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Despite significant change in women’s lives in recent decades, the prevailing ideology of motherhood is predominantly based on nineteenth-century ideals. Underpinned by a socially-constructed, idealised version of womanhood, the dominant paradigm promotes an essentialist model of maternal excellence largely grounded in the early childhood context; that of the ‘good mother’. Amidst deviancy discourse that has historically beleaguered women who failed to fulfil prescribed standards of good mothering, this thesis contends that the ideology of motherhood that remains dominant requires substantial revision. Central to this is the need to understand the range of historical factors that shape and influence cultural, and thus, personal understandings of the role of a good mother. Accordingly, the literature reviewed is subjected to critical analysis, examining stereotypical depictions of women that have historically typified the archetypal ideal. Particular consideration is given to sociological, psychoanalytic and feminist accounts of motherhood, mothering and the mother-daughter relationship. Therein, the focus of this study involves assessment of the degree to which the cultural meaning attributed to being a good mother influences personal perceptions and the lived experience of mothering. While the literature reviewed provides a useful foundation for considering the likely impact the ideology of motherhood has upon the lives of contemporary women, it also highlights that the maternal perspective has been noticeably absent from much of the literature. Given the centrality of the maternal role in reproducing existing conditions of mothering, and indeed, the mother-daughter relationship (Chodorow, 1978), this study is perhaps long overdue. Based on a case study involving twelve Melbourne mothers, this thesis highlights both the commonalities and considerably divergent experiences of motherhood and the mother-daughter relationship in the postmodern context.

This thesis examines the role of women depicted in advertisements and aims at evaluating to what degree the advertising industry adapts to the changes of women’s roles in society. The focus of the research lies on Germany. Advertisements of four German brands are analyzed and compared with the role of women in the German society in order to answer the question to what degree the German advertising industry does take into consideration the role of women in the German society. Nivea, Persil, Fa and Triumph are leading German brands, which target women and thus depict them in their ads or refer to them in the ads’ texts. Advertisements for the time period 1950s till 2000s are analyzed on the basis of content analysis. The long timeline permits to evidence the changes of the depiction of women over time.   The results of the content analysis which is quantitative in nature is undertaken to analyse the advertisements show that the depiction of the women in the ads depends on the decade and also differs from brand to brand, meaning that there is no linear development in the roles depiction of women in advertisements. This is especially visible when compared to previous researches presented in the theoretical chapter. Furthermore, previous researches show a linear development, women have typical roles in each decade and these roles change over the decades in a certain way: Women are mainly shown in “classical” roles in the decades ‘50s till ‘70s and in more varied roles since the ‘80s. The research at hand, however, shows that the ads from the 1950s to the 1970s show more diverse roles of women than the last three decades. Furthermore, only two of the four brands’ ads during the ‘50s to ‘70s depict women in classical roles and that not for all these three decades. Therefore, the results of this study are not in line with the ones found by past researches.   The results of the content analysis are qualitatively compared with the role played by women in the German society. From the comparison it becomes visible that the German advertising industry adapts to the role of women in the society but only to a certain extent. The analysis shows that the adaption of the brands’ advertisements differs from brand to brand and from decade to decade. In some decades the ads depict women as they are in society, others show a more “modern” image of the women and other decades’ ads show an antiquated image of women. In whole, no linear development of the adaption of the advertising industry to the role changes of women in society is visible. Overall, the results provide an understanding of how German women are portrayed in German advertisements over time and shed light on the adaption of the German advertising industry to role changes of women in the German society.

The image of the child has always been used for ideological purposes in national cinemas around the world. For instance, in Iranian cinema representations of children are often utilized to minimise the political risk involved in making radical statements, while in Brazilian and Italian cinemas children’s portrayal has disputed the idealized concept of childhood’s innocence. In Indonesian cinema, internationally acclaimed director Garin Nugroho is the only filmmaker who has presented children as the main focus of narratives that are oppositional to mainstream and state-sponsored ideologies. Yet, even though his films have been critically identified as key, breakthrough works in Indonesian cinema, no research so far has specifically focused on the representation of children in his films. / Consequently, because Garin Nugroho has consistently placed child characters in central roles in his films, the discussion in this thesis focuses on the ideological and discursive implications of his cinematic depiction of children. With the central question regarding the construction of children’s identities in Garin’s films, the thesis analyzes in detail four of these films, dedicating an entire chapter to each one of them, and with the last one being specifically addressed in cinematic essay form. The films discussed are Surat untuk Bidadari (Letter to an Angel, 1993), Aku Ingin Menciummu Sekali Saja (2000), Rindu Kami Padamu (Of Love and Eggs,2004) and Daun di Atas Bantal (Leaf on a Pillow,1997). / The textual analysis of films that is carried out is framed by two key ideas: firstly, Garin’s position as an auteur and, secondly, the specific ways in which he deploys representations of children against mainstream discursive constructions in Indonesia. Following the argument that Garin has used a form of ‘strategic intervention’ to explore particular political issues in Indonesia (Hanan 2004), the thesis identifies ways in which Garin deconstructs children’s images and provides alternatives to dominant discourses on childhood in Indonesia. Through the analysis of selected films, the thesis reveals that while the identities of children are constructed in his films against the idealized image of Indonesian children, they are also utilized by him to convey more broadly his political views about Indonesia.

This thesis aims to respond to the following question: How does the depiction of terrorists in popular fiction novels compare to the explanations in academia as to why individuals become terrorists and join terrorist organizations? Is this fictional depiction a reflection or distortion of reality, and what insights can we take away from this comparison? The argument of this thesis is that fiction’s depiction of terrorists is both a reflection and distortion of reality, as it presents a unique creative, emotionally resonant narrative that humanizes the terrorists. By giving a voice to their motivations and experiences, readers are able to empathize, relate to, and engage with these terrorists characters as rational, emotional human beings instead of vicious monsters or killing machines. To support this argument, this thesis (a) outlines the conventional wisdoms that pervade the current, popular narrative of terrorism discourse, (b) discusses the academic theories and explanations that challenge these conventional wisdoms, and (c) analyzes five contemporary fiction novels on terrorism, focusing on whether their characterizations of terrorists play into the conventional wisdoms or diverge from them and present a more nuanced, complex depiction.

Thesis (MA (Philosophy))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis consists of two essays, each focussing on a current topic in aesthetics in the tradition of analytic philosophy. First paper (On depiction) Given broad consensus that resemblance theories do not do well at explaining depiction, two alternative approaches have dominated the literature in recent decades: (1) Perceptual accounts try to ground depiction in the phenomenology of our pictorial experiences; (2) Structural accounts understand pictures as symbols in pictorial symbol systems. I follow Dominic Lopes in granting that the two approaches, often interpreted as each other’s rivals, both have merit and are successful in answering divergent questions about depiction. After taking stock of the most influential theories from both approaches, I turn to John Kulvicki’s recent work. He has made surprising progress as a proponent of the structural approach. His attempt to define depiction in structural terms is groundbreaking and, for the most part, successful. The paper measures some of his suggestions on picture structure and perception against the well-established “twofoldness”-thesis of the perceptual theorist on depiction, Richard Wollheim. Wollheim’s theory is defended and suggestions made to adapt Kulvicki’s theory accordingly. Second paper (On expression) Since Frank Sibley’s early papers in the mid-twentieth century, analytic aesthetics has broadened its field of inquiry to extend past the traditional focus on judgements of beauty or aesthetic merit, to peripheral terms, concepts, properties and judgements (e.g. of grace, elegance, garishness, daintiness, dumpiness, etc.). Nick Zangwill gives a traditionalist report of what binds the new, broad and heterogeneous category of the aesthetic together. He argues that purely evaluative aesthetic judgements of beauty or ugliness (i.e. “verdicts”) are fundamental. All other aesthetic judgements derive their evaluative aesthetic nature from them. In this essay it is argued that Zangwill’s defence of beauty’s supremacy in the category of the aesthetic, does not do justice to ostensible instances of non-evaluative judgements that ascribe expressive properties to artworks. Nelson Goodman’s cognitivist theory of expression in art is used as a foil for Zangwill’s claims. / AFRIKAANSE OPSOMMING: Hierdie tesis bestaan uit twee essays, elk oor ’n aktuele onderwerp in estetika in die tradisie van die analitiese filosofie. Eerste essay (Oor uitbeelding, oftewel “piktoriale representasie”) Gegewe ’n algemene konsensus dat ooreenkoms-teorieë nie slaag daarin om uitbeelding (“depiction”) te verklaar nie, is daar twee alternatiewe benaderings wat die onlangse literatuur oor die onderwerp oorheers: (1) die perseptuele benadering probeer uitbeelding begrond in die fenomenologie van ons piktoriale ervaringe; (2) die strukturele benadering verstaan beelde as simbole in piktoriale simboolsisteme. In navolging van Dominic Lopes neem ek aan dat dié twee benaderings, wat normaalweg as mekaar se opponente beskou word, altwee meriete dra en onderskeidelik sukses behaal in die beantwoording van heel uiteenlopende vrae oor die aard van uitbeelding. Na ’n bestekopname van die mees invloedryke teorieë onder beide benaderings, word John Kulvicki se onlangse werk oorweeg. Hy maak verrassende vooruitgang as ondersteuner van die strukturele benadering. Sy poging om uitbeelding in strukturele terme te definiëer is revolusionêr en bied stof vir nadenke. In hierdie essay word sommige van sy voorstelle oor beeld-struktuur en -waarneming gemeet aan die gevestigde “twofoldness”-tesis van Richard Wollheim. Wollheim se perseptuele teorie word verdedig en ’n voorstelle word gemaak om Kulvicki se teorie daarvolgens aan te pas. Tweede essay (Oor uitdrukking) Sedert Frank Sibley se vroeë essays in die middel van die twintigste eeu het die analitiese estetika sy visier verbreed om verby die tradisionele fokus op oordele van skoonheid en estetiese waarde te kyk, na perifere terme, begrippe, eienskappe en oordele (van bv. grasie, delikaatheid, balans, strakheid, elegansie, ens., ens.). Nick Zangwill gee ’n tradisionalistiese verslag van wat die nuwe, breë en heterogene kategorie van die estetiese saambind. Hy argumenteer dat suiwer evaluerende oordele van skoonheid fundamenteel bly. Alle ander estetiese oordele se estetiese aard word daarvan afgelei. In hierdie essay argumenteer ek dat Zangwill se verdediging van skoonheid (of estetiese waarde) as fundamenteel tot die kategorie van die estetiese, nie laat reg geskied aan aantoonbare gevalle van nie-evaluerende oordele, naamlik dié wat ekspressiewe eienskappe aan kunswerke toeskryf, nie. Nelson Goodman se kognitiewe teorie van van uitdrukking in kuns word gebruik as teenhanger en wegspringplek vir kritiek op Zangwill se aansprake.

Huvudsyftet med vår uppsats var att ta reda på hur kvinnor och män framställs i media, där vi avgränsade oss till branschtidningar. Våra frågeställningar var; Hur porträtteras manliga respektive kvinnliga chefer i branschtidningar och hur förhåller de sig till normer om kvinnligt och manligt ledarskap? Vilken problematik kan det finnas kring hur media väljer att framställa chefer? Dessa frågeställningar försökte vi besvara genom att utföra en kvantitativ innehållsanalys och en narratologisk analys på 60 respektive 20 artiklar från branschtidningar. De teorier som har legat till grund för tolkning av resultatet kretsar kring genus, stereotyper och normer om ledarskap. Huvudresultatet blev att det fanns en viss jämställdhet mellan män och kvinnor men det fanns fortfarande betydande skillnader som bekräftade normer kring kvinnligt och manligt ledarskap. Exempelvis log kvinnor mer, de blev oftare fotade i fågelperspektiv med intetsägande bakgrunder. Männen hade neutrala uttryck, blev fotade oftare i grodperspektiv, även om de båda könen hade stor majoritet i ögonhöjd. Männen blev dessutom oftare fotade på sina arbetsplatser. Dessa resultat återfanns i den kvantitativa innehållsanalysen. I den narratologiska analysen framkom det att det fanns en förväntan att kvinnor skulle stöta på motgångar hela tiden medan männen hade en äventyrlig resa mot sitt ledarskap. Kvinnor fick oftare motivera hur de fick ihop ”livspusslet” medan denna aspekt inte förekom hos männen.  Slutsatsen blev att media reproducerade skadliga normer kring kvinnligt och manligt ledarskap, vilket försvårar jämställdhetsarbetet. De måste bli mer medvetna om framställningar av vissa grupper för att motverka dessa normer.   Nyckelord; genus, ledarskap, normer, framställningar / Title: The Power of Media – A comparison study of female and male leaders in media Authors; Sophie Edquist & Marina Sigurdsson Mentor; Amelie Hössjer Date; Autumn 2013 Purpose; The purpose of the essay is to analyze media’s depiction of female and male leaders and the dichotomy between them. Another issue is the power that media possesses to influence these norms. Question; How are male and female leaders portrayed in business magazines and how do they relate to the norms about female and male leadership? What kind of issues can emerge with medias choice of portrayal of executive leaders? Theory; We focus on gender theories and norms around genders roles combined with leadership. We also use role congruity theory and masculinity theory. Method and material; We use quantitative content analysis and narratology analysis to answer our research question. The material we use are 60 articles from business magazines, with 30 male and 30 female portrayals of leaders. Results and conclusions; The results were that there were differences between the two genders and the differences confirmed already established norms. Media reproduce these norms and therefore renders it difficult to proceed with equality in society. Considering the results, media needs to be more conscious of how they portray certain groups. Implications; The implications of media’s use of stereotypes of female and male leaders results in lesser motivations from young females to aspire to higher positions. But also the prejudice towards female leaders is enforced and therefore makes it harder to bring about a change in society. Keywords; gender, norms, leadership, depiction

HAVLOVÁ ROVENSKÁ, D.; Image of move - move of image/ Prague 2012, Charles University in Prague, Faculty of Education, Department of Art, 122 page (75 norm p.). This final diploma thesis Image of move - move of image is uncovering unusual forms using body, movement and gesture in art education. It is searching straight way in expresive activities and reflextions. It brings and connect the author with sensory art creation as a distinct form of expression of visually figurative expression. Key words: body, physicality, emotion, expression, move, gesture, shape, image, expression, meaning, action, art of action, spontaneus creation, interpretation, reflection.

Ideophones are “marked words that vividly depict sensory events” (Dingemanse, 2009, p. 1). They often occur with gesture, but the link between the two is not yet fully understood. McNeill (1992) and Streeck (2008) have proposed classification schemas for gesture, and Nuckolls (2019) is developing a framework for the categorization of ideophones. This thesis categorizes ideophone-gesture composites using a combination of all three of these frameworks. I used data from Quechua RealWords, an online video corpus of 221 ideophones of Pastaza Quichua elicited by students and faculty at the Andes and Amazon Field School in Ecuador. I analyzed video clips of composite utterances and classified them according to McNeill’s, Streeck’s, and Nuckolls’s classification systems. This thesis demonstrates how using these three classification systems together allows for a more holistic analysis of ideophone-gesture composites as well as for the identification of certain patterns in the data. In this case, these were the existence of deictic + beat gestures and the pairing of sound-only ideophones with head gestures rather than with hand gestures. This thesis also suggests that head gestures may be classified using Streeckian and McNeillian categories and it points out ways in which beats paired with Quichua ideophones deviate from the criteria put forth by McNeill.

<p> There are many factors related to conflict between early Christianity and wider Judaism. I argue that in Acts, Luke employs speech content in speech contexts involving Christian speakers and non-Christian Jewish hearers to advance his belief that Jesus' role and identity, confessed and proclaimed by the early Christians, is the most important factor in these conflicts. My analysis demonstrates that, in his narrative, Luke clarifies that outsiders frequently produce mistaken interpretations of the early Christian movement and that their accusations against Christianity, based on these mistaken interpretations, are false. At the same time, Luke shows how attitudes and decisions regarding Jesus' identity provoke, escalate, and alleviate conflict. The end result of this is that Luke's implied readers are directed to view Christology as the single most important factor involved in conflict between Christian and non-Christian Jews.</p> / Thesis / Master of Arts (MA)