Nosso estudo recupera o percurso de emissoras comunitárias na cidade de São Paulo a partir de suas legalizações, buscando, especificamente, os procedimentos adotados por suas equipes para definir e organizar a sua programação, para se relacionar com os seus ouvintes, para resolver suas questões de sustentabilidade financeira e ainda refletir se na emissora há lugar para Educação. Exercitamos formas diferenciadas de analisar as grades de programação dessas emissoras, aqui compreendidas como recursos que guardam informações múltiplas e que podem ser reveladores do tipo de trabalho que desenvolvem. Tivemos como pressuposto o fato de que, se consideradas em seus propósitos e nas formas como são concebidas, planejadas e organizadas, as ofertas de programação de uma emissora revelam a identidade dessa rádio e podem também desvelar as competências comunicativo-educativas que priorizam em sua trajetória. Assim, considerando as afirmações de Roldão (2006) e Peruzzo (2011) de que a caracterização de uma emissora está no seu uso e nos conteúdos que gera, nossa constatação partiu da análise de três aspectos: conteúdos de programação da emissora, grau de interlocução com o ouvinte e forma pela qual expressa o seu compromisso com os rumos da comunidade. Na prática, percebemos uma emissora com pouco espaço de participação do ouvinte, fôlego e entusiasmo reduzidos para mudanças e com sérios problemas de sustentação financeira. Os apoios culturais, única forma de aportar recursos de patrocinadores ou anunciante, são regulados por orientações bastante restritivas. Legalizadas, ainda não ousam buscar modelos e formatos diferenciados de programação, tampouco imprimem gestões mais democráticas na condução de suas equipes em nome da lei da radiodifusão comunitária, que precisam respeitar para não perderem a autorização de funcionamento. Neste contexto contraditório, nos orientou um sistema de hipóteses no qual a grande maioria das emissoras de baixa potência em operação na cidade já está sem fôlego em função das restrições que comprometem sua sobrevivência e que estão impostas na lei que as regulamentou. Percebemos também que cada emissora criou um jeito de marcar presença no cenário da radiodifusão e está forjando uma nova identidade, ainda em construção / Our study recovers the path of community radio stations in São Paulo from its legalization, specifically seeking the procedures adopted by their teams to define and organize your schedule, to relate to their listeners, to solve their issues of financial sustainability and also reflect if the there is a place for education on the radio station. We have exercised different ways of analyzing the programming grids of those stations, here understood as resources that keep multiple kinds of information and may reveal the type of work they develop. We presuppose the fact that, if considered in its purpose and the ways they are designed, planned and organized, offers of a station programming reveal the identity of this radio and can also reveal the communicative and educational skills that prioritize in its path. Considering the claims of Roldão (2006) and Peruzzo (2011) that the characterization of a station is in its use and the content it generates, our findings came from analysis of three aspects: the station\'s program content, degree of dialogue with the listener and the way in which he expresses his commitment to the direction of the community. In practice, we find a station with little space for the participation of the listener, with reduced enthusiasm for change and with serious problems of financial support. Cultural supports, the only way to provide resources for sponsors or advertising, are regulated by quite restrictive guidelines. Legalized radio stations, do not dare to seek models and differentiated programming formats yet, nor have more democratic management in the conduct of their teams on behalf of the law of community radio broadcasting, which must respect not to lose the license to operate. In this contradictorily context, we were guided in a system of hypotheses in which the vast majority of low power stations operating in the city is already breathless if you considered the restrictions that compromise their survival and that are imposed in the law that regulated them. We also saw that each station has created a way to be present at the scene of broadcasting and is forging a new identity, still under construction.

Text in Afrikaans with abstracts in Afrikaans and English. / Hierdie verhandeling handel oor die radiodramas van N.P. van Wyk Louw se afhanklikheid van die gesproke woord en die gebruik van ouditiewe middele ter ondersteuning daarvan. In radiodramas soos Dias, Kruger breek die pad oop en die eerste voortrek, is die gesproke woord hoofsaaklik as betekenisdraer gebruik. Gaandeweg word byklanke in Blomme vir die winter aangewend en in Die vonnis speel musiek n strukturerende rol by die opbou van die handeling. In Die held en Lewenslyn eksperimenteer Louw met radiotegniese moontlikhede ten einde die ouditiwiteit en verbeelde visualiteit te verhoog. In Dagboek van n soldaat word die byklank soms oorheersend, maar in sy laaste radiodrama, Die val van n regvaardige man, keer hy weer terug na die uitsluitlike krag van die woord. Die aanwending van dramatiese tegnieke, sowel as aktuele temas, komplekse karakterisering en die vooropstel van die idee, dra alles by tot die "toneelmatigheid" van sy radiodramas. / This dissertation deals ·with the radio dramas of N.P. van Wyk Louw, describes its dependence on the spoken word and the use of acoustical forms to reinforce the dialogue. Louw uses the spoken word as the prime bearer of meaning in Dias, Kruger breek die pad oop and Die eerste voortrek. Gradually he makes use of sound-effects in Blornme vir die winter and music plays a structural role in the action in Die vonnis. In Die held and Lewenslyn technical possibilities increase the auditory effect and imagined visuality. Sometimes the sound-effects dominate in Dagboek van n soldaat, but in his lastradio drama, Die val van n regvaardige man, Louw returns to the exclusive force of the spoken word. Louw's use of dramatical techniques, together with actual themes, complex characterization and the bringing forth of the idea, is responsible for the radio dramas being "fit for the stage". / Afrikaans and Theory of Literature / M.A. (Afrikaans en Nederlands)

Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio programmers and record industry pluggers, and an ethnographic investigation into the use of specialist music radio programming by alternative pop and rock artists in Glasgow, Scotland. The research has four main conclusions: music radio continues to be central to the record industry's promotional strategy for new commercial recordings; music radio is increasing able to mediate the production practices of the popular music industry; that mediation is focused through the social relationship between music radio programmers and record industry pluggers; cultural practices of musicians are developed and mediated by consumption of specialist music radio, as they become part of specialist music radio.

This thesis is an historiographical and sociological study of Indian South African broadcasting and the music industry between 1924 and 1983. A multilevel approach which integrates empirical and cultural materialist critical theoretical methodologies reveals the relationships between the media, industry, economy, politics, and culture. Until the sixties, Indian South Africans were denied the civic rights that were taken for granted by white South Africans. Broadcasting, for them, was to be a concession. On being declared South Africans, broadcast programmes were expanded and designed to pacify and Indianise Indian South Africans, preparing them for their role as a middle-class racially defined group, a homelands group without a homeland. South Africanised popular music, and Indian South African Western semi-classical, popular music, or jazz performance was rejected by the SABC. Ambiguous nationalisms shaped Indian South African aesthetics. Global monopoly controlled the music industry. Similarly, disruptions in the global market enabled local musicians and small business groups to challenge the majors. In the late forties and fifties, this resulted in a number of locally manufactured records featuring local and visiting musicians, and special distribution rights under royalty to an independent South Asian company. The local South African records were largely characterised by their syncretic nature, and generated a South African modernism which had the capacity both to draw and repel audiences and officials alike. A glossary of non-English terms and a discography of Indian South African music have been included. / Thesis (Ph.D.)-University of Natal, Durban, 1999.

Thesis (MPhil) -- University of Stellenbosch, 2001. / ENGLISH ABSTRACT: Community radio stations in South Africa are faced with a huge challenge to become sustainable in the process of serving their communities. The issue of sustainability itself is complex and shaped by a range of conditionalities. These include community participation, funding, regulatory and licencing factors, staff and management expertise, and the strategic planning and management capacity of a station. Often the communities themselves are materially poor and unable to contribute in monetary terms to the radio station. However, these same communities are also a source of wealth when it comes to experience, ideas, human power and time. A major challenge is for station management to develop organisational strategies that facilitate full utilisation of this community resource in the process of sustaining their stations. The focus of this study is on two stations in the Western Cape - Bush Radio and Radio Zibonele - and how their management is responding to the challenge of sustainability. Bush Radio has evolved a diversification strategy based on providing formal training and development as an income-generator, and Radio Zibonele has responded through a strategy of selling airtime to advertisers. This work describes these sustainability strategies and explores whether they constitute 'building a brick column or a brick wall'. The conclusion suggests that while both radio stations demonstrate varying degrees of community participation, clear internal systems of monitoring and control of resources, they differ in some fundamental respects of strategy. Bush Radio, on the one hand, shows a clear commitment to consciously diversifying income sources in a way that does not leave the station highly dependent on any single source. This, the writer submits, constitutes an attempt at building a "brick wall". Radio Zibonele, on the other hand, shows a clear commitment to consolidation and reliance on advertising revenue as a single source of income for the station. To the extent that this station relies on a single source of income and does not demonstrate any strategic objective of diversifying sources, the writer submits, it is building a "brick column". The basic assumption of this study is that while the challenge of sustainability constitutes an objective reality facing community radio stations in South Africa today, the subjective responses developed by station management to deal with this challenge can and often do make a difference. / AFRIKAANSE OPSOMMING: Gemeenskapsradiostasies in Suid-Afrika staan voor 'n groot uitdaging om volhoubaar te ontwikkel. Volhoubaarheid as sulks is kompleks en word deur 'n verskeidenheid faktore beinvloed. Dit sluit in gemeenskapsdeelname, befondsing, regulerings- en lisensierinqsfaktore, personeel- en bestuursvernuf en die strategiese beplanning en bestuurskapasiteit van die stasie. Meestal is die gemeenskappe self arm en nie daartoe in staat om in rnonetere terme 'n bydrae tot die stasie te lewer nie. Dieselfde gemeenskappe is egter ook 'n bron van rykdom in terme van ondervinding, idees, mannekrag en tyd. Een van 'n stasiebestuur se grootste uitdagings is om organisatoriese strateqiee te ontwikkel wat die volle gebruik van die gemeenskapshulpbron sal fasiliteer in die proses om hul stasies volhoubaar te ontwikkel. Die fokus van die studie val op twee stasies in die Wes-Kaap - Bush Radio en Radio Zibonele - en hoe hul bestuur op die uitdaging van volhoubare ontwikkeling reageer. Bush Radio het 'n diversifiseringstrategie ontwikkel wat op formele onderig en ontwikkeling as 'n inkomstegenereerder gebaseer is. Radio Zibonele, daarenteen, konsentreer op adverteerders. Die werk beskryf die volhoubaarheidstrategiee elk van die radiostasies. Die gevolgtrekking word gemaak dat albei radiostasies wei verskillende grade van gemeenskapsbetrokkenheid, duidelike interne monitorsisteme en beheer van hulpbronne het. Tog verskil hulle ten opsigte van sekere fundamentele strategiee. Aan die een kant het Bush Radio 'n duidelike verbintenis tot 'n bewustelike diversifisering van inkomste op so 'n manier dat die stasie nie afhanklik is van een bron van inkomste nie. Die skrywer vergelyk dit met die bou van 'n "baksteenmuur". Radio Zibonele, aan die ander kant, is verbind tot advertensies as die enigste bron van inkomste. Aangesien die stasie op 'n enkele bron van inkomste vertrou en nie enige strategiese doelwitle vir die diversifisering van hulpbronne het nie, vergelyk die skrywer dit met die bou van 'n "baksteenpilaar" . Die basiese veronderstelling van die studie is dat die reaksie van die stasiebestuur In deurslaggerwende verskil kan maak om die uitdaging van volhoubare ontwikkeling Suid- Afrikaanse radiostasies die hoof te bied.

This thesis deals with the introduction of participatory research methods to programming staff working at Radio KC, a South African community radio station based in Paarl, in the Western Cape province. The focus is on a series of workshops conducted at the station, dealing with research tools developed to enable station workers to undertake research of their community. The aim was to determine, by means ofa case study, whether the introduction of participatory research methods could improve the ability of community broadcasters to facilitate democratic participation among the communities in which they operate. More particularly, the thesis assesses whether the application of such methods has improved the ability of the programming staff that were involved in this case study to identify a wider range of stories and voices within their target community, for inclusion in programming content. The participatory research techniques that are applied at the radio station are based on ideas in 'civic mapping' developed by Harwood and McCrehan (1996) under the auspices of The Pew Center for Civic Journalism, and supplemented by insights from Friedland (2001) and Downs and Stea (1977) about the cognitive, normative and imagined dimensions of community. All of the ideas and techniques were adapted for the South African situation. The findings of the research project illustrate that for community stations, the key concepts of 'community' and 'participation' are highly complex ones and that stations need assistance to apply these concepts in their everyday practice. The account of the intervention at Radio KC shows that the process did indeed assist the individual research participants to better deal with the application of these concepts. It did not, however, make much impact on the station as a whole. Reasons for this are believed to lie in the organisational dynamics of the station, and the fact that the model as applied in this case did not provide a means for tackling the agendas, investments and power relations that define the activities of individuals at a given community radio station - what Hochheimer (1993) talks about as the entrenchment of power and personalities. In order to address these shortcomings, an attempt is made to develop a model for future application, which places the mapping process within the context of a broader strategic planning process, focussed on a station's programming schedule.

The state of the environment is increasingly present as an urgent concern for contemporary political, social, cultural and physical life. Yet the roles of the mass media (radio, television and newspapers) in shaping and influencing crucial public awareness, debates and environmental decision-making remain inadequately understood. Positioned as a critical studies inquiry into media representations and audience reception, this study forms part of a wider project amongst media scholars and culture critics on the relationship between media textual production and consumption. It explores how one radio station in Uganda, Central Broadcasting Service (CBS) radio, represents and constructs the environmental crises faced by Lake Victoria, especially pollution and overfishing. The focus is on the Victoria Voice radio documentaries aired on CBS radio in the year 2005. The study further explores how three lakeside communities negotiate these issues as radio broadcasts. It recognises that while the mass media contribute significantly to creating public awareness about such social concerns, their likelihood of having a direct and predictable impact on social behaviour is slight. The context and the lived experiences at the reception stage where the decisions are made on whether to adopt an innovation are ultimately the factors which impact on how they are negotiated. The thesis is informed by the theoretical and analytical framework of Cultural Studies as well as the Participatory Approach to Communication for Development perspectives. The study is specifically informed by the theories of ‘discourse’ (Foucault, 1980a, 1981) and the ‘circuit of culture’ (du Gay et al., 1997 and Johnson, 1987) and these provided the conceptual framework for investigating the representations, the production and the consumption of media texts. Predominantly qualitative methods have been employed in data collection and analysis. In the first place, a Critical Discourse Analysis (CDA) (Fairclough, 1995a, 1995c) of the radio texts has interrogated the discourses and discursive practices of CBS’ Victoria Voice environmental radio programmes in order to consider its representations of particular issues and consequently the discourses it privileged. Qualitative methods of participant observation, in-depth interviews and focus group discussions were deployed to investigate the negotiation of the texts by the lakeside communities. This research establishes that the Victoria Voice radio texts foreground three contesting types of discourses: the discourse of basic economic survival and livelihoods is articulated largely by the ordinary people, the lakeside communities; the discourse of sustainable development, particularly the protection and sustainability of Lake Victoria, by scientists and environmental experts; and the discourse of modernisation and corporate investment by politicians and/or policy makers and industrialists. The texts, to a large degree, reaffirm the hegemonic relations of power in Ugandan society, and thus contribute to the maintenance of the status quo. The selection of an elite category of informers (scientists, experts, politicians, policy makers) serves to marginalise the less powerful ordinary people (the fisher folk, farmers and other eyewitnesses). The construction of the elite as active and speaking subjects within the various debates introduced in these programmes, for example, works both to obscure and endorse the unequal power relations. At the reception side, while the lakeside communities attest to the relevance of the programmes in providing information on the issues concerning Lake Victoria and other aspects of their livelihood, they also recognise the power relations that underpin the sets of representations. Amongst these sets is government’s complicity with industry, in line with their economic policies and the global capitalist economy, while espousing the rhetoric of nature conservation. The study argues that sustainable solutions for the crises on Lake Victoria should take into account the socio-historical and cultural contexts of the lakeside communities. For the Ugandan media, particularly radio, there is a need to rethink the nature of the coverage, which tends to neglect the contextual factors, such as local socio-economic and cultural factors within which environmental issues and problems occur and which, as this thesis establishes, greatly influences the way people make sense of environmental issues and problems. I posit that the Participatory Approach that seeks to address the communities’ most pressing concerns should be adopted – to include more of the communities’ voices and involve them in the production of radio programmes.

This thesis seeks to define the difference between commercial media and public service media, given the degree of tabloidization. The work is based on the assumption that the tabloid principles do not interfere only the commercial media, but due to the gradual development of the media industry they even penetrate the public service media. The work is focused on the reasons and forms of penetration by the tabloid media principles to the public. The theoretical section outlines the basic theoretical background and terminology to the topic of public service media and to the topic of tabloid principles. There are presented the characteristics of the tabloid media in the theoretical part, not only in theme but also in language. At first the methods used are presented in the analytic part and then work attempts to outline the current situation in the public service media, specifically on the example of radio broadcasting. The practical part of this thesis is based on the content analysis of media messages. Public media represents the Český Rozhlas 1 - Radiožurnál, concretely its news reports. This work not only tries to find the tabloid principles in broadcast of this media, but also try to make its comparison with the news of commercial media, represented by broadcasting station Radio Impuls. Aim of this work is to confirm or eventually to refute the assumption that public service media in the Czech Republic are affected by some degree of tabloidization in the form of penetration of tabloid principles.

Nosso estudo recupera o percurso de emissoras comunitárias na cidade de São Paulo a partir de suas legalizações, buscando, especificamente, os procedimentos adotados por suas equipes para definir e organizar a sua programação, para se relacionar com os seus ouvintes, para resolver suas questões de sustentabilidade financeira e ainda refletir se na emissora há lugar para Educação. Exercitamos formas diferenciadas de analisar as grades de programação dessas emissoras, aqui compreendidas como recursos que guardam informações múltiplas e que podem ser reveladores do tipo de trabalho que desenvolvem. Tivemos como pressuposto o fato de que, se consideradas em seus propósitos e nas formas como são concebidas, planejadas e organizadas, as ofertas de programação de uma emissora revelam a identidade dessa rádio e podem também desvelar as competências comunicativo-educativas que priorizam em sua trajetória. Assim, considerando as afirmações de Roldão (2006) e Peruzzo (2011) de que a caracterização de uma emissora está no seu uso e nos conteúdos que gera, nossa constatação partiu da análise de três aspectos: conteúdos de programação da emissora, grau de interlocução com o ouvinte e forma pela qual expressa o seu compromisso com os rumos da comunidade. Na prática, percebemos uma emissora com pouco espaço de participação do ouvinte, fôlego e entusiasmo reduzidos para mudanças e com sérios problemas de sustentação financeira. Os apoios culturais, única forma de aportar recursos de patrocinadores ou anunciante, são regulados por orientações bastante restritivas. Legalizadas, ainda não ousam buscar modelos e formatos diferenciados de programação, tampouco imprimem gestões mais democráticas na condução de suas equipes em nome da lei da radiodifusão comunitária, que precisam respeitar para não perderem a autorização de funcionamento. Neste contexto contraditório, nos orientou um sistema de hipóteses no qual a grande maioria das emissoras de baixa potência em operação na cidade já está sem fôlego em função das restrições que comprometem sua sobrevivência e que estão impostas na lei que as regulamentou. Percebemos também que cada emissora criou um jeito de marcar presença no cenário da radiodifusão e está forjando uma nova identidade, ainda em construção / Our study recovers the path of community radio stations in São Paulo from its legalization, specifically seeking the procedures adopted by their teams to define and organize your schedule, to relate to their listeners, to solve their issues of financial sustainability and also reflect if the there is a place for education on the radio station. We have exercised different ways of analyzing the programming grids of those stations, here understood as resources that keep multiple kinds of information and may reveal the type of work they develop. We presuppose the fact that, if considered in its purpose and the ways they are designed, planned and organized, offers of a station programming reveal the identity of this radio and can also reveal the communicative and educational skills that prioritize in its path. Considering the claims of Roldão (2006) and Peruzzo (2011) that the characterization of a station is in its use and the content it generates, our findings came from analysis of three aspects: the station\'s program content, degree of dialogue with the listener and the way in which he expresses his commitment to the direction of the community. In practice, we find a station with little space for the participation of the listener, with reduced enthusiasm for change and with serious problems of financial support. Cultural supports, the only way to provide resources for sponsors or advertising, are regulated by quite restrictive guidelines. Legalized radio stations, do not dare to seek models and differentiated programming formats yet, nor have more democratic management in the conduct of their teams on behalf of the law of community radio broadcasting, which must respect not to lose the license to operate. In this contradictorily context, we were guided in a system of hypotheses in which the vast majority of low power stations operating in the city is already breathless if you considered the restrictions that compromise their survival and that are imposed in the law that regulated them. We also saw that each station has created a way to be present at the scene of broadcasting and is forging a new identity, still under construction.

Diploma thesis "Radio Stalin as an example of Czech piracy radio broadcast" is aimed to complexly present radio station Radio Stalin which was broadcasting in October 1990 in Prague. Radio Stalin is presented in the context of events of that time and related changes in politics, economy, society and media and in the context of piracy radio broadcast. First of all the emphasis is put on media transformation and changes in legislative framework of radio broadcasting after 1989. Radio Stalin is described through the method of oral history when interviews were held with its several cofounders. This method was chosen because of absence or unavailability of other sources. However, press is used partly. In this thesis is created overall picture of Radio Stalin. It is possible to imagine the situation and conditions in which was this radio created, the period before the start of broadcasting, the broadcasting process, the end of its broadcasting and the continuation of it. The benefit of thesis is the reminder of this often neglected radio which has its own place in the history of Czech radio broadcasting. Radio Stalin is the first private radio station in Czechoslovakia which story is an interplay of many happy coincidences. This radio goal was to fill the missing gap and it enriched in long-term the...