process is described, and current cartoons are compared to those from the inaugural issue. The author states that the editorship of Tina Brown, which began in 1992, was detrimental to the magazine, and more specifically to the cartoon content, but also says that since David Remnick took over in 1998, the cartoons have regained their significance in "The New Yorker."

Relates `The New Yorker' founder Harold Ross' editing of John Hersey's account of the Hiroshima bombing which appeared in the August 31, 1946 issue of the magazine. Insistence on the clarity of facts; Need for recognizable characters and clear definition of roles; Questions to Hersey based on Ross' own experiences; Demands for clear geographic directions and accurate meteorological terminology.