The degree to which the SABC as public broadcaster gives shape to its language policy and language mandate, against the background of an investigation of language rights, establishes the central problem statement of this research. It is widely acknowledged that it is difficult to define the concept of language rights. 14khough the language-sociological literature associates this concept with minority and cultural rights, it can also be seen as individual rights. According to the Constitution of the Republic of South Africa,1996,it is clear that language rights should be seen as individual rights that can be exercised within a particular community. Although this dissertation provides an extensive juridical and language sociological explanation of the concept of language rights, the description by Judge Able Sachs will be used as a working definition for this research. His division between the following four fundamental language rights, viz.: (i) the right to use your language; (ii) the right to develop your language; (iii) the right to be understood and to understand other languages as well as (iv) the right not to be discriminated against because of your language, provides a useful investigation instrument with which the degree to which the SABC-TV acknowledges and protects language rights can be measured. It is found that despite the policy documents on national and corporate level that has equal consideration and treatment of the diverse South African languages in mind, it still happens that the SABC-TV fails to give form to the language rights of individuals that belong to indigenous minority language groups in South Africa. Due to this, the research suggests that the extensive implementation of subtitles, as a form of screen translation that differs from lip synchronised dubbing, can make a significant contribution to the acknowledgement and protection of language rights by the SABC-TV. In addition to a discussion on what subtitles entail, the technical nature and specific parameters thereof, a feasibility study is included within which the affordability of this project for the SABC-TV is indicated. It is found that this form of screen translation is ideal for the South African situation because it is cheaper than both lip synchronised dubbing and the creation of new television programmes, but also because it can effectively be employed in regional broadcasts. Furthermore, the use of bilingual subtitles and pivot subtitles are also alternatives that may be considered. It is essential though that subtitles can indeed contribute to the way in which the SABC, as a public broadcaster, acknowledges and protects the fundamental language rights of the multitude of South Africans that belong to different language communities in South Africa. / Thesis (M.A. (Afrikaans))--North-West University, Vaal Triangle Campus, 2004.

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

AFRIKAANS: Die teenwoordigheid van vroue in die massamedia, en spesifiek in televisie, is vroeg in die een-en-twintigste eeu groter as ooit vantevore. Reekse waarin uitbeeldings van vroue beperk was tot dié van meestal onderontwikkelde, periferale of sekondêre karakters, is iets van die verlede. Die wyse waarop vroue in televisie uitgebeeld word is dus uiters belangrik aangesien so ’n groot hoeveelheid televisiereekse spesifiek die vrouegehoor teiken wat, hetsy aktief of passief, met wat hulle in hierdie reekse sien omgaan. Boodskappe wat deur televisiereekse versprei word, sal waarskynlik onbewustelik ’n uitwerking hê op hoe vroue hulleself beskou, hoe hulle ander vroue beskou, sowel as op hulle houding jeens kwessies soos feminisme en vroulikheid. Die doel van hierdie studie is om dominante diskoerse oor feminisme en vroulikheid wat deur hedendaagse televisiereekse aan die samelewing voorgehou word, te ondersoek. Die studie konsentreer spesifiek op drie gewilde en veelbekroonde Amerikaanse televisiereekse van 1997 tot 2012, naamlik Ally McBeal (Kelley 1997- 2002), Sex and the City (Starr 1998-2004) en Desperate Housewives (Cherry 2004- 2012) – reekse wat al drie as sogenaamde zeitgeist-televisie beskryf kan word. Die artikulering van feministiese doelstellings, hetsy dié afkomstig uit die tweede generasie of uit meer onlangse bewegings in feminisme, val onder die soeklig en die wyse waarop hierdie doelstellings aangespreek word, word bespreek. Deur aspekte wat teoreties nóύ verband hou met feminisme (aspekte soos melodrama as ’n vroulik-geïdentifiseerde genre en verbruikerswese) te identifiseer, word daar aangvoer dat die drie reekse beslis in ’n feministiese sfeer geposisioneer is. Die teenwoordigheid van hierdie aspekte in die drie reekse het dan ook dieperliggende narratiewe oor feminisme blootgelê – narratiewe waarvan die alledaagse kyker waarskynlik nie bewus sal wees nie, maar wat onderbewustelik moontlik ’n invloed kan hê op kykers se denke oor en begrip van feminisme. Die belangrikste gevolgtrekking van hierdie studie is dat die drie gekose televisiereekse op verskillende en uiteenlopende wyses met feminisme en vroulikheid omgaan. Verder ondersteun die studie die uitgangspunt dat daar ’n behoefte is aan kritiese debat rakende die uitbeeldings van feminisme en vroulikheid in hedendaagse voorbeelde van populêre massamedia. ENGLISH: The presence of women in mass media, specifically in television, in the twenty-first century is larger than ever and the days of series featuring women that are generally underdeveloped, peripheral or secondary characters is a thing of the past. The way in which females are portrayed in television is thus of the utmost importance since such a large number of television series cater to an extensive female audience, who engage (whether actively or passively) with that which they see. Messages received from popular television series are likely to inadvertently have an effect on how women view themselves, how they view other women, as well as their attitudes towards issues like feminism and femininity. The purpose of this study is to examine dominant discourses on feminism and feminity that are being propagated by contemporary television series. The specific focus of the study falls on three highly successful and critically acclaimed television series running from 1997 until 2012, namely Ally McBeal (Kelley 1997-2002), Sex and the City (Starr 1998-2004) and Desperate Housewives (Cherry 2004-2012) – series that have all been described as so-called Zeitgeist television. The articulation of feminist goals, whether from the second wave or more recent feminist movements, is examined and the ways in which these goals are addressed are discussed. By identifying aspects that are theoretically related to feminism (aspects like melodrama as a female identified genre and consumerism), it is argued that these three series are definitely positioned in a feminist sphere. The presence of these aspects also uncovered deep-seated feminist narratives – narratives that the everyday audience member will most likely not be aware of, but which could unconsciously influence viewers’ thoughts on and understanding of feminism. The main conclusion of this study entails that the three chosen television series deal with feminism and femininity in very different and diverse ways. Furthermore, the study supports the view that there is a need for critical debates on the representation of feminism and femininity in contemporary examples of popular mass media / Dissertation (MA)--University of Pretoria, 2013. / Visual Arts / unrestricted

Hierdie studie is toegespits op die samestelling van 'n seksopvoedingsprogram vir skole in Suid-Afrika. Snelle verandering binne sosiale strukture in die samelewing en die blootstelling van die jeug aan kultuur- en godsdiensvreemde seksopvoeding. idees noodsaak die dringendheid van Seksopvoeding word vanuit verskillende waardestelsels aangebied. Die gevolgtrekking is dat beproefde waardes 'n integrale deel van die seksopvoedingsprogram moet uitmaak. Die kind moet begelei word tot seksuele volwassenheid deur gebruik te maak van opvoedkundig-verantwoordbare beginsels en metodes sodat die kind effektief weerstand kan bied teen bederwende invloede uit die samelewing. Die ouers is die aangewese bran van seksopvoeding aan hulle kinders maar weens hulle onbetrokkenheid neem die skoal die verantwoordelikheid op hom. Dit is egter belangrik dat die skoal die ouers as vennote aanvaar. Ten slotte word riglyne verskaf vir die samestelling van 'n seksopvoedingsprogram. / This dissertation considers the composition of a sex education program for schools in South Africa. Rapidly changing social structure within society and the exposure of the youth to foreign cultural and religious ideas necessitate the urgency of sex education. Sex education is presented from different value systems. The conclusion reached is that values must be an integral part of the sex education program. The child must be accompanied to responsible sexual adulthood by means of educationally accountable principles in order that he/she may be able to withstand the demoralizing influences from society effectively. The parents are the appropriate sex educators of their children but, due to their being unconcerned the school accepted this responsibility. It is however of importance that the school accepts the parents as partners. In conclusion guidelines are presented for the compiling of a sex education program. / Psychology of Education / M. Ed. (Voorligting)

Hierdie studie is toegespits op die samestelling van 'n seksopvoedingsprogram vir skole in Suid-Afrika. Snelle verandering binne sosiale strukture in die samelewing en die blootstelling van die jeug aan kultuur- en godsdiensvreemde seksopvoeding. idees noodsaak die dringendheid van Seksopvoeding word vanuit verskillende waardestelsels aangebied. Die gevolgtrekking is dat beproefde waardes 'n integrale deel van die seksopvoedingsprogram moet uitmaak. Die kind moet begelei word tot seksuele volwassenheid deur gebruik te maak van opvoedkundig-verantwoordbare beginsels en metodes sodat die kind effektief weerstand kan bied teen bederwende invloede uit die samelewing. Die ouers is die aangewese bran van seksopvoeding aan hulle kinders maar weens hulle onbetrokkenheid neem die skoal die verantwoordelikheid op hom. Dit is egter belangrik dat die skoal die ouers as vennote aanvaar. Ten slotte word riglyne verskaf vir die samestelling van 'n seksopvoedingsprogram. / This dissertation considers the composition of a sex education program for schools in South Africa. Rapidly changing social structure within society and the exposure of the youth to foreign cultural and religious ideas necessitate the urgency of sex education. Sex education is presented from different value systems. The conclusion reached is that values must be an integral part of the sex education program. The child must be accompanied to responsible sexual adulthood by means of educationally accountable principles in order that he/she may be able to withstand the demoralizing influences from society effectively. The parents are the appropriate sex educators of their children but, due to their being unconcerned the school accepted this responsibility. It is however of importance that the school accepts the parents as partners. In conclusion guidelines are presented for the compiling of a sex education program. / Psychology of Education / M. Ed. (Voorligting)