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How to Use Secondary Sources
Secondary sources are a part of most research papers, particularly in the humanities, where you'll be asked not only to analyze an original text, but also to explore the arguments that other researchers have put forward about your topic. But just what are secondary sources, and how do you integrate them into your paper?
What's a secondary source?
If we're going to talk about how to use secondary sources, first we have to clearly define just what they are. In general, no matter what discipline you're working in, there are two kinds of sources you can cite in a paper: primary and secondary. If you're citing someone's original work, that's a primary source. This type of source will look different depending on what you're writing about: for an English paper this might be a novel or poem; in history class a primary source could be a 19th century letter or a Civil War era journal; and in the sciences, peer-reviewed journal articles that describe original research are primary sources.
When you cite someone who's writing about a primary source, that's what called a secondary source. So, a book that discusses the symbolism of The Great Gatsby is a secondary source: it's providing analysis of somebody else's writing. In history, common secondary sources include books and journal articles that argue for a certain interpretation of history. Often these works will include references to primary sources like census data, letters, or newspaper articles to prove their thesis. Secondary source materials are less often cited in scientific works, but examples include commentary on trends or issues that are published in journals or books that bring together all the research on a particular topic. No matter the field, just remember that in a secondary sources the author is always providing his or her own analysis and interpretation.
What can you do with secondary sources?
Students are often told that they need to include a certain number of secondary sources in their papers, and this request can easily lead to confusion. After the difficult process of finding books and journal articles on your topic, just what are you supposed to do with all that research?
Support your thesis. One of the most basic things you can do with secondary sources is to find somebody who agrees with the argument you're making. Let's say you're writing a paper about symbolism in The Great Gatsby, and you want to argue that F. Scott Fitzgerald uses the image of dust in the novel to symbolize the moral decay of the characters. In your paper, you'd present evidence from the original text (the primary source) to support this, and then you'd cite a secondary source that also supported your idea. Or, if you're writing a history paper, you can find writings from other scholars who support your interpretation of a particular historical event or time period. Basically, it's a way of showing that you've done your research, and that your thesis fits in with other research being done in the field.
Here's an example of what this type of paragraph would look like:
While it is the most talked about symbol in The Great Gatsby, the green light is not the only important image the recurs throughout the novel. Images of ash and dust appears in many scenes, particularly in and around the home of the Wilsons. Fitzgerald describes the "ash-grey men, who move dimly and already crumbling through the powdery air," and also writes of the "foul dust [that] floated in the wake of his [Gatsby's] dreams" (Fitzgerald p. 115, 3). The prevalence of the images of dust and ash reinforce the theme of moral disintegration that is so pronounced throughout the novel. The ash-heap that surrounds the Wilson home is particularly dark and dirty. As the critic Charles Weaks noted, "the ash serves to remind that reader that no brightness, no slice of light or happiness, can be found shining on the Wilsons" (Weaks, p. 314). As the site of Myrtle's hopeless dreaming and gruesome death, the ash heap represents the moral quagmire that drags down all dreamers in the novel.
Present opposing viewpoints. A thesis is only interesting if it's open to interpretation. There's nothing challenging or exciting about reading a paper that argues something that isn't really arguable - if the reader already agrees with you, then why should they bother reading your carefully planned evidence? That's why it's important to show that your thesis is debatable: choosing secondary sources that present an opposing point of view is actually a great way to strengthen your argument and liven up your paper. Instead of just laying out your pieces of evidence one by one, you can instead set up a debate by showing the opposing point of view and then explaining why it's false. For example, in a history paper you might cite a source that supports the idea that Thomas Jefferson was an unapologetic slave owner, then go on to show how this argument is based on an incorrect reading of a letter. In an English paper, you might cite a source who argues that The Great Gatsby's narrator is a hypocrite for rejected Tom and Daisy but staying loyal to Gatsby, then list evidence from the text that refutes that idea.
Here's an example of how to use opposing secondary sources in a paper:
Many historians have noted the obvious hypocrisy of a man famous for penning the phrase "all men are created equal" also owning hundreds of slaves. Some historians have tried to downplay the dissonance of Jefferson's position by noting that, in the times in which he lived, it would have been almost impossible for Jefferson to act out any abolitionist leanings he may have had. Historian Walter Smith-Hawks noted that, had he freed his slaves, the aristocratic Jefferson "would have been left destitute, with a failed plantation and no means by which to support his dreams of a new, independent United States" (Smith Hawks, p. 56). This argument, however, holds little weight when held up against the moral imperative that all men should be free - a maxim that Jefferson publicly supported but privately abhorred. After all, no one has claimed that the act of freeing his slaves would have been easy. Indeed, it is generally acknowledged that it would have been an extremely difficult process, and in the face of this challenge, Jefferson fell noticeably short.
Provide background information. Sometimes you just need a secondary source in order to provide background information for the reader. Maybe you need to provide historical context for a novel in an English paper or discuss the development of a particular technology for a science paper. The sources won't be cited as part of your thesis, but instead are just used to provide context. Keep in mind that if you're citing secondary sources to support facts that are important to your paper, you're relying on the credibility of the source to make your paper believable. That means you need to find reliable sources (not questionable websites or obviously biased writing).
Here's an example of how to use secondary sources to provide background information:
Austen lived at a time in which upper-class women had no occupation other than this so-called education. Women of Austen's standing spent their time stitching, playing musical instruments, or painting; they were not encouraged to develop their minds or look for intellectual pursuits. An educated woman was one who "could enchant the company with her skill on the piano forte and with her fine voice, and who would then fade into the background when the men decided to speak of serious things" (West, p. 82). As a talented writer and thinker, Austen obviously took issue with the strict confines of her expected role. Indeed, in many of her novels she subtly and not-so-subtly mocks the fine ladies and gentlemen who take up the mantle of a proper lady's "education."
How to find secondary sources?
It might seem like this is a topic that should have been addressed first - we have to find sources in order to use them, right? But knowing what you want to do with sources is a crucial part of the research process. As you're looking through the library or at online journal databases, having an idea of what kind of sources you'll need will help you weed out the sources you don't want. If you have a thesis, then as you search for secondary sources you can evaluate how you would use them. Do they support your thesis? Do they present evidence that counters your argument? Do they provide helpful background information? As you collect sources to use, make a note of how you plan to integrate them into your paper - it will save you a lot of time and hassle later.
Even if you don't know what you want to write your paper about, you need to be asking yourself the same questions as you read through pages and pages of research. Look for ideas or evidence that jumps out as you as something you either agree or disagree with strongly. Also look for how other scholars are using primary and secondary materials in their work: following the trail of citations will often lead to new sources and can help you better understand a topic.
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Topic: "Bartleby" by Herman Melville.
Focused on paragaph #53 in the Bartleby.com edition, the one one starting with the sentence, "Nothing so aggravates an earnest person as a passive resistance."
We spent a lot of time on that sentence. I had students paraphrase it different ways, talked about the utility of paraphrasing sentences or passages to come up with words with which to begin a critique. For example, I isolated the substitution of the word "open" for "earnest" in one of the sentences volunteered by students, then drew a chart on the board in which the denotation/dictionary meaning of those words were not co-terminous but the spheres of their connotation overlapped. While I was making this point, I kept thinking about the concept of "family resemblance" and related topics in Wittgenstein, but kept that insight to myself.
Then we "took an inventory" for the entire paragaph, with students singling out various sentences and phrases. I zeroed in on, "He was useful to me," pointing out that, in terms of the story as a whole, it is a curious formulation -- I used the word "formulation" a lot today for some reason -- because the narrator keeps going on about how Bartleby is not useful once he stops working. Others of note were, "The passiveness of Bartleby sometimes irritated me," and "But one afternoon the evil impulse in me mastered me."
I did a little riff on the fact that the narrator is a boss and gave an example of a supervisor at Kinko's trying to get a subordinate to do something.
I then read the first paragaph of the story, in which the narrator seems like he will be of the more conventional "participant observer" sort, with less of an interest in the outcome, because he doesn't mention how or why he encounters copyists until the second paragraph. I also made light of the idea of there being lots of fascinating stories of copyists, referring again to life at Kinko's.
Later in the class, I talked about the idea of the unreliable narrator. I mentioned classic examples such as "The Yellow Wallpaper" and The Good Soldier, said that, while the narrator of Bartleby is not wholly unreliable he is so sometimes. That, I went on, is a result of his interest in the story. He not only wants to tell the story because it's interesting, but because he feels the need to explain himself. He has a guilty conscience to assuage.
I went over the third paragraph in the story then, pointing out that the "narrator protests too much" when he goes on about John Jacob Astor and his trustworthiness. "You aren't likely to trust someone who keeps saying, 'Trust me, man,' I added.
The final portion of class was devoted to discussing the ways in which the narrator ends up seeming a lot like Bartleby, how the adjectives used to describe them overlap. [NAME DELETED] called him "a bit loony." [ANOTHER NAME DELETED] referred to the narrator as a "wuss," a term that I wrote on the board with delight. I explained that, in previous classes where I taught Bartleby, an inventory of their respective traits invariably led to the conclusion that the two had a lot in common.
I referred them to paragraphs 110-114, then read 115, in which the narrator explains that, "Somehow, of late I had got into the way of involuntarily using this word 'prefer' upon all sorts of not exactly suitable occasions." This paragraph, I noted, seems to confirm our suspicion that the narrator ends up being more like Bartleby than he'd like to admit.
We talked about active and passive voice and how an active voice sentence can seem passive by taking the doing out of human hands and ascribing it to concepts or things. I directed them once more to the first sentence of paragraph #53, in which, although the verb is active, the doer -- in this case Bartleby -- is erased entirely in favor of the vague "passive resistance" and the "doee" -- in this case the narrator -- is rendered as an abstract "person" and not an individual. Students then pointed out that two other formulations from that paragraph, the one, "The passiveness of Bartleby irritated me," and, "The evil impulse in me maastered me," also take transfer agency from people to concepts or things.
I went on a little tangent on George W. Bush's tendency to use simple, active-voice sentences and contrasted it to Bill Clinton's masterful use of the passive. At one point I said, "You can imagine Hilary saying, 'Don't be such a wuss, Bill.'" I also paraphrased Bush's comments about working with the EC this morning, noting that he's also fond of counting. "Twenty-six nations. . ." My Texas accent was not up to the task, alas, but the students still laughed. I think I did a good job with my "equal time," where I avoid seeming too partisan by making fun of both sides.
In closing, I noted that we hadn't made it to the topic of allegory, which I would address on the course weblog and laid out the parameters for the midterm, adding that I will put a list of "fair game" terms on the weblog also.
When I can, I like to attribute student comments, particularly if they come from someone who isn't a regular contributor. The best part of the class was the bit on active voice at the end, because several students took the idea I was presenting and ran with it. It was also fun talking about Presidents. I only poke light-hearted fun at them, fully aware that there are limits to what I'm going to be permitted to say. I've found, however, that this sort of light-hearted fun can actually lead to good teaching. The student who recognizes that our current President uses a lot of short, active voice sentences to give the impression that he is "not a wuss," will have a better chance of distinguishing rhetoric from reality. That's a small pedagogic victory, to be sure, but far preferable in my eyes to the defeat that might come from taking a more strident approach.
But which "class-alum"? I'm all for strategic anonymity, but sometimes it's nice to have a name.
I actually have a good section of 380 this time, especially considering the 8am start time. The "wuss" comment was directed at the narrator, not Bartleby.
The walls are a great thing to talk about. I wish I'd thought to do so. Thanks for the tip!


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First of all, I am not the big expert, and this is in no way legal advice; I worked long enough to learn how the process works and how it ties in to real estate market and the economy as a whole. I think I have put the picture together reasonably well, and I have learned a few things about our national obsession with real estate.
Around the corner from my former apartment in Newton was a house that was taken in foreclosure. The "For Sale" sign had been there for a very long time, the lawn wasn't mowed regularly and the shrubs had died in the winter but hadn't been removed.
Walk around your own neighborhood and see how many houses are for sale. Sometimes the sign openly states that it is bank-owned, other times you might have to search on the county assessors website. There are plenty of bank-owned houses in Iowa; there are many, many more in California, Nevada, Michigan and Illinois.


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Франсуа́за Дольто́ (; 6 ноября 1908, Париж — 25 августа 1988, Париж) —  французский  психоаналитик,  педиатр, одна из ключевых фигур французского психоанализа и детского психоанализа в частности. Она зарекомендовала себя как исключительно тонкий и одаренный клиницист, стала известной благодаря введению и концептуализации понятия «бессознательного образа тела», а также общественно значимой работе, которую она вела во имя «Дела детей»  . Радиопередачи, книги, многочисленные выступления и семинары, создание «Зелёного Дома», курирование экспериментальной школы Новилля , участие в подготовке Конвенции Прав Ребёнка и многое другое стали важной частью её наследия, её вклада в то, чтобы голос ребёнка мог быть услышан взрослыми.

Биография
Франсуаза Дольто родилась 6 ноября 1908 года в Париже, в состоятельной буржуазной семье военного инженера Анри Маретт и Сюзанн Деммлер, правнучки крупного металлопромышленника Августа Деммлера, известного своей меценатской деятельностью и прогрессивными, социалистическими идеями . Она была четвёртой из семерых детей (две дочери и пять сыновей).

 Франсуаза с детства отличается живым и цепким умом, она много наблюдает и много спрашивает - зачастую ставя взрослых в тупик своими вопросами по поводу их слов, их действий и тех объяснений, которые они ей дают. С восьми лет маленькая Франсуаза мечтает стать «врачом-воспитателем», дабы сделать так, чтобы дети не страдали от «непонимания взрослых» . Семья Маретт, будучи вполне счастливой и открытой миру, внезапно переживает смерть старшей дочери, Жаклин, которая в 18 лет умирает от рака. Эта смерть оборачивается настоящей трагедией для матери Франсуазы, которая впадает в «патологический траур» , жизнь их семьи больше никогда не будет прежней. Большая часть упреков и разочарований от этой смерти выпадет на долю маленькой Франсуазы. Впоследствии мать будет категорически противостоять идее дочери стать врачом и всеми силами будет стремиться, чтобы Франсуаза сложила свою жизнь, повинуясь идеалам своего круга и своего времени, став образцовой супругой, матерью, хранительницей очага.

Путь к обучению и обретению независимости будет долог для Франсуазы (только в 25 лет она сможет поступить в школу медсестер, а потом, после её окончания на медицинский факультет) и превратится в путь становления её характера, прояснения существа её устремлений, выверения её этики – этики желания. На этом пути наиболее значительную роль для неё сыграет встреча с психоанализом (собственный анализ, который она пройдет у Рене Лафорга в 1934-37гг.) и встреча с её будущим мужем Борисом Дольто, без которого, по её словам, она никогда бы не стала тем, кем стала.

Борис Иванович Дольто, выходец из России (уроженец Симферополя), эмигрировавший в 1918 году в Турцию, а затем в Париж, получит образование врача-ревматолога, и станет создателем новой медицинской дисциплины – кинезитерапии  (двигательной терапии) - и основателем Французской Школы Массажа и Ортопедии. Их удивительный творческий союз обогатит мысль и дело каждого, которое выльется в то, чтобы показать тонкое, сложное и многообразное взаимодействие тела и психики. В семье Дольто родится три ребёнка: Жан-Кризостом  (певец, выступавший под псевдонимом «Карлос»), Грегуар (инженер-кораблестроитель) и Катрин (врач-гаптономист  ).

Франсуаза Дольто оставит после себя более десятка книг, подавляющее большинство из которых она напишет после смерти мужа в 1981 году. Смерть настигнет её на 79 году жизни, 25 августа 1988 года. Франсуаза Дольто завещает выгравировать на надгробной плите рядом с датами её жизни даты жизни Бориса Дольто и слова из Евангелия: «N'ayez pas peur, je suis le chemin, la vérité et la vie» St.Jean (14, 6)

Путь аналитика
По окончании учёбы и защиты медицинской диссертации («Психоанализ и педиатрия») в 1939 году Франсуаза Дольто посвящает себя психоаналитической работе, которую будет вести вплоть до самой смерти в 1988 году. Своим учителем в работе с детьми она считала Софи Моргенштерн, первого детского психоаналитика во Франции, специалиста по детским рисункам, работавшую в Париже до начала 2-й мировой войны. «Она учила меня работать так, чтобы дети могли говорить со мной в полном доверии, не боясь, что то, что они скажут, может быть повторено взрослым»

С 1938 года Франсуаза Дольто станет членом Парижского Психоаналитического Общества (SPP). Но ей, как и Жаку Лакану, Международная Психоаналитическая Ассоциация (IPA) в 1963 году запретит принимать участие в подготовке и обучении молодых психоаналитиков — преподавать и проводить дидактические анализы. Этому решению будет предшествовать десятилетие конфликтов, переговоров и противостояний с IPA, которые начнутся с момента, когда Франсуаза Дольто, Даниель Лагаш и Жюльетт Фавез-Бутонье, несогласные с авторитарным стилем правления Саши Нахта, сконцентрировавшего в своих руках управление Институтом Психоанализа и Парижским Психоаналитическим Обществом, выйдут из членов Парижского Психоаналитического Общества (SPP) и создадут новую психоаналитическую организацию — Французское Психоаналитическое Общество (SFP). К ним присоединится Жак Лакан. Но акт ухода повлечет за собой автоматическое приостановление их членства в Международной Психоаналитической Ассоциации, за чье признание и разгорится борьба, которая выльется в череду комиссий, призванных оценить работу нового сообщества и возможность его аккредитации. Эта работа будет увенчана окончательным решением комиссии под председательством Тюрке об исключении Дольто и Лакана из листа дидактиков, что подвигнет Лакана выйти из SFP и основать в 1964 году новую аналитическую организацию, которую он назовет Парижской Школой Фрейдизма (EFP), к которой тотчас присоединится Франсуаза Дольто. На протяжении всей жизни она сохранит дружеские и рабочие отношения с Жаком Лаканом, с которым их будет связывать взаимное уважение и долгий институциональный путь. В 1980 году после роспуска Школы Лаканом Дольто, подозреваемая в намерениях занять место лидера французского психоанализа, будет подвергнута резким нападкам со стороны коллег по Школе. Основное острие критики, похожей больше на травлю, будет направлено против её «популяризации» психоанализа — цикла передач «Когда появляется ребёнок», которые она вела на радио Франс-Интер в 1976—1977 годах — и на её никогда не отрицаемое религиозное чувство (в 1977 году вышла книга «Евангелие сквозь призму психоанализа»).

В силу предпочтения «клинического свидетельствования» теоретическим штудиям и благодаря неустанной устной передаче, она заслужила репутацию скорее гениального практика, чем теоретика. В то время как для самой Дольто теория навсегда останется лишь концептуальной попыткой понять её собственную практику. При всем разнообразии техники — рисунок, лепка, символическая плата за сеанс, «кукла-цветок»… — основным «рабочим инструментом» Дольто будет слово, и её практика будет преследовать цель «по ту сторону языка, заимствованного из мира взрослых, дать [ребенку] язык, который соответствует возрасту его реального развития». Её способность точно отыскивать момент «сбоя» в самых архаических пластах психики и проговаривать на понятном ребёнку языке те связи, которые он выстроил с этим миром, был даром Дольто, поражающим окружающих. Для самой же Дольто за всеми её вмешательствами и словами стояла ясная логика и концептуальное прояснение, которое она будет стремиться передать молодым аналитикам на своих семинарах по детскому психоанализу. В этой работе по передаче аналитического опыта, Дольто изобретет новую форму обучения — будущие практики будут принимать непосредственное участие в самом ведении аналитического сеанса с детьми. Она обучит не одно поколение аналитиков, её труды и её подход повлияют на качественное, принципиальное изменение работы с детьми в детских садах, в больницах, в роддомах, в интернатах. Целое поколение французских детей будет воспитано на «идеях Дольто», что во многом сведет тонкую и сложную — как сама психика и жизнь — мысль Дольто к набору легко воспроизводимых рецептов и карикатурных упрощений.

Её работы и мысли сейчас заново открываются, в 2008 году в честь столетнего юбилея Дольто прошёл целый ряд научных и культурных мероприятий во Франции  .
В 1990 году был создан «Документальный Архив Франсуазы Дольто», открытый для исследователей и для всех, кто интересуется творчеством Дольто  .

Бессознательный образ тела и символообразующие кастрации
В ходе своей многолетней аналитической практики, а также благодаря детским консультациям в клинике Трюссо (1940—1978) и в центре Этьен Марсель (1962—1985), Дольто создаст собственный метод работы с детьми, уделяя особое внимание самому раннему, «архаическому» периоду жизни ребёнка, рассматривая все его жизненные проявления — соматику, коммуникацию и аффекты — как сообщения, которые необходимо расшифровать и перевести в язык. Её теория «бессознательного образа тела» станет теоретической попыткой осмыслить все то «неречевое» богатство телесного опыта, которое закладывается с самого момента рождения ребёнка. Соответственно, этот образ тела является живым и подвижным синтезом всех эмоциональных и физических переживаний ребёнка, своего рода бессознательной символической инкарнацией желающего субъекта, который существует и структурируется благодаря и в отношениях с другими. Рассматривая человеческое существо как несущее в себе присущее только ему желание жить, расти и развиваться, она отстаивает право на уважение желания каждого, даже самого маленького ребёнка, не подразумевая под этим удовлетворение всех его просьб и чаяний. Ответственное отношение к себе и к окружающим, по мнению Дольто, закладывается лишь благодаря языку, открытым ко всякому вопросу общением, смысл которого в том, чтобы объяснить каждому ново-рождённому, пришедшему в этот мир, его устройство, его правила и его законы. Выдвигая тезис о символообразующих кастрациях, Дольто постулирует, что на каждом этапе психического и физического взросления ребёнка есть моменты, когда он вынужден столкнуться с ограничением своего желания и с невозможностью его реализации. Этот момент труден и мучителен для ребёнка, но именно тогда он открывает, что культура и цивилизация накладывает запрет не на желание, а на неприемлемый человеческим сообществом — в перспективе коллективного сосуществования — способ его реализации и предлагает наработанные веками иные, сублимирующие способы его реализации.

Зелёный Дом

Приняв самое активное участие в создании Зеленого Дома в 1979 году– вместе с Пьером Бенуа, Колетт Лонжиньон, Мари-Элен Маландран, Мари-Ноэль Ребуа и Бернаром Тисом – Франсуаза Дольто до самой смерти работала принимающей , принося свой аналитический опыт и знания в открытое социальное пространство, куда может прийти каждый, кто только готовится или уже стал родителем. Задуманный как место отдыха, общения и встречи с другими детьми и другими взрослыми, Зеленый Дом открыт для детей от 0 до 4 лет в сопровождении взрослых или же для будущих родителей, только ожидающих появление ребёнка на свет. Зеленый Дом - это пространство слова, слова о повседневных заботах и о буднях воспитания, это место, где можно общаться, завязывая свои отношения с миром, с первых моментов жизни. Это «пространство в партнёрстве с родителями, с гарантией анонимности, которая ни имеет ничего общего с анонимным, безличным приемом, но скорее с идеей того, что никто не  оценивает и не сравнивает детей» . Модель работы Зеленого Дома получила широкое признание у детей, родителей и профессионалов и за 30 лет существования значительно распространилась как во Франции, так и за рубежом.

Публикации на русском языке
 Дольто Ф., Назьо Ж.-Д. Ребёнок зеркала. — : ПЕР СЭ, 2004.
 Дольто Ф. Приобщение к психоанализу. — Ижевск: ERGO, 2008.
 Дольто Ф. На стороне ребёнка. — Екатеринбург: Рама Паблишинг, 2010.
 Дольто Ф. На стороне подростка. — Екатеринбург: Рама Паблишинг, 2010.
 Дольто Ф. Бессознательный образ тела. — Т. XVI. — Ижевск: ERGO, 2006. (Собрание сочинений Франсуазы Дольто).
 Дольто Ф. Психоанализ и педиатрия. — Т. I. — Ижевск: ERGO, 2008. (Собрание сочинений Франсуазы Дольто).
 Дольто Ф. Психоанализ и воспитание. — Т. II. — Ижевск: ERGO, 2011. (Собрание сочинений Франсуазы Дольто).
 Дольто Ф. Заповедный мир детства. — Екатеринбург: Рама Паблишинг, 2015.
 Дольто Ф., Дольто К., Першминье К. Разговор с подростками, или Комплекс омара. — : Вектор, 2015.

Примечания

Психоаналитики Франции
Психологи по алфавиту
Педиатры Франции

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namespace Elcodi\Component\Coupon\Event\Abstracts;

use Symfony\Component\EventDispatcher\Event;

use Elcodi\Component\Coupon\Entity\Interfaces\CouponInterface;

/**
 * Class CouponEvent
 */
class CouponEvent extends Event
{
    /**
     * @var CouponInterface
     *
     * Coupon
     */
    private $coupon;

    /**
     * Build method
     *
     * @param CouponInterface $coupon Coupon
     */
    public function __construct(CouponInterface $coupon)
    {
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    }

    /**
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     */
    public function getCoupon()
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text:
Virgin Media's Record Quarter
With revenue and cash flow growing, Virgin plans to return cash to shareholders.
Alan Oscroft
(TMFBoing)
This article has been adapted from our sister site across the pond, Fool UK.
Releasing first-half results on Wednesday, Virgin Media (Nasdaq: VMED) told us it enjoyed its best quarter since it was formed in 2006, when it took over the operations of the U.K.'s only major cable TV operators, NTL and Telewest.
And on the same day, the company outlined its plan to return 700 million pounds to shareholders and lenders, after expressing strengthened confidence about its long-term cash flow.
In the traditionally quiet second quarter, when subscriber numbers were expected to fall, Virgin actually added 9,100 new customers, which is rather better than the net loss of 27,800 customers in the same quarter last year.
Revenue for the quarter grew by 7%, to 964 million pounds, leading to a much-improved free cash flow of 109 million pounds, a 37% boost. In fact, the three months to June made this Virgin's third successive quarter of double-digit percentage growth in operating cash flow.
Television and broadband
The improvement is mainly down to increasing demand for Virgin's high-definition TV services. That World Cup thing must have helped, along with Virgin's plans to start broadcasting Sky Sports 1 and 2 in HD, and so become the only company other than British Sky Broadcasting itself to do so.
Overall takeup of TV services continues to grow, with 25,900 more signing up for services during the quarter, bringing the total to 3.7 million – more than half of whom use Virgin's video-on-demand service.
High-speed Internet services also seem to have been a winner, with 650,000 out of its 4.2 million broadband customers now signed up for Virgin's 20mpbs and 50mbps services. That's 43% more than last year.
As Virgin's cash flow and capital structure improves, the company plans to pay down some of its debts, with a target of getting net debt down to three times its operating cash flow within the next three years.
With spare cash, paying down debt seems sensible. But the plan to return cash to shareholders though an accelerated share buyback program may raise some consternation, as the value of such an exercise is frequently disputed.
Many would think a better way to give shareholders some cash would be to, er, just give them some cash -- in the form of a special dividend. Or perhaps pay down more debt before even thinking of it -- after all, covering the costs of its debt and refinancing did leave Virgin with a pre-tax loss for the half, amounting to 67 pence per share.
Still, the market seemed happy with the news, pushing the shares up 2.8% at the time of writing.
Analysts reckon Virgin Media will lose 150 million pounds before tax this year, making its 4.1 billion-pounds valuation look quite pricey. But they also expect it to turn profitable in 2011, with nearly 400 million pounds of pre-tax profits penciled in for 2012, primarily because of a big increase in its operating margins. If that can achieved, then the shares look more reasonably priced.
More from Fool UK's Alan Oscroft:
Northern Rock Director Fined for Misreporting
ARM Cashes In on the Smartphone Boom
Pace Pleases the Crowd
Virgin Media's Record Quarter @themotleyfool #stocks Next Article

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