Argentine literature at the close of the twentieth century is characterized by a marked interest in the themes of dictatorship, marginality, and exile. Given the shifting of public and private spaces in the country's recent history, a "sinister" space has appeared in the collective subconscious, where all that was negated, prohibited and repressed is now (re)surfacing with tremendous energy in a constant probing into the collective memory effectuated from still present traumas without closure. / The purpose of this dissertation is to analyse the "social tics" which flourish in various art forms, as well as in the underpinnings of Argentine society, and come from the fact that collective suffering has created a defined present which controls the past, and, inevitably, influences the future. In turn, certain themes thus emerge from subjective and fragmented spaces of enunciation where memory plays a crucial role. / In order to do this, I concentrate here on alternative cultural productions to the official propaganda produced during and after the period of dictatorship, paying special attention to women's narratives and testimonies or memoirs of repression. Finally, I undertake an analysis of certain selected cinematographic productions which, like the contemporary literature analysed here, also form part of the movement that demonstrates the need to question Argentine reality---present and past---by foregrounding collective and individual memory in opposition to the generalized trend of amnesia/anaesthesia to point up the very real danger inherent in such "historic amnesia." Taken together, these works reveal the existence of a past that must be recaptured and redeemed, but which, given the existence of the negated and silenced "sinister" space in contemporary reality, forms only a small part of Argentine history still under construction.

This bibliography aims to record socio-political short stories and novellas, written in English by authors born in South Africa or accepted as South African, published in South Africa or overseas in new monograph editions from January 1960 through June 1987, and available from within the country. It is contended that these stories provide a significant fictional account of the experience of socio-political life under apartheid in South Africa during this period. Some various reasons. The material was not available, for bibliography therefore cannot claim to be comprehensive. Short summaries of the major events of each year precede the entries which are arranged chronologically and then alphabetically by collection author or anthology title. Bibliographical description of entries is guided by Anglo-American cataloguing rules (2nd edition, 1978), second level, and includes plot synopses and thematic subject headings. The bibliography includes author, title and subject indexes. / Thesis (M.Bibl.)-University of Natal, Pietermaritzburg, 1989.

19th century dime museums were a North American phenomenon that flourished in urban centres from the mid- to late-1800s. Named thusly due to their low admission cost, dime museums provided democratic entertainment that was promoted to all classes as affordable and respectable. The resulting facilities were crammed with art, artifacts, rarities, living human curiosities, theatre performances, menageries, and technological marvels. The exhibition Dr. Soanes’ Odditorium of Wonders strives to recapture the spirit and aesthetic of the dime museum to invoke wonder in the viewer and to combine art, artifacts, and oddities to provoke questions about the boundary between education and amusement. Both the academic and curatorial texts utilize a mix of methodological approaches appropriate to museology, art history and cultural history: theoretical research into historiographical issues concerning theories of display and spectacle; archival research and discourse analysis of historical documents, and material culture analysis (including the semiotics of display). / iv, 60 leaves : ill. ; 29 cm

This paper aimed to analyse the impact of power sharing on democracy. The paper also compared the approach of Burundi and Rwanda in their constitutions to the concept of power sharing.

Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.

This investigation is concerned with testing a causal model linking changes in a political system's socio-economic environment with alterations in political characteristics. The specific forces of interest are those relating to urbanization and industrialization, the development of that way of life called urbanism, and the effects of these environmental changes on voter participation and, ultimately, inter-party competition. The test model hypothesizes that the processes of urbanization and industrialization together create urbanism, which then affects party competition both indirectly by means of stimulating participation, and directly as well. To illuminate these processes, this study focuses on the American South of the last 30 years because it is in this region that the kinds of changes implicit in the test model have been observed, and thus the region offers the best arena for examining that model.

This thesis seeks to explore how young, educated and seemingly liberated women construct their identities and make sense of their futures around their heterosexual relationships. Using the experiences of eight women participants engaged in long-term heterosexual relationships, combined with relevant secondary literature, issues of sexuality, identity, power and intimacy are discussed. Emphasis is placed on the implications of their identity construction and how they 'perform' their roles as women in society. How their sexual stories reflect their positioning in society is premised by the phrase, 'the personal is political' . Through analysis of the participants' experiences mixed with theoretical arguments, this thesis finds that young women are apparently sexually, economically and intellectually liberated but locked into discourses that provide highly unequal, limiting, disempowering and oppressive understandings of masculinity, femininity and sexuality. They live and experience a reality which is far from liberated.

The study sets out to examine the television coverage of the 2002 presidential campaign in Zimbabwe by examining the extent to which the Zimbabwe Broadcasting Corporation fulfilled the mandate of public service broadcasting. The primary objective of this study is to assess how ZBC television newscasts mediated pluralistic politics in the coverage of the country's presidential election campaign, in line with the normative public sphere principles. The thesis comprises seven chapters organized, first, with an introductory chapter, which provides the general background of the study. The chapter offers the rationale for the focus on TV rather than other media fomls . There are two theoretical and contextual chapters in which the use of both qualitative and quantitative methods is explained and findings are presented. Finally, the conclusion offers recommendations about the form broadcasting might take to fulfil a public service mandate and these include the strengthening of the public service broadcasting model along normative public sphere principles. The findings of the analysed election newscasts confirm that ZBC television election news was constructed in favour of ZANU PF at the expense of voices from other social and political constituencies. / KMBT_363 / Adobe Acrobat 9.54 Paper Capture Plug-in

The media today are under pressure from various fronts including governments, businesses as well as cultural interests. In the developed world, this pressure that led to the emergence of a new form of journalism that puts the demands of the market at the forefront. This commercial oriented journalism gives priority to articles that attract mass audiences like entertainment while it downplays information that promotes debates that is necessary for citizens to be able to have a voice on the issues that affect them. And since participation and discussion are cornerstones of a democratic process, market-driven journalism undermines democracy because it narrows down the forum for debate. As a result, active citizens are turned into passive observers in society. Although several studies about this phenomenon have been done in the western world, the same is happening in Africa because the media face similar challenges as in the West; challenges of globalisation and media conglomeration facilitated by the rapid advancing technology. This study, which is informed by political economy and market-driven journalism theories, notes that the media in Uganda are also faced with these challenges. The study is focused on Uganda’s only independent newspaper, The Monitor. The findings indicate that market-driven journalism is taking root at the expense of journalism that promotes citizenship and debate such as political reporting and opinions. For example, there has been an increase of entertainment, sports and supplement articles in The Monitor as compared to declining political reporting and opinions. More so, investigative reporting has dwindled over the years at the expense of increasing use of press releases. This is because entertainment and sports articles can attract big audiences that the newspaper needs to sell to advertisers. Advertisers are important because they provide financial support to the newspaper. However, in a country where democracy is in its formative stages, public information is necessary not only for citizens to make informed decisions but also to spur economic as well as social development.

The construction of journalistic professionalism in Zimbabwe has stirred debate among scholars. Critics have argued that professionalism has been compromised by the stifling media laws in Zimbabwe as well as the extra legal measures the state has enforced to control the press. Some have also argued that a new kind of journalism must be emerging in the Zimbabwean newsroom as journalism try to cope with the political and economic pressures bedeviling the country. Much of this criticism however, has not been based on close interrogation of professionalism from the perspective of the journalists in any particular newsroom. It is against this background that this study examines the constructions of professionalism at the Financial Gazette. In particular it explores the meaning of professionalism through interrogating the journalistic practices the journalists consider during the process of news production in the context of overwhelming state power. In undertaking this examination, the study draws primarily on qualitative research methods, particularly observation and multi-layered individual in-depth interviews. As the study demonstrates, the interrogation of professionalism from the perspective of newsroom practices uncovers the complex manner in which professionalism is negotiated in the Gazette’s newsroom located in a country undergoing transition in Democracy. The study establishes that when measured against normative canons of journalistic professionalism the Gazette is deviating from such tenets as public service and watchdog journalism. As the study indicates, perhaps unbeknown to the respondents, the ruling ZANU PF party hegemony is reproduced at the Gazette through choice of news values such as sovereignty and patriotism all euphemisms for ruling party‘s slogans.