Made available in DSpace on 2016-12-08T16:35:10Z (GMT). No. of bitstreams: 1 GABRIELA.pdf: 21254240 bytes, checksum: 5da43c016c3bcd870e50552520e359e9 (MD5) Previous issue date: 2009-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study aimed to construct a diagnostic of the adolescent understanding of home sexuality issues; adolescents from the eighth grade of one Public School. In order to answer this central question, data were drawn from oral and written reports regarding three themes: the kiss on the relationships, the homosexual relationships and the adolescent pregnancy. The strategy to motivate debate was the practice of workshops with audiovisual material made of scenes from four Rede Globo Television soap operas related to the research s subject. This study describes which situations have led the researcher to elect the theme, drawing the course to be taken. Supported by theory accomplices, it was made a study about adolescence life period where the participants of this research are, analyzing the sexual education elements in Brazil, organized by Brazilian researchers, and it has showed the television and soap operas importance in the sexual education process. The above has resulted into a diagnostic construction regarding the way of perception and thinking of adolescents about this chosen theme, checking which aspects of the sexual education are preponderant to their way of thinking. It suggests a work guided to an Emancipating Sexual Education , in an intentional way, committed to promote the educator autonomy, as a way to get over pattern behaviors, hierarchized and stereotype, prejudices and taboos, which is possible only by the understanding of social-historicpolitical aspects that conducted the building of sexual education of Occidental World. The qualitative research, of dialectic character, was made by action-research considering it the ideal direction, as the researcher already works at classrooms with adolescents. The evaluation of oral and written reports was done according to the analysis of contents, emphasizing three categories named as following: a) the usual still give the rules of how adolescents are still the same as our parents b) soap operas as a rich pedagogical way for a rich work about sexuality c) the hope expressed by contradiction. Those categories evidence the importance of the pedagogical use of the media of communication in the youths sexual education; education that has been revealed too conservative, but with lines of hope to a new look at the sexuality / O presente trabalho buscou construir um diagnóstico da compreensão dos adolescentes, matriculados em duas oitavas séries do Ensino Fundamental de uma escola da rede pública, sobre questões relativas à sexualidade. Para responder a esta questão central, buscaram-se depoimentos orais e escritos a respeito de três temáticas: o beijo nas relações, as relações homossexuais e a gravidez na adolescência. A estratégia para promover o debate foi a realização de oficinas com uso de material audiovisual, com recortes de cenas de quatro telenovelas da Rede Globo de Televisão referentes ao assunto da pesquisa. O trabalho descreve que circunstâncias levaram a pesquisadora à escolha do tema, delineando então os caminhos a percorrer. Subsidiado por bases teóricas, foi realizado um estudo sobre adolescência, período da vida em que se encontram os sujeitos da pesquisa, analisadas as vertentes da educação sexual no Brasil, sistematizadas por teóricos brasileiros e se mostrou a importância da televisão e da telenovela no processo de educação sexual. Como resultado, conseguiu-se elaborar um diagnóstico a respeito da forma de perceber e pensar de adolescentes sobre os temas escolhidos, verificando quais vertentes da educação sexual são preponderantes em seu modo de pensar. A conclusão, que na verdade funciona como sugestão, é que empreenda um trabalho voltado a uma Educação Sexual Emancipatória, de forma intencional, comprometida em promover a autonomia do educando para que ele próprio possa superar padrões de comportamentos hierarquizados e estereotipados, vencer preconceitos e tabus, o que só é possível por meio do entendimento dos aspectos sócio-histórico-políticos que influíram na construção da educação sexual do mundo ocidental. A pesquisa qualitativa, de cunho dialético, foi feita por meio da pesquisaação, considerado o caminho ideal pelo motivo de a pesquisadora já atuar em sala de aula com os adolescentes. A análise dos depoimentos orais e escritos foi feita conforme o método de análise de conteúdo. A análise pôde ser enucleada em três categorias, assim denominadas: a) telenovelas como um rico caminho pedagógico para um rico trabalho sobre sexualidade b) o normal ainda dita regras de como os adolescentes ainda são os mesmos como nossos pais , c) a esperança expressa pela contradição. Tais categorias evidenciam a importância do uso pedagógico dos meios de comunicação no processo de educação sexual dos jovens, educação essa que se tem revelado bastante conservadora, mas com vestígios de esperança de um novo olhar sobre a sexualidade

The present study describes and analyze how the |prostitution´s world| was presented to TV viewers through de first version of the soap opera |Gabriela|, displayed by RedeGlobo in the year of 1975. Beyond the audio-visual as the primary source, we used magazines and newspapers of that time ( magazine Amiga, magazine Contigo, magazine Veja and newspaper Folha de São Paulo) to comprehend a little of the repercussion of the teledramaturgy. We also aimed, through the speech and actions of the characters, understand and contextualize the time that |Gabriela| was produced and televised. To seize this, we analyze the intern language and the mechanisms presents in the soap opera, trying to understand the reasons of the adaptations and omissions occurred. We think that like any other type of historic documents, the audio-visual sources reveal a kind of reality, porting tensions and representations and are produced with internationalities. Therefore, the simple fact that |Gabriela| being inserted in a spectacle of entertainment, doesn t make it invalid as a historical discourse. / O presente estudo descreve e analisa como o mundo da prostituição foi apresentado ao telespectador através da primeira versão da telenovela Gabriela , exibida pela Rede Globo no ano de 1975. Além do audiovisual como principal fonte, utilizamos revistas e jornais de época (revista Amiga, revista Contigo, revista Veja e jornal Folha de São Paulo) para compreendermos um pouco sobre a repercussão da teledramaturgia. Buscamos também, por meio das falas e ações dos personagens, entender e contextualizar a época em que Gabriela foi produzida e televisionada. Para isso, analisamos a linguagem interna e os mecanismos presentes na telenovela, procurando compreender os motivos das adaptações e omissões recorrentes. Entendemos que assim como qualquer outro tipo de documento histórico, as fontes audiovisuais revelam uma dada realidade, são portadoras de tensões e representações e são produzidas com intencionalidades. Sendo assim, o simples fato de Gabriela ser inserida em um espetáculo de entretenimento, não faz com que a mesma seja invalidada como discurso histórico.

Hierdie proefskrif is 'n verkennende ondersoek na kykers se interpretasie van die seep-opera Egoli - Piek van Goud. Die basiese vertrekpunt van die studie is die teks-leserontmoeting waar gelyke status aan die boodskap ('n teks) en die ontvanger ('n kyker) gegee word. Uit so 'n ontmoeting ontstaan kykers se interpretasies. Die tweeledige ondersoek plaas die proefskrif binne die teoretiese en metodologiese raamwerk van resepsiestudie om die komplekse interaksie tussen 'n teks en die ontvanger te ondersoek. Die twee komponente word binne spesifieke historiese en kulturele kontekste geplaas, te wete die veranderende politieke en ideologiese klimaat in Suid-Afrika asook die sosio-kulturele en politieke kontekste van die deelnemers. Die deelnemers van hierdie studie is groepe bruin-, swart- en witvroue. Groeponderhoude (fokusgroepe) is met ses groepe vroue tydens hul etensuur by die werkplek gevoer. Die onderhoude is rondom die volgende temas gestruktureer: romanse, identifikasie, parasosiale interaksie, sosiale interaksie, intertekstualiteit en Egoli as 'n forum vir die uitbeelding van Suid-Afrikaanse werklikhede. Kykers se interpretasie van die temas is ontleed aan die hand van referensiele, onderhandelde en kritiese interpretasierame. Daar is gevind dat die verskillende kultuurgroepe in 'n groat mate dieselfde interpretasierame gebruik in hul interpretasie van die verskillende temas. Die opvallendste verskil tussen die groepe is die wyse waarop die deelnemers die tema Egoli as 'n forum vir die uitbeelding van die SuidAfrikaanse werklikhede vertolk: as gevolg van verskillende sosio-kulturele en politieke omstandighede in Suid-Afrika het die deelnemers waarskynlik interpretasierame ontwikkel wat aan daardie omstandighede gekoppel kan word. In die studie is aangetoon dat die hermeneutiek en resepsieteorie nuttige verklarings gee van die elemente in die seep-operateks wat kykersbetrokkenheid stimuleer en die proses van interpretasie. Die proses verloop soos volg: deelnemers het bepaalde verwagtings oor 'n program; hulle moet die uitgebeelde werklikheid(e) herken en die boodskappe dan toe-eien. Hierna word boodskappe 'n kultuur binnegedra deur middel van sosiale diskoers. Die teoretiese onderbou het voorts aan die lig gebring dat deelnemers se interaksie met en interpretasie van Egoli 'n vorm van spel is. Empiriese bewyse is gevind dat die deelnemers op speelse wyse • oor karakters 'skinder'; • spekuleer oor romantiese assosiasie; • met karakters identifiseer; en • parasosiale verhoudings met karakters aanknoop. / Text in Afrikaans / This thesis is an exploratory study of viewers' interpretation of the soap opera Egoli - Place of Gold. The basic point of departure is the text-viewer encounter where equal status is given to the message (text) and the recipient (viewer). Viewers' interpretations develop from this encounter. This dichotomous investigation places the thesis within the theoretical and methodological framework of reception study where the complex interaction between a text and the recipient is examined. The two components are placed within specific historical and cultural contexts, namely the changing political and ideological climate in South Africa, as well as the socio-cultural and political contexts of the participants. The groups participating in this study consisted of coloured, black and white women. Six group interviews (focus groups) were held with these women during their lunch-hour at the workplace. The interviews were structured around the following themes: romance, identification, parasocial interaction, social interaction,intertextuality and Egoli as a forum for the portrayal of South African realities. Viewers' interpretations of these themes were analysed according to referential, negotiated and critical interpretative frames. It was largely found that the various cultural groups use the same interpretative frames to interpret the various themes. The exception was the way participants interpreted Egoli as a forum for the portrayal of South African realities: because of different socio-cultural and political circumstances in South Africa the participants may have developed interpretation frames that could be linked to these circumstances. Hermeneutics and reception theory provide useful explanations of these elements in a soap opera text that stimulate viewers' involvement and the process of interpretation. This process proceeds as follows: participants have specific expectations regarding a programme; they must recognise the realities depicted and then appropriate the messages. Thereafter messages are incorporated into a culture by means of social discourse. A further important theoretical finding was that the participants' interaction with and interpretation of Egoli takes the form of play. It was empirically determined in this study that participants playfully • speculate about romantic association; • engage in gossip about characters; • identify with characters; and • develop parasocial relationships with characters. / Summaries in English and Afrikaans / Communication Science / D. Litt. et Phil. (Communication Science)

Bibliography: leaves 453-490.

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children's animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood's dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production. While TV formats like Survivor, Millionaire, Big Brother and American Idol have become profitable and powerful franchises globally, in East Asia, the size of TV format trade is actually eclipsed by the regional trade in East Asian popular cultural commodities from martial arts novels and films, manga and romantic fiction, to popular music. These commodities have become the source of remaking local television culture into tradable cultures as local TV programmes use formatting practices to circulate within their region. The many faces of formatting in television are explored through four case studies - from Hong Kong (TVB's Heaven Sword and Dragon Sabre), Singapore (Robert Chua Productions' Everyone Wins, Peach Blossom Media's Tomato Twins) and Taipei (Comic Ritz Production's Meteor Garden). Conceptualised as Asian media productions, these TV programmes are sites for examining individual agency, the network flows of popular culture and structural changes of their respective broadcasting fields. This thesis argues that TV formatting practices can become a currency for neo-networked media producers to create a medium of cultural exchange that sets up the possibility for a common market for cultural trade in East Asia. However, the ease with which TV formatting practices and re-sale of TV programmes are copied lower barriers for competition and often this tends toward over production. Over-exposure kills many new genres of production and discourages investment in the research and development component of creating TV formats for trade. Change in East Asian television industries is also aided by media conglomeration, global access through satellite TV, the Internet and increasingly digital entertainment, media de-regulation and pro-development policies. A number of factors and conditions that accompany the rise of TV formatting in East Asia (such as the role of independents vis-a-vis big local players, the emergence of copyright issues and marketing celebrities) contribute to the innovations that result from adapting formatting practices to local contexts, and suggest how each city's television industry attempts to address the rise of tradable cultural commodities that are increasingly made for pan-Asian consumption.

En el contexto de los sistemas de comunicación virtual, se trata de analizar desde la antropología política las nuevas lógicas de participación social y los mecanismos de apropiación de los recursos, contenidos y significados que circulan en las redes telemáticas. A través de un estudio de caso, se destaca cómo opera y se desenvuelve una protesta globalizada en torno de la producción de una telenovela sudamericana (La Tormenta), retransmitida por Internet. Se observa la capacidad de acción de los usuarios de un foro para convertir la Red en un medio de organización y crítica y para reaccionar de forma colectiva frente a poderes mediáticos. Esta práctica política consigue trascender del campo virtual al mundo real reclamando reconocimientos y derechos. Una sublevación en Red de consumidores de productos culturales que termina transformando los mecanismos convencionales de participación ciudadana, valiéndose para ello de la conexión de relaciones sociales y emocionales que les ofrecen las nuevas tecnologías de la información. / In the context of virtual communication systems, the new rationale of social participation and the mechanisms used for the appropriation of the resources, contents and meanings that are broadcast through telematic networks are analyzed here from a political anthropology viewpoint. A case study is used in this paper to highlight how a globalized protest is developed against the presentation of a South American soap opera, La Tormenta (The Storm), which was broadcast on the Internet. Users’ capacity for action to convert the Network into ameans of organization and critique and collectively react against the power of the media is analyzed here. This political action went beyond the virtual field to the real world, thus allowing the recognition of rights. This uprise in the network of consumers of cultural products has contributed to transform conventional mechanisms of citizen participation, using the social and emotional connections provided by the new information technologies.

The media, through development communication and edutainment, plays a critical role in the transformation of societies. In line with this, this thesis discusses the extent to which commercially driven prosocial soap operas can provide a platform for public health messaging, in the context of the HIV/AIDS epidemic in South Africa, for antiretroviral treatment (ART) and for encouraging ART adherence to foster national development. Furthermore, this thesis examined the potential of celebrities as HIV/AIDS ambassadors and the potential of both fictional characters and ‘real-life’ celebrities to disseminate these health messages. Although the HIV/AIDS epidemic in South Africa is stabilising, this is not the time to relax the communication around the disease, particularly regarding adherence to ARVs, considering that South Africa has the largest ARV rollout in the world. The qualitative methodological approach taken for this thesis is a three-step approach examining the intended message, the text and the appropriated message by viewers. Firstly, a thematic content analysis of an episode of Isidingo, that illustrated Nandipha as HIV-positive and the side-effects that came with her ART adherence, and the 3Talk interview with Lesego Motsepe, where she announced that she was weaning herself off ART, was done in order to understand the intended health messaging in the soap opera and the health message disseminated by an HIV-positive actress with regards to ART. Thereafter interview responses by the production team as well as by HIV-positive viewers, using ARVs, were thematised. In addition media texts which provided commentary on the use of a celebrity as a HIV-positive role model were examined. In doing this, this thesis has offered up the meanings of how HIV-positive women taking ARVs and living in Makana experience and understand the media, particularly health messaging relating to ARVs. The findings of this study suggest that commercial soap operas are the perfect platform to address HIV/AIDS and that prosocial health messaging regarding ARV adherence is still necessary in this country. Soap operas have the potential to have an educational angle. Although, HIV-positive individuals serve as better role models as they are authentic; given human nature, fictional characters, such as Nandipha Matabane in Isidingo, may be more sustainable role models as their message can be scientifically-based and well-researched. Realistic characters serve as role models whose behaviour is to be emulated. Soap operas appeal to a wide audience and so storylines can be tailor-made according to the times and the needs in terms of health issues and messaging. Thus, soap operas are not a single platform but rather one which can be exploited to maximum advantage for public health messaging.

Hierdie proefskrif is 'n verkennende ondersoek na kykers se interpretasie van die seep-opera Egoli - Piek van Goud. Die basiese vertrekpunt van die studie is die teks-leserontmoeting waar gelyke status aan die boodskap ('n teks) en die ontvanger ('n kyker) gegee word. Uit so 'n ontmoeting ontstaan kykers se interpretasies. Die tweeledige ondersoek plaas die proefskrif binne die teoretiese en metodologiese raamwerk van resepsiestudie om die komplekse interaksie tussen 'n teks en die ontvanger te ondersoek. Die twee komponente word binne spesifieke historiese en kulturele kontekste geplaas, te wete die veranderende politieke en ideologiese klimaat in Suid-Afrika asook die sosio-kulturele en politieke kontekste van die deelnemers. Die deelnemers van hierdie studie is groepe bruin-, swart- en witvroue. Groeponderhoude (fokusgroepe) is met ses groepe vroue tydens hul etensuur by die werkplek gevoer. Die onderhoude is rondom die volgende temas gestruktureer: romanse, identifikasie, parasosiale interaksie, sosiale interaksie, intertekstualiteit en Egoli as 'n forum vir die uitbeelding van Suid-Afrikaanse werklikhede. Kykers se interpretasie van die temas is ontleed aan die hand van referensiele, onderhandelde en kritiese interpretasierame. Daar is gevind dat die verskillende kultuurgroepe in 'n groat mate dieselfde interpretasierame gebruik in hul interpretasie van die verskillende temas. Die opvallendste verskil tussen die groepe is die wyse waarop die deelnemers die tema Egoli as 'n forum vir die uitbeelding van die SuidAfrikaanse werklikhede vertolk: as gevolg van verskillende sosio-kulturele en politieke omstandighede in Suid-Afrika het die deelnemers waarskynlik interpretasierame ontwikkel wat aan daardie omstandighede gekoppel kan word. In die studie is aangetoon dat die hermeneutiek en resepsieteorie nuttige verklarings gee van die elemente in die seep-operateks wat kykersbetrokkenheid stimuleer en die proses van interpretasie. Die proses verloop soos volg: deelnemers het bepaalde verwagtings oor 'n program; hulle moet die uitgebeelde werklikheid(e) herken en die boodskappe dan toe-eien. Hierna word boodskappe 'n kultuur binnegedra deur middel van sosiale diskoers. Die teoretiese onderbou het voorts aan die lig gebring dat deelnemers se interaksie met en interpretasie van Egoli 'n vorm van spel is. Empiriese bewyse is gevind dat die deelnemers op speelse wyse • oor karakters 'skinder'; • spekuleer oor romantiese assosiasie; • met karakters identifiseer; en • parasosiale verhoudings met karakters aanknoop. / Text in Afrikaans / This thesis is an exploratory study of viewers' interpretation of the soap opera Egoli - Place of Gold. The basic point of departure is the text-viewer encounter where equal status is given to the message (text) and the recipient (viewer). Viewers' interpretations develop from this encounter. This dichotomous investigation places the thesis within the theoretical and methodological framework of reception study where the complex interaction between a text and the recipient is examined. The two components are placed within specific historical and cultural contexts, namely the changing political and ideological climate in South Africa, as well as the socio-cultural and political contexts of the participants. The groups participating in this study consisted of coloured, black and white women. Six group interviews (focus groups) were held with these women during their lunch-hour at the workplace. The interviews were structured around the following themes: romance, identification, parasocial interaction, social interaction,intertextuality and Egoli as a forum for the portrayal of South African realities. Viewers' interpretations of these themes were analysed according to referential, negotiated and critical interpretative frames. It was largely found that the various cultural groups use the same interpretative frames to interpret the various themes. The exception was the way participants interpreted Egoli as a forum for the portrayal of South African realities: because of different socio-cultural and political circumstances in South Africa the participants may have developed interpretation frames that could be linked to these circumstances. Hermeneutics and reception theory provide useful explanations of these elements in a soap opera text that stimulate viewers' involvement and the process of interpretation. This process proceeds as follows: participants have specific expectations regarding a programme; they must recognise the realities depicted and then appropriate the messages. Thereafter messages are incorporated into a culture by means of social discourse. A further important theoretical finding was that the participants' interaction with and interpretation of Egoli takes the form of play. It was empirically determined in this study that participants playfully • speculate about romantic association; • engage in gossip about characters; • identify with characters; and • develop parasocial relationships with characters. / Summaries in English and Afrikaans / Communication Science / D. Litt. et Phil. (Communication Science)