In this study I explored depictions of diversity in the Curriculum Studies programme of the BEdHons degree course at North-West University in South Africa. South Africa was and is still is facing the challenge of inequalities such as getting access to higher education institutions that were previously dominated by a white Christian Afrikaans-speaking group. The first democratic election in South Africa in 1994 brought about structural changes in society. These structural changes included the merging of tertiary education institutions such as colleges of education, technikons and universities. In view of South Africa’s history of divisions and injustices such as patriarchy, mono-religiosity and mono-ethnicism, it therefore seemed valuable to explore how diversity is depicted in higher education institutions. In 2012 a task team was set up by the dean of the Faculty of Education Sciences at the Potchefstroom Campus of North-West University. This team investigated how diversity was expressed in selected study guides of the undergraduate BEd degree programme offered at the Potchefstroom Campus to contact mode students. This study identified the need to explore how diversity is depicted at a postgraduate degree level. The primary purpose of my research was to explore empirically the extent to which diversity nuances of gender, religion and ethnicity are depicted in the Curriculum Studies programme of the BEdHons degree course. This involved exploring the depictions of diversity in study guides of the modules presented in the Curriculum Studies programme of the BEdHons degree course. In addition, I also looked into the depictions of diversity by lecturers presenting modules and students enrolled for the Curriculum Studies programme of the BEdHons degree course. The study was situated in a critical theory paradigm and utilised a qualitative research design with a critical ethnographic methodology. Three sets of data generation methods were employed: document research, semi-structured one-on-one interviews and focus group interviews. The two campuses of North-West University offering this programme were purposefully selected as my research environments. I employed purposeful sampling, and study guides utilised by lecturers and students in the Curriculum Studies programme of the BEdHons degree course formed the sample. Lecturers presenting modules and students enrolled for the Curriculum Studies programme of the BEdHons degree course were participants. Critical discourse analysis, underpinned by Fairclough’s (1992) three-dimensional conception of discourse, was the method of analysis. The conclusions were derived predominantly from the diversity nuances acculturation and rationality. Some of the conclusions were also derived from diversity as a nuance but to a limited extent. The conclusions vary from depictions on the chosen discourse of diversity, depictions relating to curricula and the multifaceted aspect of diversity. With regard to the depictions on the chosen discourses of diversity, it was evident that some lecturer participants were only fostering the aspects gender, religion and ethnicity of certain cultural groups, which caused some groups to be invisible. Student participants’ depictions were ideologically embedded as they preferred not to engage with diversity to eliminate certain issues. Lecturer participants also tended to include disadvantaged minority/majority groups to such a limited extent that they were almost non-existent. Furthermore, it appeared that lecturer participants excluded diversity to foster inclusion. Separation was also emphasised by student participants in that they were being forced to engage with diversity rather than wanting to or having a choice to engage with diversity or not. Reflecting on the conclusions arising from my study, I put forward a theoretical stance focusing on curriculum-making for social justice. / MEd (Curriculum Development), North-West University, Potchefstroom Campus, 2015

In this study I explored depictions of diversity in the Curriculum Studies programme of the BEdHons degree course at North-West University in South Africa. South Africa was and is still is facing the challenge of inequalities such as getting access to higher education institutions that were previously dominated by a white Christian Afrikaans-speaking group. The first democratic election in South Africa in 1994 brought about structural changes in society. These structural changes included the merging of tertiary education institutions such as colleges of education, technikons and universities. In view of South Africa’s history of divisions and injustices such as patriarchy, mono-religiosity and mono-ethnicism, it therefore seemed valuable to explore how diversity is depicted in higher education institutions. In 2012 a task team was set up by the dean of the Faculty of Education Sciences at the Potchefstroom Campus of North-West University. This team investigated how diversity was expressed in selected study guides of the undergraduate BEd degree programme offered at the Potchefstroom Campus to contact mode students. This study identified the need to explore how diversity is depicted at a postgraduate degree level. The primary purpose of my research was to explore empirically the extent to which diversity nuances of gender, religion and ethnicity are depicted in the Curriculum Studies programme of the BEdHons degree course. This involved exploring the depictions of diversity in study guides of the modules presented in the Curriculum Studies programme of the BEdHons degree course. In addition, I also looked into the depictions of diversity by lecturers presenting modules and students enrolled for the Curriculum Studies programme of the BEdHons degree course. The study was situated in a critical theory paradigm and utilised a qualitative research design with a critical ethnographic methodology. Three sets of data generation methods were employed: document research, semi-structured one-on-one interviews and focus group interviews. The two campuses of North-West University offering this programme were purposefully selected as my research environments. I employed purposeful sampling, and study guides utilised by lecturers and students in the Curriculum Studies programme of the BEdHons degree course formed the sample. Lecturers presenting modules and students enrolled for the Curriculum Studies programme of the BEdHons degree course were participants. Critical discourse analysis, underpinned by Fairclough’s (1992) three-dimensional conception of discourse, was the method of analysis. The conclusions were derived predominantly from the diversity nuances acculturation and rationality. Some of the conclusions were also derived from diversity as a nuance but to a limited extent. The conclusions vary from depictions on the chosen discourse of diversity, depictions relating to curricula and the multifaceted aspect of diversity. With regard to the depictions on the chosen discourses of diversity, it was evident that some lecturer participants were only fostering the aspects gender, religion and ethnicity of certain cultural groups, which caused some groups to be invisible. Student participants’ depictions were ideologically embedded as they preferred not to engage with diversity to eliminate certain issues. Lecturer participants also tended to include disadvantaged minority/majority groups to such a limited extent that they were almost non-existent. Furthermore, it appeared that lecturer participants excluded diversity to foster inclusion. Separation was also emphasised by student participants in that they were being forced to engage with diversity rather than wanting to or having a choice to engage with diversity or not. Reflecting on the conclusions arising from my study, I put forward a theoretical stance focusing on curriculum-making for social justice. / MEd (Curriculum Development), North-West University, Potchefstroom Campus, 2015

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