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Esta tese consiste em um estudo das representações do islã, de árabes e muçulmanos veiculadas pela telenovela O Clone. Seu objetivo principal é verificar como a novela levou a cultura islâmica para a televisão na conjuntura do imediato pós 11 de setembro de 2001. Utilizando como fonte principal o discurso presente na telenovela, concluímos que O Clone funcionou como um instrumento didático para as audiências, oferecendo informações da cultura e religião islâmica em um momento em que essa tradição cultural era bastante estigmatizada. A novela, apesar de reiterar algumas caricaturas e de generalizações decorrentes acima de tudo de sua natureza folhetinesca-melodramática, ofereceu representações positivas oportunizando uma leitura mais humanizada do Outro muçulmano. Concluímos também que O Clone levou para a televisão elementos que estão presentes no contexto contemporâneo e que impregna as relações do Oriente islâmico com o mundo moderno e o Ocidente. Identificamos que a telenovela também ofereceu um retrato dos dilemas que atravessam a contemporaneidade islâmica. Por fim, percebemos também que o folhetim eletrônico de Glória Perez se utilizou do recurso intertextual ao levar representações, ideias e imagens já estabelecidas na tradição literária orientalista derivada das Mil e Uma Noites e suas adaptações e reelaborações. Através do primado da orientalidade, um acervo de imagens canônicas sobre o Oriente, possibilitou uma rápida identificação do público com um antigo imaginário, já estabelecido e bastante familiar para uma população que assiste TV. / This thesis is based in a study of representations of Islam, Arabs and muslins broadcast by the soap opera O Clone (The Clone). Its primary goal is to verify how the soap opera carried the Islamic culture to the post 9/11 television. Using as a primary source the discourse present in the soap opera, we concluded that O Clone has worked as a didactic instrument for the audiences, offering information from the Islamic culture and religion in a moment in which such cultural tradition was quite stigmatized. The soap opera, despite the reuse of some caricature and generalization derived, foremost, from its feuilletonistic-melodramatic nature, managed to offer positive representations enabling a more humanized reading of the muslim Other. We conclude, as well, that O Clone has brought to television elements that are present in the contemporary context and pervade the Eastern Islamic relations with the modern world and the West. We could also identify that Gloria Perezs electronic feuilleton made use of the intertextual asset by leading representations, ideas and images already settled in the orientalist literary tradition derived from the The Thousand and One Nights and its adaptations and revisions. Through the primacy of orientality, a pile of canonic images about the East, made possible a fast identification of the public with a ancient imaginary, previously settled and very familiar to a population that watches TV.

Esta tese consiste em um estudo das representações do islã, de árabes e muçulmanos veiculadas pela telenovela O Clone. Seu objetivo principal é verificar como a novela levou a cultura islâmica para a televisão na conjuntura do imediato pós 11 de setembro de 2001. Utilizando como fonte principal o discurso presente na telenovela, concluímos que O Clone funcionou como um instrumento didático para as audiências, oferecendo informações da cultura e religião islâmica em um momento em que essa tradição cultural era bastante estigmatizada. A novela, apesar de reiterar algumas caricaturas e de generalizações decorrentes acima de tudo de sua natureza folhetinesca-melodramática, ofereceu representações positivas oportunizando uma leitura mais humanizada do Outro muçulmano. Concluímos também que O Clone levou para a televisão elementos que estão presentes no contexto contemporâneo e que impregna as relações do Oriente islâmico com o mundo moderno e o Ocidente. Identificamos que a telenovela também ofereceu um retrato dos dilemas que atravessam a contemporaneidade islâmica. Por fim, percebemos também que o folhetim eletrônico de Glória Perez se utilizou do recurso intertextual ao levar representações, ideias e imagens já estabelecidas na tradição literária orientalista derivada das Mil e Uma Noites e suas adaptações e reelaborações. Através do primado da orientalidade, um acervo de imagens canônicas sobre o Oriente, possibilitou uma rápida identificação do público com um antigo imaginário, já estabelecido e bastante familiar para uma população que assiste TV. / This thesis is based in a study of representations of Islam, Arabs and muslins broadcast by the soap opera O Clone (The Clone). Its primary goal is to verify how the soap opera carried the Islamic culture to the post 9/11 television. Using as a primary source the discourse present in the soap opera, we concluded that O Clone has worked as a didactic instrument for the audiences, offering information from the Islamic culture and religion in a moment in which such cultural tradition was quite stigmatized. The soap opera, despite the reuse of some caricature and generalization derived, foremost, from its feuilletonistic-melodramatic nature, managed to offer positive representations enabling a more humanized reading of the muslim Other. We conclude, as well, that O Clone has brought to television elements that are present in the contemporary context and pervade the Eastern Islamic relations with the modern world and the West. We could also identify that Gloria Perezs electronic feuilleton made use of the intertextual asset by leading representations, ideas and images already settled in the orientalist literary tradition derived from the The Thousand and One Nights and its adaptations and revisions. Through the primacy of orientality, a pile of canonic images about the East, made possible a fast identification of the public with a ancient imaginary, previously settled and very familiar to a population that watches TV.

This research analyzes the reproduction of patriarchal ideological hegemony in the soap opera Another World using Stuart Hall's theory of the mass media and his conceptualization of ideology. A structural analysis of five one hour video-taped episodes of Another world reveals how the soap opera text constructs meaning fulfilling the three functions of the mass media, and thus, reproducing patriarchy's hegemony. This research confirms Hall's theory of the mass media and the propositions which flow from his conceptualization of ideology. Moreover, this research is the first attempt to systematically apply Hall's theory to the study of soap opera. It goes beyond .the generalizations of his theory to look at the particularities of soap opera which contribute to the reproduction of patriarchal ideological hegemony. However, it is seen that what is problematic to this research, and all research on soap opera, is a lack of a theory of the reader. / Thesis / Master of Arts (MA)

Le scandale a mauvaise presse. Celui par qui il arrive est humilié puis raillé. Il est une forme de divertissement que certains jugent indigne. Pourtant, il s’avère être une formidable voie d’entrée pour qui tente de comprendre les États-Unis. Par cette monstrueuse transgression, le refoulé fait son retour. Ainsi, analyser le scandale, c’est envisager l’Amérique comme une nation hantée par le puritanisme. Cette pierre d’achoppement qu’est le scandale peut être la pierre angulaire d’une nouvelle construction théorique : un mélange d’anthropologie, de sociologie et de psychanalyse pour débusquer la part d’Ombre d’une Amérique étrangère à elle-même. Voilà pourquoi, paradoxalement, un roman se trouve au cœur de ce travail de recherche de civilisation américaine. Un roman lapsus échappé dans les années cinquante : Peyton Place. Plus qu’une étude de cas, son analyse illumine le concept-même du scandale aux États-Unis. Le destin de son auteur, pharmakos moderne et celui de l’œuvre elle-même illustrent les différents mécanismes de la machine infernale du scandale. Traité de scandalogie ironique, grotesque, kitsch et camp, Peyton Place est une manne pour le scandalologue. Mis en regard avec The Awakening de Kate Chopin, ce roman, vilipendé par la critique et ignoré par la recherche universitaire, met également en scène la féminité du scandale. Les deux œuvres féminisaient l’Amérique, ancrant leur narration transgressive dans une maternité teintée de primitivisme, annonçant ainsi une nouvelle ère où la sexualité serait plus libre. La scandalogie, elle aussi, est pionnière. Elle appelle à l’exhumation d’œuvres oubliées, raillées ou calomniées pour un nouveau canon américain. Peyton Place n’était pas qu’une « gifle au bon goût public », il émasculait l’Amérique. Plus encore, il déchirait le tissu mythique de la nation. Le scandalologue, forcément mythologue, n’est donc pas voyeur : il est visionnaire. / Scandal is tabloid fodder. Those who have fallen from grace are mocked and humiliated and most people think scandal is but a trivial matter. The shocking, disgraceful deeds and affairs of idols have long become part of the entertainment industry. However, scandal and gossip are two different things and the former can help us delve into the American psyche. Scandal is enlightening in more ways than one. It dramatically calls attention to collective fears that have repressed and preserved in the unconscious. Scandal, making them reappear, helps us probe the nation’s unfathomable depths: America is a mansion haunted by Puritanism, as it were. Scandal is a stumbling block but it can also be the corner stone of a new theoretical approach rooted in anthropology, sociology and psychoanalysis to shed light on the black, dense Shadow of America. Peyton Place is a Freudian slip of a novel that shocked the not so Placid Fifties and actually illuminates the whole concept of scandal. Because Grace Metalious was treated like a modern-day pharmakos, her fate illustrates the mechanism of that infernal machine scandal is. Peyton Place is kitsch, camp, ironic and grotesque but it is above all a treatise on scandal. Just like Kate Chopin’s The Awakening, Peyton Place feminized nature, rooting its narrative into primeval matriarchy and heralding a new era of free-flowing sexuality. Peyton Place was more than a slap in the face of public taste; it was a kick in the groin of the American male. More than that, it shred America’s mythical fabric of lies into pieces. A scandalogist is no Peeping Tom, then: he is a visionary.

Este trabalho tem como objetivo convidar o leitor a aguçar o olhar e a escuta para os diálogos que as crianças estabelecem a partir do que assistem nas telenovelas brasileiras, tendo como premissa o fato de que elas assistem a estes programas, porém pouco conversam sobre eles, principalmente com pessoas de outras gerações. A necessidade de refletir sobre esses diálogos é apontada pelas leituras de mundo que as crianças elaboram a partir dessa recepção em relação constante com suas vivências singulares e coletivas. A pesquisa em questão foi realizada com dois grupos focais, formados por crianças de dois ambientes escolares distintos, situados na cidade do Rio de Janeiro, ambos compreendendo sujeitos entre cinco e sete anos, que disseram assistir a estes programas. Além dos diálogos infantis, o presente trabalho conta com a contribuição teórica de Mikhail Bakhtin, Marilia Amorim, Manuel Jacinto Sarmento, Bernadete Gatti, Jesús MartínBarbero, David Buckingham, entre outros, também de relevância contribuição, abordando sobre a história da telenovela e a importância deste gênero narrativo na cultura brasileira; a relação das crianças e das escolas com as mídias eletrônicas; e estratégias metodológicas na busca de uma dialogia atenta, sensível, proveitosa e consciente de suas limitações, diante da subjetividade e da complexidade nas relações estabelecidas com os interlocutores infantis.

Este trabalho tem como objetivo convidar o leitor a aguçar o olhar e a escuta para os diálogos que as crianças estabelecem a partir do que assistem nas telenovelas brasileiras, tendo como premissa o fato de que elas assistem a estes programas, porém pouco conversam sobre eles, principalmente com pessoas de outras gerações. A necessidade de refletir sobre esses diálogos é apontada pelas leituras de mundo que as crianças elaboram a partir dessa recepção em relação constante com suas vivências singulares e coletivas. A pesquisa em questão foi realizada com dois grupos focais, formados por crianças de dois ambientes escolares distintos, situados na cidade do Rio de Janeiro, ambos compreendendo sujeitos entre cinco e sete anos, que disseram assistir a estes programas. Além dos diálogos infantis, o presente trabalho conta com a contribuição teórica de Mikhail Bakhtin, Marilia Amorim, Manuel Jacinto Sarmento, Bernadete Gatti, Jesús MartínBarbero, David Buckingham, entre outros, também de relevância contribuição, abordando sobre a história da telenovela e a importância deste gênero narrativo na cultura brasileira; a relação das crianças e das escolas com as mídias eletrônicas; e estratégias metodológicas na busca de uma dialogia atenta, sensível, proveitosa e consciente de suas limitações, diante da subjetividade e da complexidade nas relações estabelecidas com os interlocutores infantis.

This thesis is situated within the context of post-apartheid, post-1994 South Africa. Considering that South Africa only recently entered its second decade of democracy, it is not surprising that, within the context of the “New South Africa”, new identities and myths are continuously being constructed. It thus follows that the construction of identities is a contentious issue within South Africa today. The premise that serves as point of departure for this thesis is that narratives contribute to the construction of identities. It is argued that there exists no single, absolute or static identity and that both personal and collective identities are endlessly being negotiated and renegotiated. Within the context of the “New South-Africa” a variety of new voices are being heard and a variety of new narratives are being voiced. Consider as a case in point the far-reaching stories told in the hearings of the Truth and Reconciliation Commission. The far-reaching political, economic and cultural paradigm shifts South Africa has undergone in the recent past also manifest in the production of meaning in popular visual culture and, more specifically, in the undeniably popular South African soap opera. In the scope of this thesis it is argued that South African soap opera constitute one possible South African narrative and consequently that South African soap opera may be instrumental in the construction of the new identities referred to earlier. The first section of this thesis is devoted to a literature overview comprising an overview of seminal sources on Cultural Studies, the South African context, narrative, identity, soap opera, gender and the other. This is done in order to situate the thesis within the context of Cultural Studies and also to achieve an awareness of the literature and research relevant to this study. Initially the thesis focuses broadly on narrative, its characteristics and the role narrative plays in the construction of identities. Here the theories of Paul Ricouer serve as a basis on which narrative is defined and analysed. Important concepts that come to bear in the relationship between narrative and identity include time, story, history and imagination. In examining narrative I come to the conclusion that narrative can be embodied and that a narrative body implies gender. It is argued that narrative may be gendered as feminine, and consequently that it constitutes some kind of other – in this case, other to the masculine. Although Edward Said’s Orientalism is acknowledged as the unofficial origin of the concept of the Other, and mention is made of Simoné de Beauvoir, it is essentially the concept of the other as theorized by Luce Irigaray that is seminal to this thesis. The focus is narrowed down to soap opera narrative which is again argued to be a feminine, but also female, narrative for a variety of reasons. Soap opera narrative is othered to various hegemonic orders the most important of which is western masculine narrative. An argument is made for the potential of this narrative of the other to give a voice to the other and consequently pose a site where dominant identities and hegemonic orders may be (re)negotiated. The final part of this thesis is devoted to applying all of the above to South African soap opera narrative. Concrete examples from four South African soap operas (Egoli – Plek van Goud/Place of Gold, Isidingo – the need, Generations and 7de Laan) are used to substantiate the argument that South African soap opera may be regarded as other and consequently that it creates a site where new South African identities are created and old identities are being negotiated. / Dissertation (MA (Afrikaans))--University of Pretoria, 2008. / Afrikaans / unrestricted

This thesis aimed to report on the qualitative research conducted which identified the role played by international television soap operas in identity formation and cultural change in relation to Kurdish women. Currently, Kurdish women live in a cultural context where traditional values often conflict with modern values when it comes to behaviour deemed appropriate for their gender. Through the impact of international television soap operas, Kurdish women come to identify themselves as being 'traditional' while at the same time they attempt to integrate non-traditional beliefs into their value system. This study looked at the relationship between Kurdish women's exposure to international television, soap operas and consumerism, as well as the problems which they create in terms of non-Western women's identity formation. This thesis has documented the lives and experiences of 21 female Kurdish participants, aged between 18 and 40, through in-depth interviews and observations. The thesis assumes that the views recorded are representative of the general viewpoint of viewers of the international soaps. Open-ended, in-depth interviews about women were used to explore viewing habits and preferences for various soaps. This thesis incorporates and expresses the ideas which were recorded with regards to the accepted 'typical' characteristics of men and 4 women - it is these characteristics which play an important role in selfformation. It became evident that these women had incorporated values from the traditional Kurdish culture and the modern way of life. The Kurdish women cannot be said to have a 'modernist' outlook on gender-appropriate behaviour, as they are still endemically entrenched in traditional Kurdistan worldviews. The qualitative research analysed the level in which the soap operas act as a kind of medium between the values of modernity and those of tradition. This study, in addition, demonstrates the appeal that soap operas can have on the norms, and other aspects, in the Kurdistan Region, and therefore illustrates that the soaps have an active role as a mechanism of change in Kurdistan. Thus, the research demonstrates the power of the soap operas and their effects on the Kurdish people in this region. Furthermore, this research explored the current media environment in the Kurdistan Region by reviewing the dependency of Kurdish viewers, and the Kurdish television channels, on foreign and imported television programmes into the region.