Thesis (Ph. D.)--University of Michigan, 1991. / Includes bibliographical references (leaves 284-296).

Thesis (Ph. D.)--American University, 1993. / Includes bibliographical references (leaves 291-302).

Thesis (Ph.D.)--Ohio University, June, 2008. / Abstract only has been uploaded to OhioLINK. Includes bibliographical references (leaves 138-149)

Thesis (doctoral)--Åbo Akademi, 2007. / Added thesis t.p. inserted. Includes bibliographical references (p. 195-210).

published_or_final_version / Public Administration / Master / Master of Public Administration

No description available.

Zugl.: Mainz, Universiẗat, Diss., 2009. / Includes bibliographical references (p. xix-xl).

Bibliography: pages 240-265. / This dissertation studies the broadcasting of politics in South Africa from 1920 to the end of the P. W. Botha era in 1989; that is, the reaction of radio and television to the changing political environment. Since 1948 South Africa's broadcasting system has increasingly been influenced by the ruling National Party as they strengthened their authority. This follows the Lasswell communications model which emphasizes the role of the controller in the communications flow as well as Fagen's and Siebert's description of authoritarianism as a national political system. A study of the historical legacy of broadcasting in South Africa clearly shows an authoritarian orientation. This is accomplished through an investigation utilizing historical material including Tomaselli as well as press reports and Hansard. The advent of television has seen this maintained in a variety of forms. The key question confronting the reader is whether or not there exists change away from the authoritarian model to a more liberalistic trend. The author details a number of visible inconsistencies and anomalies that are present both within radio and television. These are shown to markedly contradict with the control model of the past and highlight fundamental shifts in the media orientation. These contradictions are a reflection of the socio-political pressures that have recently emerged to influence the National Party. This is a function of the reforming of their past ideology as well as of internal economic advances and political upheavals which increase the influence of non-State elements upon the electronic media as depicted in the De Fleur model. The broadcasting system is increasingly shown to reflect an inclusive picture adapting to the political and economic realities in which it operates. The emerging trend moves away from authoritarianism in a more liberal and pluralistic direction.

No description available.

This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music.