Thesis (doctoral)--Universitetet i Lund, 1983. / Extra t.p. with thesis statement inserted. Includes bibliographical references (p. 225-235).

Thesis (doctoral)--Lund University, 1983. / Thesis statement with abstract and errata slip inserted. Includes bibliographical references (p. 219-240).

Thesis (MPhil (Journalism))--University of Stellenbosch, 2009. / Adolescent girls’ passage to womanhood is frequently exposed to a vast array of media products. Mass communication products have become educational devices, guiding young women towards an understanding of femininity and all its accompanying intricacies. We are taught gender lessons throughout our lives, but our teen years are of special significance in this regard. In a society that is becoming all the more media saturated, advertisers are capitalising on different desires and ideals that are being constructed in the media. Initially, only adult women were targeted, but these days a number of mass media products aimed specifically at young women have opened up a whole new market. Until a few years ago, South African teenage girls had only women’s magazines aimed at adult women to refer to. These days, however, a number of teen magazine titles exist locally. The aim of this study was to look at teen magazines as an example of texts that are aimed specifically at adolescent women. More specifically, the study looked at the discourse on femininity within the pages of the text – what is the magazine in essence saying about womanhood? To take the research one step further, it was decided to look at how readers of the magazine engaged and negotiated with the text in order to inform their own understanding of femininity. The goal of the study was to determine how the discourse on femininity played out between the text and the reader. Combining quantitative and qualitative elements, the study was located within a cultural studies framework and referred to Stuart Hall’s encoding/decoding model as a representation of the communication process. It was found that the magazine under scrutiny had twelve specific thematic categories that were most prominent. It was found that the femininity encoded in these texts revolved around consumerism, fashion and boys. The study found that the readers taking part in focus group research possessed a sufficient amount of educational “cultural capital” to be able to resist the dominant messages encoded in the texts, yet they seemingly chose not to. This study also indicated that the femininity that was constructed in the studied text did not take the greater South African context into account, and that it served to entertain readers from higher LSM groups rather than all South African girls.

This dissertation focuses on the production and development of a conspicuous, widespread culture phenomenon in contemporary Japan, which is characterized by numerous young, mediapromoted personalities, or pop-idols, who are groomed for public consumption. The research, based on eighteen months of in-depth fieldwork in the Japanese entertainment industry, aims to contribute to the understanding of the allegorical role played by pop-idols in the creation of youth culture. Pop-idols are analyzed as personified symbols that function as vehicles of cultural production. The principal issues suggested in this research include: the criteria of popidol production; the ways in which pop-idols are produced; the perceptions of pop-idol performances by producers, performers, and consumers; the ways in which idol personalities are differentiated from each other; the ways in which pop-idol performances are distinguished from other styles or genres; and the social, cultural, political, economic, and historical roots as well as consequences of pop-idols' popularity. These issues are explored through the examination of female pop-idols. The single, most important function of pop-idols is to represent young people's fashions, customs, and lifestyles. To this end, the pop-idol industry generates a variety of styles that can provide the young audience with pathways toward appropriate adulthood. They do this within their power structure as well as their commercial interest to capitalize on adolescence - which in Japan is considered the period in which individuals are expected to explore themselves in the adult social world. The stylized promotion, practiced differently by promotion agencies that strive to merchandise pop-idol images and win public recognition, constitutes a field of symbolic contestation. The stage is thus set for an investigation of the strategies, techniques, and processes of adolescent identity formation as reified in the construction of idol personalities. This dissertation offers a contextualized account of dialogue that occurs between capitalism, particular rhetoric of self-making, and the lifestyle of consumers, mediated by pop-idols and their manufacturing agencies that function together as the cultural apparatus. The analysis developed in this dissertation hopes to provide theoretical and methodological contributions to the study of celebrities in other social, cultural, and historical settings. / Arts, Faculty of / Sociology, Department of / Graduate