Title Ways of Witnessing: Journalism vs. Fiction in The Quiet American and El pintor de batallas
Authors VALVERDE JIMÉNEZ, BEATRIZ, PLAZA SANCHEZ, JUAN FRANCISCO, VALVERDE JIMÉNEZ, BEATRIZ, PLAZA SANCHEZ, JUAN FRANCISCO
External publication No
Means Anglia-Z. Engl. Philol.
Scope Article
Nature Científica
SJR Quartile 2
SJR Impact 0.13000
Area International
Web https://www.scopus.com/inward/record.uri?eid=2-s2.0-85053660927&doi=10.1515%2fang-2018-0049&partnerID=40&md5=3379b42f4d631703c9fda788968b37c8
Publication date 01/09/2018
ISI 000444375800002
Scopus Id 2-s2.0-85053660927
DOI 10.1515/ang-2018-0049
Abstract Since the profession of war correspondent came into existence in the middle of the nineteenth century, war reporters have attracted the attention of novelists. The literary representation of journalism in war times is a fundamental tool when analyzing the evolution of this profession, since, as Barbara Korte has argued (2007: 432), it provides an opportunity to illustrate the problems when reporting conflicts and the consequences such reporting has on journalists. Graham Greene in The Quiet American and Arturo Perez-Reverte in El pintor de batallas (The Painter of Battles) dramatize the practice of journalism when reporting wars in different eras of the profession in the last century, namely the Indochina war (in the early fifties) and the Balkans conflict (in the early nineties) respectively. Both authors, after being war correspondents, resort to fiction to reflect on the implications of experiencing and narrating wars. Through the experience of the protagonists of their novels, Fowler in The Quiet American and Faulques in El pintor de batallas, Greene and Reverte question the principles of objectivity in journalism. In their literary work, they critique the practice of this profession based on neutrality and non-involvement, revealing the contradictions inherent in the claims of objectivism in reportage.
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