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Thesis (MA (Research Psychology))--University of Pretoria, 2003. / Includes bibliographical references.

Thesis (MPhil (Journalism))--University of Stellenbosch, 2008. / The media plays a fundamental role in shaping societies’ opinions about topical issues. Most human beings depend upon either the print media (newspapers/magazines), television or radio as their sources of news. The advent of the internet since the 1990s revolutionised the media world and created an immediacy on the impact of news like no other previous medium could provide, as it had a combination of audio and visual material. The most effective demonstration of such immediacy would be that of the impact of the September 11 attacks in the USA in 2001. The aftermath of the media’s impact still resonates throughout the world today, especially its impact on those who follow the Islamic faith. This paper aims to explore the impact of the media on this newly derived concept of Islamophobia, especially post 9/11. It includes a case study of the Islamophobic Danish cartoon controversy that occurred in February 2006. This paper discusses the concept of Islamophobia and anti-Islamism, as well as how the events of 9/11 and its media coverage contributed towards the worsening of this sentiment across the globe. The conclusion reached is that instead of the media acting as a mediator between Western society and the global Muslim community and creating an atmosphere of each understanding the other, it acted negatively against Islam, the world’s fastest growing religion.

Bibliography / Thesis (MPhil (Journalism))--Stellenbosch University, 2010.

This dissertation examines the social, political and technological that enabled the creation of a private space for the work of cartoonists in print journalism in the state of Sergipe. More specifically, it is to investigate the social conditions that led agents with distinct origins and socialization to produce cartoons for print media Sergipe, which features are likely to be used to occupy a place in space chargismo this state and which importance of a trajectory marked by previous actions in newspapers to obtain such resources. To account for understanding the factors guide for the entry chargismo journalism, it was necessary to analyze the insertion of cartoonists in various spheres and how they enable the acquisition of resources that can be usable for entry into the world of the press in position cartoonist. The empirical universe that formed the basis for research and analysis performed here corresponds to a set of producers of cartoons that work or have worked in the press of the state of Sergipe. We considered both cartoonists who currently produce cartoons for newspapers but also very cartoonists referenced among journalists, but they are not active anymore. With respect to subdivisions, this dissertation is structured in three stages. First, we analyze the socio-historical conditions that led to the constitution of chargismo newspaper in Brazil. At this point, the focus is on career paths of cartoonists and the constant restructuring of newspaper companies to identify the resources linked to the insertion of the press cartoonists. Secondly, we stop on the analysis of social determinants hallmarks of occupying a place in space chargismo newspaper. In this step, we treat the forms of recruitment of cartoonists, or rather, we examine the game realized by cartoonists from the proceeds of inserts intra and extra-journalistic and recognition for the work as producer of cartoons for newspapers. Finally, at the last moment of our research is an analysis of the skills of newspaper cartoonists, as these skills are developed and the importance of experience within the world of journalism to develop such skills. This work showed that the activity of the newspaper cartoonist is a form of action in which the journalistic skills are blended with artistic design skills and that the criteria for entry into the "profession" are based on the conversion of resources from the inserts itself journalistic universe and experience with the production of artistic designs. / Esta dissertação analisa as condições sociais, políticas e tecnológicas que possibilitaram a constituição de um espaço próprio para a atuação dos chargistas dentro do jornalismo impresso no estado de Sergipe. Mais especificamente, trata-se de investigar os condicionantes sociais que conduziram agentes com origens e socializações distintas a produzirem charges para a mídia impressa sergipana, quais recursos são passíveis de serem utilizados para a ocupação de um lugar no espaço do chargismo deste estado e qual a importância de uma trajetória marcada pela atuação anterior em jornais para a obtenção de tais recursos. Para dar conta de entender os fatores balizadores da entrada no chargismo jornalístico, fez-se necessária a análise das inserções dos chargistas em esferas diversas e como elas possibilitam a aquisição de recursos passíveis de serem utilizáveis para a entrada no universo da imprensa na posição de chargista. O universo empírico que serviu de base para a investigação e análise aqui executada corresponde a um conjunto de produtores de charges que atuam ou já atuaram na grande imprensa do estado de Sergipe. Foram considerados tanto os chargistas que atualmente produzem charges para jornais como também chargistas muito referenciados no meio jornalístico, mas que não estão mais em atividade. Com relação às subdivisões, esta dissertação está estruturada em três momentos. Primeiramente, são analisadas as condições sócio-históricas que culminaram com a constituição do chargismo de jornais no Brasil. Nesse ponto, o foco recai sobre os percursos profissionais dos chargistas e o constante processo de reestruturação das empresas jornalísticas visando identificar os recursos ligados à inserção de chargistas na imprensa. Num segundo momento, nos detemos sobre a análise dos determinantes sociais balizadores da ocupação de um lugar no espaço do chargismo de jornais. Nesta etapa, tratamos das formas de recrutamento dos chargistas, ou melhor, examinamos o jogo realizado pelos chargistas entre os recursos advindos de inserções intra e extra-jornalísticas para a atuação e o reconhecimento enquanto produtor de charges para jornais. Por fim, no último momento de nossa investigação é realizada uma análise das competências dos chargistas de jornais, como essas habilidades são desenvolvidas e qual a importância de experiências dentro do universo jornalístico para o desenvolvimento de tais habilidades. Esta dissertação mostrou que a atividade do chargista de jornais é uma forma de atuação em que as competências jornalísticas se mesclam com as habilidades em desenho artístico e em que os critérios de entrada na profissão se baseiam na reconversão de recursos oriundos de inserções no próprio universo jornalístico e de experiências com a produção de desenhos artísticos.

During Zimbabwe’s 2008 harmonised elections the country’s media laws had a direct impact on the way editorial cartoonists expressed themselves. Although the online newspapers were unregulated and the print media published under Zimbabwe’s media laws, Public Order and Security Act and Access to Information and Protection of Privacy act - the editorial cartoons from both sources show deliberate bias towards one candidate and contempt towards the main rival. The study contextualises the understanding of the editorial cartoon, as practised in an environment of freedom of speech and defined by the four categories identified by Press (1981) and Manning and Phiddian (2004), and delineates the effect of media laws on the newspaper industry in Zimbabwe. The four categories of editorial cartoons identified are descriptive editorial cartoons, laughing satirical editorial cartoons, destructive satirical editorial cartoons, and savage indignation editorial cartoons. The study reviews eight editorial cartoons, read using a semiotic framework investigating non-verbal communication, as defined and suggested by Du Plooy (1996), and a text and language grid, as suggested by Leech (1974), according to the criteria of symbols/metaphors, exaggeration/distortion, stereotypes, caricature, irony, captions, and background knowledge, as developed by Fetsko (2001). A comparative analysis of the cartoons reveals that objectives and functions of the unregulated zimonline.co.za and the regulated the Herald newspapers are the same. They constitute propagandistic representations of Zimbabwean politics that are more an extension of political ideology than they are a reflection of the country’s sociopolitical landscape.

In the U.S., Black childhood has been underimagined. The representational vocabulary of Black childhood is fraught with dehumanizing and adultifying imagery and sounds—from representations of “Topsy” and “Black Sambo” to caricatures of pickaninnies and their many (re)iterations in U.S. popular culture. Popular music is one expressive domain wherein artists and audiences alike have contested and reinforced the peculiar adultification and infantilization that have long haunted Black American life. In the years surrounding the Trump presidency, numerous Black popular music artists made childhood a primary feature of their artistic output through vocal technique, lyrical content, merchandise, music videos, social media, and more. At the precise moment when white innocence was wielded most violently and obviously on the national stage, these artists challenged the assumed goodness and whiteness of innocence and its relation to childhood, performing capacious versions of free Black childhoods to various ends. This dissertation turns to the performance of childhood as a productive domain of inquiry and focuses on four artists/groups—Tank and the Bangas, Chance the Rapper, Jamila Woods, and Noname—all of whom chart a liberatory politics of Black childhood through sound. Through the poetics and aesthetics of their work, I theorize and historicize four interrelated, childhood-adjacent concepts: nostalgia, vulnerability, innocence, and freedom. Methodologically, I attempt to turn the tables on how vulnerability has normally been rendered in ethnographies. I blend (auto)ethnography about my own experiences as a white father of a multi-racial child with critical theory to analyze live and mediated performances of popular music. I look to music as a poetic and aesthetic space with which to not only grapple with the realities faced by Black children in the United States, but also to affirm Black childhood as a space of freedom, play, possibility, and joy. Ultimately, I make two interrelated assertions: (1) foregrounding Black childhood in our social analysis urges the necessity of abolition and (2) popular music is a primary conduit through which we can imagine an abolitionist future free of police, prisons, and the carceral logics that undergird their imagined necessity.

Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: Many questions have been asked as to why sub-Saharan Africa, and particularly South Africa, has such a high incidence of HIV/AIDS. While social and economic power imbalances between the sexes, coupled by the biological vulnerability of women, play an important role in the rapid spread of South Africa’s HIV/AIDS epidemic, what truly seems to set South Africa apart from the rest of the world is the high incidence of multiple or concurrent sexual relationships. Multiple or concurrent sexual relationships are defined as sexual partnerships that overlap in time, when one partnership starts before another terminates. These types of relationships have the potential to create complex sexual networks – commonly referred to as a “sexual superhighway” – for the spread of sexually transmitted diseases, most notably HIV/AIDS. While the practice of multiple or concurrent sexual relationships is to a large extent under-reported by the South African media, a great deal of media attention is given to President Jacob Zuma’s practice of polygamy as a Zulu cultural tradition. The researcher proposes that Zuma’s intimate partnerships stray from the well-defined parameters of cultural polygamy and that he does, in fact, has multiple or concurrent sexual relationships that fall outside the boundaries of polygamy. The researcher further proposes that the example set by the President in his personal life has an effect on the general morality of the South African people and especially on women’s status in society. / AFRIKAANSE OPSOMMING: Baie vrae is al gevra oor hoekom sub-Sahara Afrika, en spesifiek Suid-Afrika, so ʼn hoë voorkoms van MIV/Vigs het. ʼn Sosiale en ekonomiese magswanbalans tussen mans en vroue, tesame met die verhoogde biologiese kwesbaarheid van vroue vir seksueel-oordraagbare siektes, speel ʼn rol in die vinnige verspreiding van die MIV/Vigs epidemie in Suid-Afrika maar wat ons blykbaar onderskei van die res van die wêreld is die hoë voorkoms van veelvuldige of samelopende seksuele verhoudings. Veelvuldige of samelopende seksuele verhoudings word gedefinieer as verhoudings wat oorvleuel of waar een verhouding begin voordat ʼn vorige verhouding beëindig is. Hierdie tipe verhoudings het die potensiaal om komplekse seksuele netwerke te vorm – algemeen beskryf as “seksuele super-snelweë” – waarbinne seksueel-oordraagbare siektes, insluitende MIV/Vigs, vinnig kan versprei. Terwyl veelvuldige of samelopende seksuele verhoudings min aandag geniet in die Suid-Afrikaanse media, is daar wel ʼn fokus op President Jacob Zuma se uitlewing van sy Zulu-tradisie van poligamie. Die navorser stel egter voor dat Zuma se intieme verhoudings afwyk van die goedge-definieerde riglyne van kulturele poligamie en dat hy in werklikheid eerder veelvuldige of samelopende seksuele verhoudings het wat buite die reëls van poligamie val. Die navorser stel verder voor dat die voorbeeld wat die President in sy persoonlike lewe stel ʼn uitwerking het op die moraliteit van Suid-Afrikaners en veral op die status van vroue in die samelewing.