By Clinton Heylin
A useful source, a trove of lore for an individual drawn to The Velvet Underground, their roots, and legacy.
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Extra resources for All Yesterdays' Parties: The Velvet Underground in Print, 1966-1971
Also Geisler 1982) In fact, with a narrator being implemented in the text, the reportage not only turns into a narrative in the strict sense of the term, but in true dialectic fashion – that is, as a kind of synthesis of journalism and literature – puts forth something new. (Schütz 2000) Consequently, this ‘dialogic’ form of journalism can be seen as narrative at its best. 57 (Hoppe 2008) Therefore, I henceforth refer to all those hybrid reportages that feature a narratorial instance as narrative reportages.
In this respect, journalistic research comes close to sociological field research. Robert E. Park, the founder of the Chicago School, was one of the first to notice this parallel. Ethnographic methods and observation are a journalist’s primary tools. (Weaver & McCombs 1980; Haas 1987) Hence, Harrington (2007) argues that journalists should follow an ethical code similar to that of anthropologists and ethnographers. ”56 Therefore, one of the hallmarks of the reportage is that it touches such areas as psychology, introspection, and imaginary reality which journalism usually dodges.
Haller 2006; Reumann 1994; Lüger 1983; Belke 1973) More importantly, the subjective representation of reality is not only one of the pivotal characteristics of reportages, but – subsumed under the notion of ‘experientiality’ – also an idiosyncratic feature of narrative. 52 According to Konstenzer (2009), the reportage is furthermore characterized by its distinctive linguistic style, authenticity, comprehensibility, and facticity. (cf. 53 The journalist as both creator and teller of narrative takes on a ‘testimonial’ function.
All Yesterdays' Parties: The Velvet Underground in Print, 1966-1971 by Clinton Heylin