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Literary translations : telenovelas in contemporary Chicana literatureGraf, Amara Ann 13 June 2011 (has links)
Chicana literature is often discussed in relation to broad literary or theoretical movements (post-modernism, magic realism, or feminism) but these approaches often fail to account for or even consider other culturally derived sources of critical interrogation. For example, Chicana authors, through direct references or allusions, demonstrate that Spanish-language soap operas, known as telenovelas, have a cultural currency that can bridge people across generations, nationalities, and class differences. Telenovelas also have theoretical value, for these productions often feature stories that address issues of race, class, gender, nationality, language, and violence. Reading contemporary Chicana literature through the lens of the telenovela, including its history and status as a cultural form, reveals the ways in which Chicana authors not only rely on but also revise the form. They disrupt the rigid Manichean world view present in telenovelas by challenging heteronormative romance and traditional gender roles to allow for alternate stories, where endings are not always tidy or happy. Drawing on recent ethnographic research in communication studies, I examine the history of Spanish-language television within the U.S. to substantiate the cultural currency of and show how the telenovela permeates and informs Mexican-American identity. Relying on the work of Jesús Martín-Barbero, I trace the development of the melodrama and romance genres out of which telenovelas emerge, evolving from newspaper serials, radionovelas, fotonovelas, to comic strip novels or libros semanales. I focus on the literary roots of the telenovela genre (with its origins in 19th century European serialized fiction) in relation to early Mexican-American historical romance narratives (María Amparo Ruiz de Burton, Jovita González, and Eve Raleigh). Based on Gustavo Aprea and Rolando C. Martínez Mendoza's definition of the telenovela genre, I examine how contemporary Chicana fiction (Denise Chávez, Ana Castillo, Sandra Cisneros, and Nina Marie Martínez) both conforms to and deviates from the generic conventions. I provide a culturally based critical strategy for offering alternate readings of Chicana literature to show how these authors use the popularity of the telenovela form to reach a specific audience and lend new insight into how viewers, familiar with the genre conventions, are comparable to literary critics. / text
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Making meaning, making a home: students watching GenerationsO'Shea, Catherine Mary January 2005 (has links)
This thesis is a reception analysis using qualitative interviews to investigate black students' watching of a South African soap opera, Generations, taking into account the context of a largely white South African university campus. The findings of this study are that students find pleasure in talking about Generations and hold seemingly contradictory views on whether it is 'realistic' or not. The analysis concludes that watching Generations does serve to affirm these students' black identity, since there is a particular need to do so on a campus where black students witness and experience racial discrimination.
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Blogs de personagens de telenovelas: convergências entre o real e o ficcionalSouza, José Glaydson Pereira de 27 August 2014 (has links)
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Previous issue date: 2014-08-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The convergence culture has led to significant changes in the forms of production and consumption of fictional narratives. In this context, the blogs of characters emerge as one of the forms of narratives that lead transmídias the fictional TV content into cyberspace. Thus, it is important to analyze the configuration of this new communications ambience involving fictional narratives and not fictional, character and surfer, as well as the relationship that builds between them. Thus, this dissertation is to investigate general purpose, in the process of transmediação of soap operas for internet, similarities between the fictional and the real. We selected as the unit of analysis Blog Indra, the soap opera “Caminho das Índias” (Passage to Indias) (Rede Globo, 2009). The specific research objectives were: to analyze, from blog posts as they are constructed identity of the character and the identity profile of the public; identify the forms of sociality explored at the blog for the relationship characters/public and investigate how these forms of sociality promote convergences between presential and fictional world. The research, qualitative and interpretative nature, was conducted in two stages. At first, with reference to the concept of “Communication Contract” (CHARADEAU
2006, 2012), we did a descriptive and discursive approach to the blog, in which we demonstrate how the television narrative, blog, articulates the fictional and non-fictional. In the second step, we seek to understand the forms of sociality involved in the blo g, from the notions of presenteism (emphasis on everyday), ethics, aesthetics (sense of belonging) and tribalism (IDs). In this direction, we seek theoretical support in the comprehensive sociology of Michel Meffesoli (MAFESOLLI, 2007, 2010). The analysis of the posts in the first phase showed us that the identity of the character becomes Indra from discursive strategies that "simulate" the existence of a "blogger real world", being the identity profile of the Internet audience designed according to this perspective. The second step of the analysis showed that the identification of Internet users with the character extends to the "everyday" presented on the blog, thus indicating that the public creates links with the fictional: also sharing their stories, their feelings and affinities. Accordingly, we conclude that sociality is a majo r factor on the similarities between the fictional and the real of transmedia narratives. / A cultura da convergência vem provocando significativas transformações nas formas de produção e consumo de narrativas ficcionais. Nesse contexto, os blogs de personagens surgem como uma das formas de narrativas transmídias que levam o conteúdo ficcional da TV para o ciberespaço. Desse modo, faz-se relevante analisar como se configura essa nova ambiência comunicacional envolvendo narrativas ficcionais e não ficcionais, personagem e internauta, bem como a relação que se constrói entre ambos. Nesse sentido, esta dissertação tem como propósito geral investigar, no processo de transmediação das telenovelas para a internet, convergências entre o ficcional e o real. Para tanto, selecionamos como unidade de análise o Blog do Indra, da Telenovela Caminho das Índias (Rede Globo, 2009). Os objetivos específicos da pesquisa foram: analisar, a partir das postagens no blog, como são construídas a identidade do personagem e o perfil identitário do público; identificar as formas de socialidade deflagradas no blog para a relação personagens/público e investigar como essas formas de socialidade promovem convergências entre o mundo presencial e o ficcional. A pesquisa, de natureza qualitativa e interpretativa, foi realizada em duas etapas. Na primeira, tendo com referência o conceito de Contrato de Comunicação (CHARADEAU, 2006, 2012), fizemos uma abordagem descritiva e discursiva do blog, na qual demonstramos como a narrativa televisiva, no blog, articula o ficcional e o não ficcional. Na segunda etapa, buscamos compreender as formas de socialidade implicadas no blog, a partir das noções de presenteísmo (ênfase no cotidiano), ética da estética (sentimento de partilha) e tribalismo (identificações). Nessa direção, buscamos aporte teórico na sociologia compreensiva de Michel Maffesoli (MAFESOLLI, 2007, 2010). A análise das postagens na primeira fase nos mostrou que a identidade do personagem Indra se faz a partir de estrat égias discursivas que “simulam” a existência de um “blogueiro do mundo real”, sendo o perfil identitário do público internauta projetado em função desta perspectiva. A segunda etapa da análise demonstrou que a identificação dos internautas com o personagem se estende ao “cotidiano” apresentado no blog, indicando assim que o público cria vínculos com o ficcional: compartilhando, também, suas histórias, seus sentimentos e afinidades. Nesse sentido, concluímos que a socialidade é um fator preponderante nas convergências entre o ficcional e o real das narrativas transmidiáticas.
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Valores Morais: comparando telenovelas (décadas de 1980 e 2010)Santos, Julian Bruno Gonçalves 27 February 2014 (has links)
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Previous issue date: 2014-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The aim of this study was to analyze a soap opera of 2010s, using the Lawrence Kohlberg s typology of moral values, and compare these results with a similar analysis done in three consecutive soap operas of the 1980s. Two studies were conducted: the first consists of the analysis of moral values conveyed by the soap opera Avenida Brasil (2012) and the second consists of a comparison of the results obtained in this analysis with those obtained in the analysis of the 1980s soap operas. The sample was composed of 90 chapters of the soap opera Avenida Brasil (2012) and the results of Camino e Cavalcanti (1998). For the analysis, three classifications were made: 1) according to Kohlberg's moral stages, 2) according to the intentions (Purpose) which issued the characters and the actions planned or undertaken to achieve this porpose (tactics) and 3) in accordance with the agreement, which is the appreciation, protection, acceptance and issuance of a certain moral reasoning, and the unconformity, which are transgressed behaviors and utterances that demonstrate a criticism, disagreement or rejection use of certain type of morality. The data were subjected to content analysis of Bardin (2010). The results of the first study showed that the most conveyed moral values by Avenida Brasil (2012) were those corresponding to stages 1 and 2; disagreements were related to higher stages - 4:05; purposes values were categorized in stages 1 and 2 and means values focused on actions that are committed against the other. The results of the second study showed that both the Avenida Brasil as soap operas of the 1980s, had higher frequencies related to lower stages - 1 , 2 - while the lower frequencies corresponded to higher stages - 3a, 3c , 4 5 [3] , 5 and 6. The soap opera Avenida Brasil (2012) showed a higher percentage values for stage 1 and stage 2, while the soap operas of the 1980s had a higher percentage of the values for stage 3a, 3c, 4, 5 and 5[3]. The agreement with stages 1, 2 and 3a was very high as soap opera Avenida Brasil as in the soap operas of 1980s. As for disagreements, the soap opera Avenida Brasil stands out in relation to the stages 3a and 4 and the soap operas of the 1980s in relation to stages 2, 3c, 5 [3] and 5. The soap opera Avenida Brasil had a higher percentage for purposes connected with the stage 1 and 3 conventional, while the soap operas of the 1980s have higher percentages of purposes related to stages 2, 3 affective, 4 and 5; Results showed that in the soap opera Avenida Brasil actions against others got higher percentage compared to soap operas of the 1980s. These, however, had more shares to the other and also more actions in defense of conventions or laws. It is believed that the social context in which the soap operas of the 1980s were created may have influenced the placement of more advanced moral content, since this was a period of social, political and economic openness. In the soap opera Avenida Brasil (2012), we find the author's intention in highlighting the theme of revenge, emphasizing the law into their own hands and this may be related to a public outcry for legality with emphasis on punishment and that this may have contributed to the propagation of lower moral values. / O objetivo do presente estudo foi analisar uma telenovela da década de 2010, a partir da tipologia Kohlberguiana, e comparar os resultados com os de uma análise semelhante feita em três telenovelas consecutivas da década de 1980. Foram realizados dois estudos: o primeiro consta da análise dos valores morais veiculados pela telenovela Avenida Brasil (2012), e o segundo consta de uma comparação dos resultados obtidos nesta análise com aqueles obtidos na análise das telenovelas da década de 1980. A amostra foi composta por 90 capítulos da telenovela Avenida Brasil (2012) e pelos resultados da pesquisa de Camino e Cavalcanti (1998). Para a análise, foram feitas três classificações: 1) de acordo com os estágios morais propostos por Kohlberg; 2) de acordo com as intenções (Fins) das personagens que as emitiram e com as ações planejadas ou realizadas para alcançar esses fins (Meios), e 3) de acordo com a Concordância, que é a valorização, a defesa, a aceitação e emissão de um certo raciocínio moral; e na Discordância, que são os comportamentos ou verbalizações de crítica, desacordo ou rejeição ao uso de determinado tipo de moral. Os dados referentes às verbalizações e comportamentos dos personagens foram submetidos à Análise de conteúdo de Bardin (2010). Os resultados do primeiro estudo mostraram que os valores morais mais veiculados pela telenovela Avenida Brasil foram aqueles correspondentes aos estágios 1 e 2; as discordâncias relacionaram-se aos estágios mais elevados 4 e 5; os valores fins foram categorizados nos estágios 1 e 2 e os valores meios se concentraram em ações que são cometidas contra o outro. Os resultados do segundo estudo mostraram que tanto a telenovela Avenida Brasil quanto as telenovelas da década de 1980, apresentaram frequências mais elevadas referentes aos estágios inferiores 1, 2 enquanto que as frequências mais baixas corresponderam aos estágios mais elevados 3a, 3c, 4, 5[3], 5 e 6. A telenovela Avenida Brasil (2012) apresentou uma maior porcentagem para os valores do estágio 1 e do estágio 2, enquanto as novelas da década de 1980 apresentaram uma maior porcentagem para os valores dos estágio 3a, 3c, 4, 5 e 5[3]. A concordância com os estágios 1, 2 e 3a foi muito elevada na novela Avenida Brasil e nas da década de 1980. Quanto às discordâncias, a telenovela Avenida Brasil se destaca em relação aos estágios 3a e 4 e as telenovelas da década de 1980 em relação aos estágios 2, 3c, 5[3] e 5. A telenovela Avenida Brasil apresentou maior porcentagem para os fins ligados ao estágio 1, e 3 convencional, enquanto as telenovelas de 1980 apresentam maiores porcentagens de fins ligados aos estágios 2, 3 afetivo, 4 e 5; Os resultados mostraram que na telenovela Avenida Brasil as ações contra o outro obtiveram maior porcentagem em comparação com as telenovelas da década de 1980. Estas, em contrapartida, apresentaram mais ações a favor do outro e também mais ações em defesa de convenções ou leis. Acredita-se que o contexto social no qual as telenovelas da década de 1980 foram criadas pode ter influenciado a veiculação de conteúdo moral mais avançado, uma vez que tratava-se de um período de abertura sociopolítica e econômica. Na telenovela Avenida Brasil (2012), percebe-se a intenção do autor em destacar o tema da vingança, dando ênfase à justiça com as próprias mãos e isso pode estar relacionado a um clamor social por legalidade com ênfase na punição e que isso pode ter contribuído para a veiculação de valores morais mais baixos.
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Making Friends to Last A Lifetime: An Ethnographic Study of Parasocial Relationships and Soap Opera CharactersPryor, EmmaLee Elizabeth Haight 01 January 2002 (has links) (PDF)
The purpose of this study was to build theory about parasocial relationships and to examine what affect, if any, religion had on parasocial relationships. Using qualitative methods, the researcher watched the show three times with five women followed by an in-depth interview. The women chosen were LDS stay-at-home moms who had watched a soap opera for at least a year. From this data came several surprising findings about religion and soap opera viewing. The women said they did not feel guilty about the content of the shows, rather the time required to watch. This guilt was alleviated by structuring their daily tasks around watching the shows. Also, since the women viewed the show as entertainment, they were less likely to judge the actions of the characters as harshly as if it were real-life. Current life situation was also the biggest factor in whether or not a parasocial relationship existed and how strong that relationship is. This thesis illustrates the need for a comprehensive theory about parasocial relationships. As the media becomes more prominent in our lives, parasocial relationships will need to become understood in greater detail in order to understand what possible effect, if any, they could have.
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A experiência da audiência das telenovelas em Portugal: um modelo a partir da teoria fundamentada em dadosFerreira, Raquel Marques Carriço 10 1900 (has links)
This research is about the spectatorship of Brazilian and Portuguese soap
operas in Portugal. The Grounded Theory approach was employed to
derive a “SOAP OPERAS SPECTATORSHIP MODEL” firmly rooted in the
perspectives of 49 soap operas viewers. The resulting model reveals three
groups of motives for viewing soap operas: a) mood management, b)
habit, and c) social integration/ learning. Within the model, each
motivation group is associated with a particular strategy and level
of exposure to soap operas, as well as predominant choices about the
soap opera’s national or foreign origin. With regard to Portuguese soap
operas, particular attention is paid to the receptor´s social integration and
learning, the latter allowing him/her to use the contents in his/her
personal context: The receptor is being counseled in the taking of
decisions, given the opportunity to evaluate feelings and
behaviors, and to confirm or adjust attitudes, styles and behaviors. With
regard to Brazilian soap operas, the motive of mood management is
highlighted, though not excluding the other above mentioned groups of
motives. Establishing the relationships between the concepts
identified in the research, the study presents the viewers´ experiences
with soap operas in Portugal. / Assistir às telenovelas brasileiras/portuguesas em Portugal é o tema investigado neste trabalho. A abordagem da “teoria fundamentada em dados” foi empregada na investigação para prover um “MODELO DA AUDIÊNCIA DAS TELENOVELAS” firmemente enraizado na perspectiva de quarenta e nove receptores entrevistados. O modelo resultante revela três grupos de motivos para a audiência: a) Gerenciamento do humor, b) hábito e c) Aprendizagem/Integração social. Cada grupo de motivos no modelo se associa a particular estratégia e intensidade de exposição às telenovelas, como também se associa as escolhas preponderantes das telenovelas por sua origem, se nacional e/ou estrangeira. Em destaque para a seleção das telenovelas portuguesas é identificado o uso dos seus conteúdos para integração social e aprendizagem/aconselhamento, este último permitindo ao receptor verificar a validade de sentimentos e comportamentos, aconselhamento para tomada de decisões, reforço/ajuste de atitudes, estilos e condutas para incremento da credibilidade e posição pessoal. Em destaque para a seleção das telenovelas brasileiras é identificado os motivos de Gerenciamento de Humor, muito embora de forma não excludente às outras categorias de motivos mencionadas. Com o estabelecimento das relações entre os conceitos surgidos na pesquisa indutiva, o estudo representa as experiências dos receptores das telenovelas em Portugal. / Lisboa
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The men in our living room : masculinities and the struggle for a 'new' South African hegemony in 'Egoli: place of gold' 1994Jonker, Francois 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: In this study I analyse the 1994 episodes of the popular soap opera Egoli: Place of Gold that coincide with the so-called ‘birth’ of the New South Africa. This moment in media history is characterised by a heightened sense of anticipation surrounding Egoli as the first local soap opera created by Franz Marx at the pinnacle of his career for the relatively new – and only – independent broadcaster in the country, M-Net. Because of the reliance of this genre on perceived realism, Egoli offers a historically significant televisual mediation of the widespread social and political changes that mark this particular period. I argue that the soap opera elicits a non-critical passive spectatorship and should therefore be regarded as a ‘readerly’ medium that transmits a form of pre-negotiated textual hegemony directly into the intimacy of the domestic viewing space. While acknowledging an awareness of the pivotal role played by white Afrikaans men in the safeguarding of cultural hegemony up until this historical juncture, my study diverges from the wealth of research on soap opera as a women’s medium and approaches Egoli with an interest in the programme’s construction of masculinities. An analysis of three contrasting male characters investigates Egoli’s formulation of a social matrix that reflects not only the programme’s attitude towards gender, but also to social power, class and race. I conclude that this specific soap opera lacks the ability to produce or reflect radical change. Egoli merely serves to reiterate the affirmation of the hegemony of an established order of Afrikaner patriarchy on a superficial level. / AFRIKAANSE OPSOMMING: In hierdie studie analiseer ek die 1994 episodes van die populêre sepie Egoli: Plek van Goud wat afspeel tydens die sogenaamde ‘geboorte’ van die Nuwe Suid-Afrika. Hierdie oomblik in media-geskiedenis is gekarakteriseer deur ‘n verhoogde gevoel van antisipasie rondom Egoli as die eerste plaaslike sepie, vervaardig deur Franz Marx tydens die toppunt van sy loopbaansukses vir die relatief nuwe, en enigste onafhanklike uitsaaidiens in die land, M-Net. Vanweë hierdie medium se afhanklikheid op skynbare realisme, bied Egoli ‘n waardevolle historiese televisuele vertolking van die verrykende sosiale en politiese veranderinge van hierdie tydperk. Ek argumenteer dat die sepie ‘n passiewe kritiekloosheid in kykers uitlok en daarom as ‘n ‘leeslike’ teks benader moet word, wat ‘n reeds-onderhandelde hegemonie direk in die intimiteit van die huishouding oordra. As gevolg van die bewustheid van die kritieke rol wat deur blanke Afrikaanse mans vervul is in die beveiliging van kulturele hegemonie tot en met hierdie historiese moment, wyk my studie af van die veelvuldige navorsing oor die sepie as ‘n vroue-medium en benader ek Egoli met ‘n fokus op die konstruering van manlikheid. ‘n Analise van drie kontrasterende manlike karakters ondersoek Egoli se formulering van ‘n sosiale matriks wat nie alleenlik die program se benadering tot geslag blootlê nie, maar so ook tot sosiale mag, klas en ras. Ek sluit af met die bevinding dat dié sepie ontbreek in die vermoë om radikale verandering aan te spoor of te weerspieël. Egoli slaag slegs daarin om op ‘n oppervlakkige wyse die hegemonie van ‘n gevestigde Afrikaner patriargale orde te bevestig en te reproduseer.
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O conceito de família na telenovela : um estudo sobre sua recepção / The concept of family in the telenovela: a study about its receptionRocha, Camilla Rodrigues Netto da Costa 03 February 2017 (has links)
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Previous issue date: 2017-02-03 / The field of Communication allows us to keep a close eye on what communicative
culture. The present research starts from the constitution of the media narratives of gender
when discussing the homoaffective family, to investigate their
social presence. This is because it tries to understand, in addition to
concept in the telenovela, the reception of the same by the students of the High School, or
what are the uses and appropriations of students in the 1st and 3rd years of
State Public Schools, with regard to the articulation of homoaffective families
outlined in the telenovelas Love to Life and Family. Therefore, in order to
understand the meanings and resignifications of enunciators and enunciators, in the
we are worth the theoretical-methodological contributions of French Line Discourse Analysis (ADF)
from authors like Orlandi, Bakhtin, Baccega, Gregolin, among others. In a second
At the moment, we launch qualitative research through the use of interview techniques
in depth and discussion group with the students of the State Public Schools,
Professor Rômulo Pero and Jardim Santa Ângela. In addition, we
bibliographies and documentaries mobilizing authors such as Thompson, Martín-Barbero, Hall and
Canclini (Cultural Studies); Baccega, Kellner, Martín-Barbero (Communication); Slater,
Baccega, Alonso, Douglas (Consumption), among others, with different theoretical contributions. / O campo da Comunicação nos permite um olhar atento para aquilo que de comunicativo é
feita a cultura. A presente pesquisa parte da constituição das narrativas midiáticas de gênero
ficcional quando apresenta um debate em torno da família homoafetiva, para investigar sua
presença no seio social. Isso porque intenta compreender, para além da construção desse
conceito na telenovela, a recepção do mesmo por parte dos estudantes do Ensino Médio, ou
seja, quais são os usos e apropriações dos estudantes do 1º e do 3º anos do Ensino Médio de
Escolas Públicas Estaduais, no que se refere à articulação das famílias homoafetivas
esboçadas nas telenovelas Amor à Vida e Em Família. Para tanto, com o intuito de
compreender as significações e ressignificações dos enunciadores e enunciatários, nos
valemos dos aportes teórico-metodológicos da Análise de Discurso de Linha Francesa (ADF)
a partir de autores como Orlandi, Bakhtin, Baccega, Gregolin, entre outros. Em um segundo
momento, lançamo-nos em pesquisas qualitativas por meio do uso das técnicas de entrevista
em profundidade e grupo de discussão junto aos estudantes das Escolas Públicas Estaduais,
Professor Rômulo Pero e Jardim Santa Ângela. Além disso, adotamos pesquisas
bibliográficas e documentais mobilizando autores como Thompson, Martín-Barbero, Hall e
Canclini (Estudos Culturais); Baccega, Kellner, Martín-Barbero (Comunicação); Slater,
Baccega, Alonso, Douglas (Consumo), entre outros, com diferentes aportes teóricos.
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Representações das relações entre classes sociais em duas novelas brasileiras: Cheias de Charme e Avenida BrasilPiqueira, Mauricio Tintori 25 September 2017 (has links)
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Previous issue date: 2017-09-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This doctoral thesis aims to analyze the ‘soap operas’ Cheias de Charme and Avenida Brasil, transmitted throughout Brazil in the year of 2012. It takes both of them from the point of view of the representations on the Brazilian sociability, in a context marked by increase of the income of part of working class – which supposedly elevated their status to the “new middle class”. This was due through social policies of assistance to the poor, to creation of formal job vacancies in industry, commerce and services, and to the recognition of labor rights guaranteed by legislation for precarious jobs during the Luiz Inácio Lula da Silva (2003-2010) and Dilma Rousseff (2011-2016)’s governments. From the audiovisual narratives of the two “telenovelas”, we conclude that the main Brazilian cultural industry company (TV Globo), transformed into a show the contradictions of a reality in which the “social inclusion by consumption” were insufficient to guarantee the basic rights of citizenship for groups historically relegated to poverty. This has boosted the reaction of the elites as to the alleged “lose of their privileges” that distinguish them from the exploited groups / Esta tese tem por objetivo analisar as telenovelas Cheias de Charme e Avenida Brasil, transmitidas para todo o Brasil no decorrer do ano de 2012, sob o ponto de vista das representações da sociabilidade brasileira, em um contexto marcado pelo aumento da renda de parte da classe trabalhadora – que supostamente ascenderam à condição de “nova classe média” – por meio das políticas sociais de assistência às camadas paupérrimas da população, à criação de vagas de emprego formal na indústria, comércio e serviços e ao reconhecimento dos direitos trabalhistas previstos pela legislação para os ofícios precarizados, efetivadas durante os governos de Luiz Inácio Lula da Silva (2003-2011) e Dilma Rousseff (2011-2016). A partir da narrativa audiovisual das duas telenovelas, concluímos que a principal empresa da indústria cultural brasileira transformou em “espetáculo” as contradições de uma realidade na qual a inclusão social via consumo foi insuficiente para garantir os direitos básicos de cidadania para as classes historicamente relegadas à carência, mas impulsionou a reação das classes privilegiadas quanto à suposta ameaça de perderem os “privilégios” que a distinguem das classes exploradas
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Transvaluative analysis of Zulu terms that relate to women : a case study of a TV drama series, Kwakhalanyonini, with reference to gender stereotypes.Msibi, Bongumusa Collen. January 1996 (has links)
The aim of this study is to explore the relationship between media, language and gender stereotypes. It assumes that language usage in mass media creates and reproduces gender inequalities. Its main objectives are firstly, to randomly select terms for Zulu women from the chosen TV case study, Kwakhalanyonini. Secondly, selected terms will be analyzed, using the 'transvaluative analysis technique', in order to explain their meaning and hierarchy. This having been done, an attempt will be made to show how the usage of these terms reflect gender stereotypes, by locating women into subordinate positions. A question may well be asked; why Zulu language? I am a native Zulu speaker, with Zulu speaking parents. / Thesis (M.A.)-University of Natal, Durban, 1996.
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