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Stepfamilies are shown by existing research as having multiple problems unique to this type of family, some of which include role ambiguity, role strain, role captivity, increased stress and adjustment problems in children. Stepparents are portrayed as evil, abusive and wicked in the media, literature or film, while stepchildren are variously portrayed as victims, naughty and manipulative. These popular perceptions of stepfamilies appear to be shaped by myths or dominant narratives which serve to shape stepfamily member's experience of and roles in the reconstituted family. Drawing on the work of postmodernism, social constructionism and the narrative theorists this study will expose those dominant narrative or myths which shape the experience of two stepfamilies. Using an emergent design, the experiences of these two families is described in an attempt to highlight some of the implications such an approach holds for both further research and psychotherapy. / Psychology / M.A. (Psychology)

The aim of this study was to explore language censorship in Zimbabwean films in Shona and English. The study concentrated on the themes of politics, culture and economic in the genre of the documentary, feature and short film genres. It was demonstrated that the Zimbabwean laws enabled authorities to impose censorship strategies that ranged from banning, restriction, persecution of filmmakers, withdrawal of films from circulation, and threats of withdrawal of permits of film retailers. These visible, direct and banal forms of censorship have forced some filmmakers to flee the country. Most of the filmmakers who have remained in the country have been forced to deal with themes that appear harmless to the state. This state induced form of self-censorship on the filmmakers has resulted in the production of uncritical, and unreflective films whose staple diet were embedded in cultural stereotypes. The study argued that language is a signifying practice that cannot be interpreted in a single direction. Thus, despite these realities of film censorship some filmmakers deliberately encoded or used verbal and visual film language that generated surplus meanings with which the films could be re-read in ways that reveal new linguistic strategies to evade and challenge both the restrictive censorship laws as well as criticise the undemocratic political culture that has taken root in Zimbabwe. The study used eclectic theories such as Marxism, audience-reception approach, critical legal theories and language theories to analyse the films. The explanatory capacity of these theories helped to reveal the contradictory ways in which the desire to impose restrictions on film meanings was constantly undermined in the innovative language of the films. / African Languages / D. Litt. et Phil. (African Languages)

Stepfamilies are shown by existing research as having multiple problems unique to this type of family, some of which include role ambiguity, role strain, role captivity, increased stress and adjustment problems in children. Stepparents are portrayed as evil, abusive and wicked in the media, literature or film, while stepchildren are variously portrayed as victims, naughty and manipulative. These popular perceptions of stepfamilies appear to be shaped by myths or dominant narratives which serve to shape stepfamily member's experience of and roles in the reconstituted family. Drawing on the work of postmodernism, social constructionism and the narrative theorists this study will expose those dominant narrative or myths which shape the experience of two stepfamilies. Using an emergent design, the experiences of these two families is described in an attempt to highlight some of the implications such an approach holds for both further research and psychotherapy. / Psychology / M.A. (Psychology)

The aim of this study was to explore language censorship in Zimbabwean films in Shona and English. The study concentrated on the themes of politics, culture and economic in the genre of the documentary, feature and short film genres. It was demonstrated that the Zimbabwean laws enabled authorities to impose censorship strategies that ranged from banning, restriction, persecution of filmmakers, withdrawal of films from circulation, and threats of withdrawal of permits of film retailers. These visible, direct and banal forms of censorship have forced some filmmakers to flee the country. Most of the filmmakers who have remained in the country have been forced to deal with themes that appear harmless to the state. This state induced form of self-censorship on the filmmakers has resulted in the production of uncritical, and unreflective films whose staple diet were embedded in cultural stereotypes. The study argued that language is a signifying practice that cannot be interpreted in a single direction. Thus, despite these realities of film censorship some filmmakers deliberately encoded or used verbal and visual film language that generated surplus meanings with which the films could be re-read in ways that reveal new linguistic strategies to evade and challenge both the restrictive censorship laws as well as criticise the undemocratic political culture that has taken root in Zimbabwe. The study used eclectic theories such as Marxism, audience-reception approach, critical legal theories and language theories to analyse the films. The explanatory capacity of these theories helped to reveal the contradictory ways in which the desire to impose restrictions on film meanings was constantly undermined in the innovative language of the films. / African Languages / D. Litt. et Phil. (African Languages)