Syftet med denna uppsats är att svara på frågan hur läsare och media reagerade på bloggen Black Ascot i egenskap av en litterär bluff, även kallad en litterär fabrikation. Målet är även att komma fram till hur mottagare av textbaserad kommunikation reagerar på att bli lurade. För att uppnå syftet undersöks läsarnas och medias reception av Black Ascot. Uppsatsen diskuterar även om det finns förklaringar till receptionen i bloggens litterära utformning. I analyserna framkommer det att diskussioner gällande framförallt autenticitet och moral uppstod såväl i media som bland läsarkommentarerna. Trots att negativa reaktioner förekommer i båda undersökningsgrupperna tyder resultatet på att en majoritet av bloggläsarna uppskattade bloggen även som en litterär fabrikation. Enligt uppsatsen beror detta bland annat på bloggens tematik och dess intentionsambivalens.

The present work examines the construction of race on reality television through the use of an exemplar in this genre, MTV's The Real World. By the sheer fact of its popularity and ubiquity, as The Real World is nearly two decades old and is the longest-running example of the genre, reality television programming warrants deeper academic investigation. The present work argues that as we are consuming mass media, we are also consuming specific ideas about our social world. These ideas inform audiences and are necessary to uncover in order to learn about the social structure of our racialized society. Findings reveal race and ethnicity is embedded in our culture and how this show has communicated race through its depiction and even exclusion. Further, findings reveal that racial and ethnic relations are most often depicted as a "Black versus White" issue. The current work focuses specifically on the construction of race because of the similarly ubiquitous nature of race in society. Because The Real World is a long-running series, it provides an ample database from which to sample for a discourse analysis. The show is marketed and viewed by a specific target audience such that it allows for the exploration of one of the research arguments: that we must continue to rethink and challenge our view that mass media audience members, specifically here television, are passive consumers of material. The present work seeks to extend the application of theoretical contributions of Hall, Morley, Ang, and Jenkins by applying models to a type of programming that complicates the vision of media where consumers and producers are identifiably different spheres. The field of reality television programming is unique because of its dependence on viewers to become cast members and participants in the media production process. Finally, as previous research has shown, even in fictional settings viewers have conflated the individual who plays a character and the character the actor is playing. Thus by analyzing issues of race, where the line between real and unreal is purposely blurred the impact of how race is constructed can be quite great.

This dissertation addresses a significant gap in audience-orientated criticism by introducing a new approach to theatre audience research: audience contribution through the vehicle of a postperformance discussion. Audience contribution considers the physical and vocal behaviour of audience members as contributions to the theatrical event. Much scholarship has concentrated on the written and performance texts. What I posit as the audience text, comprised of audience contributions, has been predominantly ignored. The audience text is an integral part of the theatrical event that changes, adds to and informs the theatrical experience for audience and arts professionals alike. Over the past century the audience role has changed from interactive contributor to passive receiver. For the contemporary theatre audience member, opportunities to contribute to the theatrical event have been limited to laughter, applause and consumerist practices such as the purchasing of theatrical merchandise. Similarly in much theatre audience theory, audiences are perceived as passive receivers of the drama whose only active contribution is through autonomous cognitive meaning-making processes. The study takes into account the extant audience theory of audience reception and builds on this. Post-performance discussions, which have risen significantly in popularity in the last decade, are an under-explored and under-utilised avenue for audience contribution. A new method for the facilitation of post-performance discussions that encourages audience contribution and privileges the audience voice is introduced. Case studies of post-performance discussions held after performances of Anne of the Thousand Days and Who’s Afraid of Virginia Woolf? trial this new discussion model. An audience text is created that informs the theatrical event and a new role for the contemporary audience is discovered: audience critic. Through the post-performance discussions, audience members become active contributors to, and co-creators of, the theatrical event. Audience contribution has significant implications for audience theory and theatre practice alike.

Aeneas in the Antipodes offers an Australian perspective on the teaching of Virgil�s poetry in the secondary school. The study examines practices in the State of New South Wales from 1900 to the early years of the twenty-first century. The changing role of Latin in the curriculum is traced through a historical account showing the factors which caused a decline in the status and popularity of the subject from the beginning of the century to the 1970s. This decline, not confined to Australia, stimulated the introduction of new teaching methods with different emphases which were, to some extent, successful in preserving Latin from extinction in schools. Against this background of change, Virgil remained the Latin author most frequently studied in the final year of school. Because this poetry was so consistently prescribed for public examinations, a detailed investigation is made of the questions set and of the examiners� comments on candidates� performance, as evidence of changes in expectations and hence, in teaching methods. The influence of trends in Virgilian scholarship is assessed by means of a review of all the officially recommended commentaries and secondary works. The growth of literary criticism from the 1960s is shown to have had a marked effect on syllabuses and examinations, and consequently on the approach taken in the classroom. The role of local professional organizations in supporting the teaching of Virgil has been documented, showing how the disappearance of official support for Latin teaching was to some extent counterbalanced by an increase in voluntary effort. The resources and methods used to introduce Virgil to comparative beginners are classified and reviewed. An assessment is also offered of approaches made to teaching Virgil in English at both junior and senior secondary levels. The final chapter reviews the changes brought about since 2000. Current teaching practices are documented through classroom observations and teacher surveys, substantiating the impression that while most students at the beginning of the twenty-first century are less prepared than their predecessors to translate Virgil independently, they are expected to attempt a far more sophisticated analysis of the literary features Note: For appendix 3-10 please see hardcopy edition.

<p>The purpose of our thesis was to examine how children think about violence on TV news. We also wanted to find out what children think about violence, both in other TV programmes and in reality. Adults often speak for children, we wanted to hear the children’s own opinions. This study was based on theories of socialization and reception research. We showed violent news clips for 12 eleven and twelve year olds. In the meantime, we recorded the children’s reactions on film. Afterward, we interviewed them about their thoughts and feelings related to the clips. Our study is based on interviews and observations. We came to the conclusion that the children in our study think violence are very unnecessary. Most of the children did not find the clips particularly scary, but many mentioned that they think blood is disgusting to watch.</p>

Εν κατακλείδι, η πρόσληψη του μυθολογικού υλικού από τους νεότερους δραματουργούς, όπως επισημαίνει και ο Δημήτρης Τσατσούλης, «το εμπλουτίζει με νέες συνιστώσες, αφήνοντας, πάνω σε ένα παλιό σώμα, νέα ίχνη γραφής, αναζητήσεων, προβληματισμών μιας νέας εποχής, αναδιατυπώνοντας έτσι και τους όρους πρόσληψής του». Έτσι, ο Φιλοκτήτης του André Gide παρουσιάζει το δράμα του καλλιτέχνη και του ανθρώπου που παλεύει να διατηρήσει τον αυθεντικό εαυτό του, θέλοντας να μάς βοηθήσει να συνειδητοποιήσουμε ότι η ολοκλήρωσή μας έγκειται σε μας τους ίδιους, αρκεί να βρούμε τη δύναμη να υπερβούμε τον εαυτό μας. Το έργο του Βασίλη Ζιώγα είναι ένα άμεσο μάθημα ζωής από τον Φιλοκτήτη προς τον Νεοπτόλεμο και έμμεσα από τον συγγραφέα προς εμάς, τους αναγνώστες/θεατές. Στο τέλος, θα πρέπει η όρασή μας να έχει διευρυνθεί, όπως του Νεοπτόλεμου. Θα πρέπει να ακούμε και να βλέπουμε τους Στυλίτες, την ενότητά μας δηλαδή με το σύμπαν. Ο Μύθος δείχνει το δρόμο, αρκεί να ακολουθήσουμε τις συντεταγμένες του. Τέλος, το κείμενο του Heiner Müller μάς αποκαλύπτει, με τον πιο γλαφυρό τρόπο, ότι οι κρατούντες δε θα διστάζουν να εκμεταλλεύονται ακόμα και τα πτώματα των ηρώων, αν αυτό εξυπηρετεί τα συμφέροντά τους. Η διακειμενική, λοιπόν ανάλυση αναδεικνύει ότι η επίθεση στο μυθικό υλικό οδηγεί στην επανανακάλυψη του ίδιου του Μύθου. Καθίσταται έτσι ο αρχαίος Μύθος νέο Ήθος. / -

Thesis (MScEng)--Stellenbosch University, 2004. / ENGLISH ABSTRACT: The aim of this thesis was to investigate the use of behavioral level models in receiver simulations using the capabilities of Agilent's Advanced Design System. Behavioral level modeling has become increasingly attractive because it offers faster and easier results for system level simulations. The work in this thesis focused strongly on nonlinear measurements to characterize the various nonlinear phenomena that are present in amplifiers and mixers. Measurement automation software was developed to automate the process. An error correction technique was also developed to increase the accuracy of spectrum analyzer measurements. The measured data was used to implement the behavioral level amplifier and mixer models in ADS. The accuracy of the models was compared to measured data and the different available models were compared. Finally the models were combined to realize different receivers and were used to do typical receiver tests. These test include gain and gain compression, two-tone intermodulation and spurious responses. The results are compared to measured data to test the accuracy and usefulness of the models and simulation techniques. / AFRIKAANSE OPSOMMING: Die doel van hierdie tesis was om stelsel-vlak gedrags-modelle te ondersoek soos hulle in Agilent se Advanced Design System (ADS) aangebied word. Die modellering van die stelselvlak-gedrag van komponente en stelsels is aantreklik aangesien dit 'n hoë vlak beskrywing van komplekse kommunikasie stelsels moontlik maak. Akkurate stelsel-vlak simulasies sal lei tot vinnige ontwikkeling en evaluasie van nuwe sisteme. Die resultate wat verkry word is egter afhanklik van die beskikbaarheid van akkurate stelsel-vlak gedragsmodelle Die tesis het baie sterk op metings staat gemaak om die nie-liniêre gedrag van versterkers en mengers te karakteriseer. Meet sagteware is ontwikkel om die verskillende metings te automatiseer. Fout korreksie vir spetrum-analiseerder-metings is ook ontwikkel. Die gemete data is gebruik om die nie-liniêre gedrags-modelle in ADS te implementer. Die modelle is in simulasies gebruik en die akuraatheid van die simulasies is teen gemete data getoets. Die finale deel van die tesis gebruik die modelle om tipiese ontvanger karakteristieke te voorspel. Die volgende toetse is gedoen: aanwins en kompressie, twee-toon intermodulasie en hoer orde meng produkte. Die resultate van die toetse is met gemete data vergelyk om die akuraatehied en bruikbaarheid van die verskillende modelle te vergelyk.

Förskolan är en verksamhet som ska sträva efter att inkludera och anpassa sig efter varje barns olika behov samt förutsättningar och förmågor. Den politiska visionen en “förskola för alla” innebär att verksamheten ska vara anpassad efter varje barns behov, men trots detta finns det än idag särlösningar i förskolan.   Studien syftar till att få en bredare förståelse kring hur pedagogernas inställning är gentemot barn som är i behov av särskilt stöd eller har en funktionsnedsättning i förskolan. Undersökningen utgår från pedagogens synvinkel där vi tar reda hur pedagoger upplever sin kompetens och vilka möjligheter som finns med att kunna tillgodose barns olika behov. I arbetet kommer vi att undersöka hur pedagoger resonerar kring sitt arbetssätt kring inkludering av barn som är i behov av särskilt stöd.  Vår studie vilar på en kvalitativ metod. Vi intresserade oss av att se hur arbetet, kompetens och bemötande kunde skilja sig från en allmänpedagogisk förskola och en förskola med special inriktning med funktionsnedsättning. Med den anledningen genomfördes sex individuella semistrukturerade intervjuer med sex olika personer. Tre av dem var specialpedagoger och arbetade på en specialinriktad förskola mot funktionsnedsättning och tre stycken var förskollärare och arbetade på allmänpedagogisk förskola.  Studien visar att det finns skillnad i arbetet mellan dessa två upplägg av förskolor.  Stora barngrupper och liten personaltäthet är bland annat något som gör att arbetet försämras med barn som har en funktionsnedsättning eller är i behov av särskilt stöd. Vi har även kommit fram till att en förskola för alla inte handlar om att få vara med fysiskt utan handlar om att få sina behov tillgodosedda och bli inkluderad i verksamheten. Slutligen kan vi även se i vår studie att kompetensen finns för att arbeta med barn som har en funktionsnedsättning eller är i behov av särskilt stöd men att det finns bristande resurser för att tillgodose barns olika behov. / Preschool is an organization that aims to include and adapt to every child's different needs, conditions and abilities. The political vision of a "preschool for all" means that the activities should be adapted to the needs of every child, but despite this, there are still “special solutions” in preschools.  This study aims to gain a broader understanding of pedagogue’s attitude towards children who are in need of special support or have a disability in preschool. Our survey is based on the pedagogue’s point of view, where we aim to find out how pedagogue’s view their proficiency and what opportunities there are to meet the children's different needs. Furthermore, we will investigate how pedagogues reason about their way of working when it comes to the inclusion of children in need of special support. Our study is mainly a qualitative method. We were interested in seeing how work, competence and reception could differ from a pre-primary preschool and a preschool that specialize in disability. With that reason in mind, six individual semi- structured interviews were conducted with six different people. Three of them were special needs teachers and worked at a specialized preschool with disabilities and three were pre-school teachers and worked at pre-primary preschools.  The study shows a difference in approach between these two preschools. Large children's groups and staff density, among other things, causes work to deteriorate with children who have a disability or are in need of special support. We have also come to the conclusion that “a preschool for all” is not about being physically involved, but is about meeting their needs and being included. Finally, we were able to determine with our study that there is competence for working with children who have a disability or are in need of special support but that there are insufficient resources to meet children's different needs.

Cette recherche, inscrite au sein des Sciences de l’Information et de la Communication, porte son attention sur le processus du « tout-voir », du « tout-exhiber » et du « tout-raconter » devenu central depuis les années 2000 dans la communication des responsables politiques à travers le dispositif sociotechnique de la peopolisation. Nous essayons de montrer ici comment la peopolisation s’est inscrite dans le dispositif de Genre à l’œuvre dans le tissu social et politique. Il s’agit d’analyser les formes de construction médiatique du Genre déployées par les responsables politiques eux-mêmes d’une part, à travers leurs stratégies de présentation qui conduisent à une réaffirmation des identités de Genre via un surinvestissement des marqueurs d’appartenance et/ou de différenciation, et par les médias dont la presse échotière d’autre part, à travers la pulsion scopique et le processus d’activation/réactivation des stéréotypes de Genre. Comprendre les liens objectifs qui se créent entre la production de ces images du pouvoir qui se donne à voir dans la presse people, et, tout un système de codages qui donne du pouvoir à ces images par l’impératif de transparence, le désir d’authenticité, la société cybernétique, les représentations sociales et la performativité de Genre, tel est l’enjeu essentiel de cette thèse. La technologie du pouvoir qu’est le Genre, agit sur les productions d’images politiques pour définir les pratiques de communication comme soumises à des conventions culturelles genrées. / The research, appearing in Information and Communication Sciences, focuses its attention on the « all-seeing », the « all-exhibit » and the « all-tell » process which become crucial since the 2000s in communication across the socio-technical device of Life politics. We show how Life politics enrolls in the Gender device at work in the social and political fabric. This is to analyze the forms of media construction of Gender deployed by politicians themselves through their presentation strategies that lead to a reaffirmation of Gender identities via overinvestment of belonging markers and or differentiation, and the media whose tabloid magazines through the scopic drive and process activation/reactivation of Gender stereotypes. Understand the objectives bonds created between the production of these images of power that is to be seen in the tabloids, and while a coding system that gives the power to these images by the need for transparency, authenticity, cybernetic society, social representations and performativity, such is the essential challenge of this thesis. What power of technology gender, acts on the political images productions to define communication practices as subject to gendered cultural conventions

Mary Wollstonecraft’s ghost haunts women’s writing of the Romantic period. After her untimely death in 1797, and the publication of William Godwin’s candid biography in 1798, Wollstonecraft’s reputation was besmirched by the reactionary press in an attack on radical support for revolutionary ideals. Wollstonecraft’s campaign for women’s rights was conflated with a representation of her as sexually promiscuous, politically dangerous and religiously unorthodox. For women writing after Wollstonecraft’s death, an engagement with her political ideals risked identification with her lifestyle, deemed both improper and impious. My thesis explores how women writers negotiated Wollstonecraft’s scandalous reputation in order to discuss her influential feminist arguments and develop their own positions on these pressing issues in post-revolutionary Britain. In the early nineteenth century, Wollstonecraft’s life and work gets elided with the figure of the female philosopher, already popular in both pro- and counter-revolutionary writing of the 1790s. After Wollstonecraft’s death, fictional female philosophers echo elements of her biography whilst voicing an often caricatured version of her arguments. By rejecting these satirically overblown feminist positions, women writers could adopt a more moderate form of feminism, often closer to Wollstonecraft’s original polemic, to critique cultural restrictions on women, revealing how these warp female behaviour. My project modifies our understanding of the origins of modern feminism by focussing on Wollstonecraft’s reception across a range of socially and politically diverse texts, and the ways in which the process of reading itself is treated as potentially revolutionary.