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The Rwandan genocide exhibited a faster rate of killing than any genocide in recent history, taking place over 100 days; however, at the time of its occurrence, it was relatively ignored by the international community. In 2005, Major General Romeo Dallaire singled out the Western press coverage and condemned it for its failure to adequately publicize the genocide. Nevertheless, few studies have analysed the media’s coverage of the genocide and no studies have looked at Canadian media or the criminal aspects of the genocide reporting. This study examined articles printed in the New York Times and the Globe and Mail and consisted of a two-stage content and discourse analysis. The content analysis involved analysis of 17 variables in 577 articles, while the discourse analysis examined the extent to which common themes associated with crime served as a framework for making sense of the Rwandan genocide in 311 articles. As part of the discourse analysis, the data was assessed through a cultural criminological perspective which focused on five criminological themes; crime, perpetrators, victims, law enforcers and law and order. Overall, the results show that Rwanda was presented in the media as a chaotic and primitive country, in many ways beyond the reach of law, and therefore the language of crime was rarely used to describe the genocide. The planning, organization and systematic perpetration of the genocide were largely ignored and the media instead presented genocide in Rwanda as a natural and anarchic result of a primitive and tribal society.

The space occupied by New Media is elusive. Its inherent omnipresence is yet another example of the loss of physicality of the information age. The contemporary gallery⎯- the white cube -⎯functions as a pseudo-religious tomb; suspending art-objects in limbo, without reference of time and space. Exhibition spaces for art have functioned to house the object for hundreds of years. But suddenly, the object has dissolved, slipping through the art museum’s desperate grasp. The following is a study of the tridactic exchange of art, the participant, and three-dimensional space. At the site of the city’s birth, new structure and cherished relic converge: erasing and re-writing, veiling and un-veiling, concealing and revealing, spaces evolve and dissolve, growing a continuously fluid environment. The result is an Interior Design driven solution for displaying New Media: a hybrid model that synthesizes the ubiquitous museum and the stable institution, forming what will become The New Gallery.

How social media and Kickstarter are saving cult television shows like Arrested Development and Veronica Mars.

By examining viewer reception of female antagonists in traditionally feminine roles on television—particularly the role of wives and mothers who have husbands to answer to and children to look after and are thus expected, in some form, to act as a caretaker or guide for others—we can explore modern societal attitudes towards female agency and gender-based expectations of behavior.

Colombia holds one of the most unequal sex ratios at government level in Latin America. The research therefore attempts to examine how the minority of women who have a seat in government are being reflected and reproduced in the media based on the representation of gender. In this qualitative study, the aim is to investigate, analyze and illustrate how women in high political office in Colombia are portrayed in Colombian newspapers. The study examines how gender affects the discourse of these female politicians. In the study a critical discourse analysis is used from a feminist perspective on material from Colombian newspapers, concerning four different female Colombian top politicians. The focus of the analysis is to examine how the image of these women are being produced and reproduced in the media and if the reproduction of the discourse of these women stand out or differ significantly because of their gender. The study contributes to gain a broader understanding and overview of what the situation of women in the political world in Colombia looks like, how it is shaped by the media and the social and cultural context, and finally how this affects women in politics.

The aim of this thesis is to offer a re-evaluation of our cultural assumptions concerning the monstrous in the work of Francisco Jose de Goya y Lucientes (1746- 1828), specifically his collection of etchings Los Caprichos (1799). In my study there are three closely related areas of investigation: the image of the monstrous body in Goya's work; the cultural aspects of monsters and monstrous forms in Western discourses and in the Spanish Enlightenment; and the theoretical encounter between the history of the sciences and deconstructive criticism. The interaction between these three areas provides a background against which to understand the Goyaesque body within the context of Spanish cultural practices. Through an examination of eighteenth-century Spanish reformist absolutism, this thesis explores the contradictions, limits, or insufficiencies of the Spanish Ilustraciön in order to establish the ideological, cultural and artistic context out of which Los Caprichos emerged. One of the central issues that runs through my study is to establish how far, and in what ways, Los Caprichos can be seen as an Enlightenment work. Traditional readings of Los Caprichos have paid very little critical attention to the monstrous human bodies depicted in the collection in the context of eighteenth century discourses on monstrosity and corporeality. Los Caprichos invite a more complex, multifaceted consideration both of the body and the monster, of corporeality and monstrosity. By focusing on the Goyaesque body, the aim of this thesis is to open up a series of questions on the ways in which the monstrous body can be thought of in the critique of culture. This study therefore seeks to provide a cultural history of the monstrous body in the art of Goya, showing how his pictorial representations in the collection of etchings Los Caprichos offer a critique of reason and problematize the perception and treatment of (European and Spanish) Enlightenment configurations of the body. It is my contention that Los Caprichos can be read in Enlightenment ways yet there are elements of an ideological, cultural and artistic nature that problematize such credentials, pointing to the limits and contradictions of the Spanish Enlightenment itself.

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No description available.