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

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The daytime serial drama, commercially known as the soap opera, has for a long time been diminished as an inferior artform, which previous research has connected to bias towards its historically predominantly female audience as well as its close relation to advertising. This thesis examines Guiding Light (original title The Guiding Light, CBS, 1937-1956, 1952-2009) and its transition from radio to television in the 1950s by using a historiographical approach through analysis of archive artefacts that cover the decade. The archive material, consisting of newspapers and magazines, have two parts to play: the first regarding the influence of the sponsor Procter & Gamble considering the soap opera’s status as a thriving advertisement vehicle of the time, and the second in the relationship between soap opera and its listeners/viewers throughout the era of transition. Throughout the years that it existed as a combination serial; both factors were seen to play a vital role in shaping the serial, both from an industry point-of-view, and as evident in its text. The two perspectives are often contradictory to one another but the co-existence of them is essential to the shaping of the soap opera’s history writing. Gender ties into both angles as the transition added to a growing social panic surrounding the housewife as a pillar for postwar US-American values.

"July 2002." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (p. 195-203). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

This thesis investigates the motivation, engagement and experiences of men as they interact with the selected television shows, which are presented or conceived as shows for women. The purpose of this thesis is to examine, identify and evaluate the motivation of men as a perceived non-target audience for watching the shows. Using gender theories and the audience in media theories as the background of this thesis, it then presents full- scale research on the TV shows "Sex and the City", "Desperate Housewives", "2 Broke Girls" through fifteen in-depth interviews, discovering narrators' viewing experience and reactions. The empirical analysis of this thesis is conducted in light of perceived and reported demographic groups, keeping in mind the sociocultural context of each series. This thesis examines both socio-economic and gender topics, which are represented in the shows by product placement on the first hand, and emancipatory themes on the other.

CAPES / Neste trabalho, temos como objetivo investigar as associações entre tecnologias domésticas e tipos de feminilidades na revista Casa & Jardim como mídia de pedagogias de gênero. O recorte de estudo tem como foco os discursos textuais e imagéticos sobre tecnologias do lar veiculados na revista Casa & Jardim durante as décadas de 1950 e 1960. Neste período, as revistas direcionadas para públicos femininos buscavam criar uma identificação das mulheres com o espaço e o consumo domésticos, apresentando as tecnologias do lar, especialmente os eletrodomésticos, como recursos capazes de garantir o conforto doméstico, facilitando as rotinas das donas de casa e proporcionando maior bem-estar às famílias. Neste registro, as tecnologias do lar tanto favoreciam quanto glamourizavam as atividades cotidianas. Contudo, em paralelo, os padrões de limpeza, organização e administração do lar também tornaram-se significativamente mais exigentes. A partir de uma abordagem qualitativa de natureza interpretativa, visamos compreender como eram configuradas as representações da “dona de casa ideal” na revista Casa & Jardim. Percebemos que, nos discursos do periódico, as tecnologias do lar assumiram um papel importante na construção de expectativas sociais acerca das práticas de consumo das donas de casa das camadas médias, cuja identidade social estava estreitamente vinculada às imagens de esposa e mãe. / This paper proposes to investigate the associations between domestic technologies and types of femininity in the magazine Casa & Jardim (House & Garden) as gender pedagogies media. The outline of the study focuses the discourses of textual and image about domestic technologies in the magazine Casa & Jardim during the 1950s and 1960s. In this context, the magazines aimed at female audiences sought to create an identification of women with space and domestic consumption, presenting the home technologies, especially appliances, as resources that could ensure domestic comfort, facilitating the daily routines of housewives and providing more welfare families. In this record, the household technologies both favored as charmed everyday activities. However, in parallel, the standards of cleanliness and organization of homes also become significantly more demanding. From a qualitative interpretative approach, will understand how they were configured representations of "ideal housewife" in the magazine Casa & Jardim. We point out that the discourses in the magazine of the household technologies played an important role in the generated expectations regarding the middle class modern housewife role, whose social identity was closely tied to images of wife and mother.

CAPES / O imaginário mobilizado pela corrida espacial no segundo período pós-guerra instigou a criação de um repertório visual que logo tornou-se fonte de inspiração em diversos campos da produção cultural. Neste trabalho tenho por objetivo discutir a construção da figura da “mulher do futuro” mediante a articulação entre as produções filiadas a esse imaginário no vestuário e na decoração de interiores. O recorte de estudo abarca as décadas de 1960 e 1970 e está centrado nas representações de interiores domésticos divulgados pela revista Casa & Jardim e nos editoriais e anúncios publicitários de vestuário divulgados pelas revistas Claudia e Manequim. Esses títulos colocaram em circulação uma série de recursos imagéticos e textuais que evidenciam aspectos do comportamento social da época, servindo como base para a investigação das novas representações de feminilidades que surgiram naquele período. A escolha por privilegiar a articulação entre decoração de interiores e vestuário se justifica pela relação historicamente construída entre essas materialidades e o corpo feminino, caracterizando-se como parte integrante na construção de identidades de gênero, classe e geração. Com esse trabalho pretendo evidenciar que as materialidades dos interiores domésticos e do vestuário inspirados pela iconografia espacial atuavam como dispositivos que criavam e reforçavam noções de feminilidades em diálogo com o processo de modernização da sociedade brasileira em curso. / The imagery mobilized by the space race in the second post-war period instigated the creation of a visual repertory that soon became the source of inspiration in several fields of cultural production. In this work I aim to discuss the construction of the "woman of the future" figure through the articulation between the productions affiliated to this imaginary in clothing and interior decoration. The study covers the 1960s and 1970s and is centered on the representations of domestic interiors published by Casa & Jardim magazine and the editorials and advertisements for clothing published by magazines Claudia and Manequim. These publications put into circulation a series of imagery and textual resources that demonstrated aspects of the time’s social behavior, serving as basis for the investigation of the new representations of femininities which appeared in that period. The choice to focus on the articulation between interior decoration and clothing is based on the historically constructed relation between these materialities and the female body, therefore being an important part in the construction of gender, class and generation identities. With this work I intend to show that the materialities of domestic interiors and clothing inspired by the space age iconography acted as devices that created and reinforced notions of femininity.

CAPES / Neste trabalho, temos como objetivo investigar as associações entre tecnologias domésticas e tipos de feminilidades na revista Casa & Jardim como mídia de pedagogias de gênero. O recorte de estudo tem como foco os discursos textuais e imagéticos sobre tecnologias do lar veiculados na revista Casa & Jardim durante as décadas de 1950 e 1960. Neste período, as revistas direcionadas para públicos femininos buscavam criar uma identificação das mulheres com o espaço e o consumo domésticos, apresentando as tecnologias do lar, especialmente os eletrodomésticos, como recursos capazes de garantir o conforto doméstico, facilitando as rotinas das donas de casa e proporcionando maior bem-estar às famílias. Neste registro, as tecnologias do lar tanto favoreciam quanto glamourizavam as atividades cotidianas. Contudo, em paralelo, os padrões de limpeza, organização e administração do lar também tornaram-se significativamente mais exigentes. A partir de uma abordagem qualitativa de natureza interpretativa, visamos compreender como eram configuradas as representações da “dona de casa ideal” na revista Casa & Jardim. Percebemos que, nos discursos do periódico, as tecnologias do lar assumiram um papel importante na construção de expectativas sociais acerca das práticas de consumo das donas de casa das camadas médias, cuja identidade social estava estreitamente vinculada às imagens de esposa e mãe. / This paper proposes to investigate the associations between domestic technologies and types of femininity in the magazine Casa & Jardim (House & Garden) as gender pedagogies media. The outline of the study focuses the discourses of textual and image about domestic technologies in the magazine Casa & Jardim during the 1950s and 1960s. In this context, the magazines aimed at female audiences sought to create an identification of women with space and domestic consumption, presenting the home technologies, especially appliances, as resources that could ensure domestic comfort, facilitating the daily routines of housewives and providing more welfare families. In this record, the household technologies both favored as charmed everyday activities. However, in parallel, the standards of cleanliness and organization of homes also become significantly more demanding. From a qualitative interpretative approach, will understand how they were configured representations of "ideal housewife" in the magazine Casa & Jardim. We point out that the discourses in the magazine of the household technologies played an important role in the generated expectations regarding the middle class modern housewife role, whose social identity was closely tied to images of wife and mother.

CAPES / O imaginário mobilizado pela corrida espacial no segundo período pós-guerra instigou a criação de um repertório visual que logo tornou-se fonte de inspiração em diversos campos da produção cultural. Neste trabalho tenho por objetivo discutir a construção da figura da “mulher do futuro” mediante a articulação entre as produções filiadas a esse imaginário no vestuário e na decoração de interiores. O recorte de estudo abarca as décadas de 1960 e 1970 e está centrado nas representações de interiores domésticos divulgados pela revista Casa & Jardim e nos editoriais e anúncios publicitários de vestuário divulgados pelas revistas Claudia e Manequim. Esses títulos colocaram em circulação uma série de recursos imagéticos e textuais que evidenciam aspectos do comportamento social da época, servindo como base para a investigação das novas representações de feminilidades que surgiram naquele período. A escolha por privilegiar a articulação entre decoração de interiores e vestuário se justifica pela relação historicamente construída entre essas materialidades e o corpo feminino, caracterizando-se como parte integrante na construção de identidades de gênero, classe e geração. Com esse trabalho pretendo evidenciar que as materialidades dos interiores domésticos e do vestuário inspirados pela iconografia espacial atuavam como dispositivos que criavam e reforçavam noções de feminilidades em diálogo com o processo de modernização da sociedade brasileira em curso. / The imagery mobilized by the space race in the second post-war period instigated the creation of a visual repertory that soon became the source of inspiration in several fields of cultural production. In this work I aim to discuss the construction of the "woman of the future" figure through the articulation between the productions affiliated to this imaginary in clothing and interior decoration. The study covers the 1960s and 1970s and is centered on the representations of domestic interiors published by Casa & Jardim magazine and the editorials and advertisements for clothing published by magazines Claudia and Manequim. These publications put into circulation a series of imagery and textual resources that demonstrated aspects of the time’s social behavior, serving as basis for the investigation of the new representations of femininities which appeared in that period. The choice to focus on the articulation between interior decoration and clothing is based on the historically constructed relation between these materialities and the female body, therefore being an important part in the construction of gender, class and generation identities. With this work I intend to show that the materialities of domestic interiors and clothing inspired by the space age iconography acted as devices that created and reinforced notions of femininity.

<p>Este trabalho tem como objetivo analisar como são feitas as idas e voltas aos cotidianos das três donas-de-casa que são as protagonistas dos contos <em>Devaneio e Embriaguez duma rapariga</em>, <em>Amor</em> e <em>A fuga</em>, de Clarice Lispector e, sobretudo analisar o eventual valor simbólico que a presença dos fatores naturais e da lua exercem sobre estes contos.</p><p>Com apoio nos trabalhos de Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) e Yudith Rosenbaum (2002) e dos conceitos-teóricos de gênero apresentados por Chatarina Edfeldt e Anabela Galhardo Couto (2008) em <em>Mulheres que escrevem Mulheres que lêem</em> procuram-se respostas à questões de como, por que e através de que as protagonistas fazem suas escapadas de seus cotidianos e como podem ser extraídos valores simbólicos denunciadores das causas das angústias das personagens.</p><p>Dentre as conclusões estão, que as protagonistas sentem um incômodo em suas vidas e são por isto, chamadas para fazerem suas “idas” pelo que a lua e a natureza simbolizam: um chamado para uma outra vida, livre de suas situações aprisionantes. Conclui-se também que após as suas idas as personagens voltam ao seu cotidiano normal por causa dos valores patriarcais internalizados, dentre os quais estão incluídas a culpa, amor à família e a impossibilidade destas mulheres de cuidarem autonomamente de sí mesmas. No entanto, percebem-se que após os questionamentos feitos em suas idas elas voltam conscientizadas, despertadas para uma nova maneira de olharem para si mesmas, suas situações e o papel de gênero que elas fazem.</p> / <p>This work has the purpose to analyze how the departures and arrivals to the daily life are made by the three housewives who composes the main characters in the short-stories <em>Devaneio e Embriaguez duma rapariga,</em> <em>Amor</em> and <em>A fuga</em>, by Clarice Lispector and, above all analyze the eventual symbolic value that the presence of the natures elements and the moon exerts over these short-stories.</p><p>With the support of Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) and Yudith Rosenbaums (2002) works and of the theoretic concepts of gender presented by Chatarina Edfeldt and Anabela Galhardo Couto (2008) in <em>Mulheres que escrevem Mulheres que lêem</em>, answers are sought to the questions of how, why and through what, the main characters make escapes from their everyday lives and, how it is possible to extract symbolic values that denunciates the causes of the main characters anxieties.</p><p>Within the conclusions are that the main characters feel a discomfort with their lives and are because of that, called to make their “departures” through what the moon and the nature symbolizes: a calling to another life, free from their imprisoning situations. Another conclusion is that they come back because of the internalized patriarchal values, among which are included the guilt, the love to the family and the impossibility of these women to take care of themselves. However, it is noticeable that after the questionings made in their departures and arrivals they return with awareness, awakened to a new way to look at themselves, their situations and the gender roles that they play.</p> / <p>Detta arbete har som syfte att analysera hur turerna och returerna till vardagen görs av de tre hemmafruar som utgör huvudpersonerna i berättelserna <em>Devaneio e Embriaguez duma rapariga</em>, <em>Amor</em> och <em>A fuga</em>, av Clarice Lispector och, framförallt analysera det eventuella symboliska värdet som närvaron av naturens faktorer och månen utövar över dessa berättelser.</p><p>Med stöd av Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) och Yudith Rosenbaums (2002) arbeten samt av genus-teoretiska begrepp som pressenteras av Chatarina Edfeldt och Anabela Galhardo Couto (2008) i <em>Mulheres que escrevem Mulheres que lêem</em>, sökes svar till frågeställningarna hur, varför och genom vad, huvudpersonerna flyr från sina vardagsliv och, hur det är möjligt att utvinna symboliska värden som anger anledningarna till huvudpersonernas ångest.</p><p>Bland slutsatserna finnes att huvudpersonerna känner ett obehag med sina liv och blir därför, kallade till att göra sina ”turer” genom det som månen och naturen symboliserar: en kallelse till ett annat liv, fritt från sina fängslande situationer. Ytterligare en slutsatts är att de färdas tillbaka på grund av de internaliserade patriarkaliska värderingar, som inkluderar skulden, kärleken till familjen samt omöjligheten för dessa kvinnor att klara sig själva. Emellertid, märks det att efter de diskussioner som de gjort i sina turer kommer de tillbaka medvetandegjorda, uppväckta till ett nytt sätt att se på sig själva, sina situationer och de genusroller som de spelar.</p>