Model school essay — The Season I like Most

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4 Responses

  1. Zintle Dlulisa says:

    can you atleast make an example on how to write your own precis?

    • Satya Prakash says:

      Give me a text.

      • Akki says:

        The media of written war reporting are newspapers, magazines, and now, the virtual
        texts available on the internet. Each medium has its own poesis or approach to
        writing; variables such as deadline dates, frequency of publication, editorial policy
        and etiquette, amount of space devoted to the story, and the availability of
        illustration result in pieces ranging from the urgently laconic to the leisurely
        reflective, from the briefly factual to the complexly opinionated, from the quirkily
        personal to the broadly synoptic. (Television and radio war journalism have their
        own set of variables.) But despite these variations, modern war correspondence,
        from its beginnings, has had a primary objective–to achieve believability through
        an ethos (the Aristotelian term for persuasive appeal located in character) based on
        autopsy or firsthand experience. It is this objective that underlies the practice that
        was in its infancy in 1808 when the London Times sent Henry Crabb Robinson to
        Spain to report on the British forces fighting the Peninsular War. The first conflict to
        which American newspapers sent correspondents on a significant scale was the
        Mexican War. Indeed, newspaper proprietors such as George Wilkins Kendall,
        founder of the New Orleans Picayune, actually agitated for the conflict in the first
        place. John Hohenberg observes that, “it was the fashion for correspondents to
        prove their daring by fighting rather than sit on the sidelines as non-combatants”
        and proving his proximity to the action, Kendall, one of forty correspondents in
        Mexico, captured a Mexican Cavalry flag, was mentioned twice in dispatches, and
        was wounded in the knee.
        Though newspaper articles about war lack the true dialogic nature implied by the
        etymology of ‘correspondence’, their epistolary qualities suggest the necessary
        mutual confidence of the reader-war reporter relationship . The importance of
        maintaining this confidence is evident in an anecdote told by Emmet Crozier, who,
        in 1918, was working on The New York Globe and nursing a desire to go to France
        as a war correspondent. A colleague brought Crozier ‘odd fragments’ about the war,
        ‘secondhand’ material some of which Crozier suspected was fabricated, but which
        represented his only chance to be a war correspondent. After the war, Crozier
        discovered that all the material was fabricated and felt that a dirty trick had been
        played on Globe readers and on the integrity of journalism.
        The reader-war reporter relationship, then, is founded on a credibility/ closeness
        ratio. Next to proximity in importance is priority. News of war, in other words, must
        be fast as well as accurate. Legendary ‘scoops’ include Marguerite Duras reaching
        Dachau for the Herald Tribune before the American troops arrived; Doon Campbell
        getting first to the Normandy beaches for Reuters; Max Hastings of the London
        Evening Standard walking first into Port Stanley in 1982; Bob McKeown making
        the first live broadcast for CBS from Kuwait City in 1991; and, in the war in
        Afghanistan, John Simpson ‘liberating’ Kabul for the BBC. Such ‘firsts’ themselves
        become the ‘peg’ or ‘frame’ for the news material, often with the undesirable result of
        transforming the reporter into the story. As may be seen from these instances,
        accessing the war zone requires considerable resourcefulness and resilience on the
        part of the war correspondent, who must operate as a ‘tactician’. Using clever tricks,
        the knowledge of how to get away with things, “hunter’s cunning” moves along with
        joyful discoveries, the successful war recorder situates himself or herself into the
        arena of war.
        Success has been more elusive for women war correspondents, traditionally denied
        access to this arena. In Journalism for Women : A Practical Guide, Arnold Bennett
        advised female journalists to confine themselves to the “woman’s sphere”-fashion,
        cookery, and domestic economics, furniture, the toilet, and less exclusively,
        weddings and what is called society news. In the context of conflict, this mentality
        limits women to what may be called parapolemics-those spatial and temporal
        margins of war that include such phenomena as visits to the hospitals and
        orphanages, the home front, interviews of the waiting and the bereaved, and the
        domestic war front.

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