The focus of study here is limited to the headline, the most visually outstanding component of the deck. Neither is it viewed as a deck entity (superheadline, headline, subheadline and lead). It consists of one or more decks, which also differ typographically from one another” (1980: 14).ĨContrary to such approaches, in the framework of this study, the term headline is not viewed as a textual artefact.
Also called a head.”ħMardh (1980) herself adopts a similar minimalist approach and defines the object of her research somewhat prosaically as: “A headline is set in a size and style of type which is different from the running text. The word headline seems to be used intuitively, also in linguistic studies of headlines.”ĦGiven the textual, linguistic and pragmatic complexity of the field, it is perhaps understandable that attempts to provide a definition have confined themselves to the textual functions of headlines as “artefacts” (Graddol, cited in Bell & Garrett 2001: 3) or “visual marks on a page” (Kress & van Leeuwen 2001: 186), echoing the technical definition supplied by the online Newspaper Designer’s Handbook: “Large type running above or beside a story to summarize its content. As Ingrid Mardh (1980: 14) points out in her exhaustive study of the linguistic aspects of headlines, “No unambiguous definition of ‘headline’ is known to exist. 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.
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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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