![]() Scope of studyĤThis article reflects enquiry related to headline discourse and presents preliminary findings based on an analysis of essentially British newspapers, a choice which, if undeniably determined in part by personal culture, is nevertheless essentially due to the unique reputation of the British press in the area of headline creativity.ĥIn spite of the abundant research on newspaper headlines and the richness of its genericity, there is a relative dearth of attempts to define the object of research. Brown and Doug Simpson (2002), copy editor and chief headline writer respectively, claim in their recommendations to future journalists, “Headline writers have to be the best writers at the newspaper.”ĢHeadlines are also, according to specialists, the most widely read part of a newspaper – five times more than the body copy – since headlines are scanned not only by initial purchasers but also by the innumerable people in their immediate vicinity.ģArguments that the titles announced at the beginning of a TV or radio news bulletin may, to some extent, be considered as headlines are not retained in the framework of this study since they do not possess the textual, linguistic and pragmatic characteristics specific to print headline discourse. It is undoubtedly one of the most creative areas of journalistic writing and, in some aspects, comparable to poetry in that it borrows extensively from linguistic features generally associated with versification. ![]() ![]() 1The headline – “one of the most distinctive features of a newspaper” according to David Crystal (1987: 388) – is a form of discourse specific to the written press. ![]()
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