Magister Artium - MA / This thesis examines how multilingual spaces in South Africa are imagined and reconstructed through the use of scripted codeswitching in 7de Laan. It explores how the socio-political discourses and other ideologies from the broader South African context shape and influence the ways in which the soap reconstructs multilingual spaces and the identities that exist within these spaces through language and language practices. In the literature presented in this study I explore various theories and case studies that examine Afrikaans and its indexicality in our contemporary society, the conventions of soap opera in representing reality to society, the role of codeswitching in multilingual mass communication, the policies and ideologies that govern post apartheid television and finally the link between ideology, the media, language and imagined identities.. These five overarching themes often overlap throughout this thesis. My investigation of the main questions set in this thesis is based on a triangulated analysis of (a) a five episode transcript of the soap, (b) solicited viewer perceptions gleaned from questionnaires and (c) unsolicited social media commentaries. This analysis is framed by a poststructuralist critical analysis with a specific focus on how social practices and contemporary ideologies manifest in the discourse of the soap. This approach views discourse as the juncture where identity, stereotypes and power are negotiated, enforced, imagined and challenged. In this thesis I argue that the conspicuous absence of indigenous African languages and the use of standard white Afrikaans as the lingua franca in the soap creates an unrealistic utopian portrayal of the new South Africa that naturalises white Afrikaans culture and marginalises other indigenous cultures and languages. I argue that the soap puts middle class white Afrikaners at the epicentre of South African society thus enforcing the idea that non-whites still need to conform to white Afrikaans standards and norms at the expense of their own culture and languages despite the inception of democracy. The soap offers no depictions of resistance to this dominant white Afrikaans culture, thus misleadingly portraying it as the uncontested dominant culture of the new South Africa. / South Africa

The research was based on a secondary analysis of a qualitative market research study conducted for the SABC on the soap opera Isidingo. The data used in the study includes 10 focus groups, five diaries of loyal soap opera viewers who were asked not to watch Isidingo for a week and keep a record of their experience, a focus group conducted with these viewers after the completion of the deprivation exercise, the market researcher’s field notes, the market research report and the academic researcher’s own reflective diary. The analysis was conducted within a hermeneutic phenomenological interpretive framework. A model for the psychological processes that culminate in positive viewing experiences and audience loyalty to a soap opera is presented. The model illustrates how viewers use soap world knowledge and real world knowledge to interpret the characters and storylines of soap operas and that the degree of enjoyment the viewer experiences from viewing, is dependant on the quality of the mental models formed of these respective components. The role that transportation, realism, social influences and timeslot play in the engagement process is also defined. The study illustrates a hermeneutic phenomenological research pathway for qualitative research and demonstrates how market research can be explicated for academic gain. Copyright / Dissertation (MA)--University of Pretoria, 2010. / Psychology / unrestricted

<p>This research analyzes the reproduction of patriarchal ideological hegemony in the soap opera <em>Another World</em> using Stuart Hall's theory of the mass media and his conceptualization of ideology. A structural analysis of five one hour video-taped episodes of <em>Another World</em> reveals how the soap opera text constructs meaning fulfilling the three functions of the mass media, and thus, reproducing patriarchy's hegemony. This research confirms Hall's theory of the mass media and the propositions which flow from his conceptualization of ideology. Moreover, this research is the first attempt to systematically apply Hall's theory to the study of soap opera. It goes beyond the generalizations of his theory to look at the particularities of soap opera which contribute to the reproduction of patriarchal ideological hegemony. However, it is seen that what is problematic to this research, and all research on soap opera, is a lack of a theory of the reader.</p> / Master of Arts (MA)

Volume 1. How to be someone: A formula to Conquer the world is the misunderstanding by a Latin-American of what success means in the First World. / <p>Volume 1 is the first edition of a following publication to be released every April.</p><p></p>

A diploma thesis deals with sexuality as a storylining element in Czech soap operas. The sample contains long-running relational series that were broadcasted by television stations in October-November 2013. Specifically, there were series Cesty domů 2, Gympl s (r)učením omezeným, Ulice and Ordinace v růžové zahradě 2. There were used quantitative content analysis to detection the frequency of sexuality and qualitative narrative analysis to explore the context and way for create the plot. The categories of behavior and conversation containing elements of sexuality were analyzed in the study. During the preparation of the categories, I was inspired by research "How much sex is there in soap operas on British TV?" that was realized by Rami Al - Sayed and Barrie Gunter in 2012. I analyzed the elements of sexuality that create the storyline during the research. I examined the particular scenes where did appear the correlation of story to the previous and following events and debates . I focused on the explicit and implicit exposure of sexuality in the series. If there was an aspect of sexuality without storylining function I tried to find the reason for the occurrence in the series. The theoretical establishment of the topic deals with issues of narrative and discourse of sexuality. There are presented...

This diploma thesis deals with the development of TV listings of major Czech commercial channels, TV Nova and TV Prima, during 2002 - 2012. It focuses solely on their own production and covers the shift in aired genres, which has changed from the earlier variety shows and quiz shows to reality shows and soap operas that run the listings nowadays. Most TV production is based on so-called reality TV; there the emphasis is on capturing reality in a way, which is attractive for viewers and goes across many genres and styles. Consequently, the line between genres is becoming very thin and is no longer determining. The approaches these two channels took to structuring their TV listings are also very important since each had its own specific way. This thesis draws on theoretical grounds and covers important mechanisms affecting TV in the Czech Republic in three basic areas (global, technological and economic). It points out that globalization has brought about homogenized culture and international integration, which means many programmes are of foreign license. Moreover, we can see the trend of internetisation and convergence of TV content, which is increasingly influenced by modern technologies. The purpose of all this is high ratings that affect profits from advertising. And economic profit is for...

A proposta geral deste trabalho é discutir e refletir acerca da dicotomia ficção/realidade cada vez mais presente nas telenovelas contemporâneas, realizando uma aproximação interdisciplinar das questões relacionadas ao estudo dos mecanismos referentes à organização discursiva e temática da telenovela Vidas Opostas, da Rede Record, com enfoque na problemática da violência social. Mais especificamente, temos como meta a exploração das possibilidades oferecidas pela Análise do Discurso para a operação de objetos visuais ou verbo-visuais e a aplicação de uma metodologia de análise para a telenovela em questão, verificando como é construído o seu discurso sobre a violência. Isso exigiu, assim, um aprofundamento teórico e, ao mesmo tempo, uma ampliação na perspectiva da construção teórico-metodológica, ainda mais a se considerar a especificidade do objeto, que além do nãoverbal, lida com imagens em movimento. Pudemos perceber, nas análises realizadas, a existência de uma forte demarcação na representação dos espaços configurados como a favela e o asfalto, demarcação que não se limitou apenas à figurativização desses lugares, mas disseminou-se sobre os múltiplos planos do discurso da telenovela. No que tange a temática da violência, foi possível observar que, apesar de retratar a violência como elemento constituinte desses dois ambientes, essa territorialização discursiva também se mantém. Sendo assim, pudemos identificar em Vidas Opostas não apenas uma demarcação espacial desses ambientes da favela e do asfalto, mas também e principalmente uma demarcação discursiva, que por um lado enaltece a favela, e de outro, critica a sociedade do asfalto. Com essa proposta, a telenovela pretende, de certa forma, desvirtuar-se do padrão imposto tradicionalmente pela Rede Globo, por meio de tratamento temático e estético diferenciado. Ela se propõe como produto que dá visibilidade às camadas marginalizadas da sociedade, cumprindo assim uma função social que estaria além do entretenimento e alienação. Contudo, esse esforço de superar a emissora rival faz a trama oscilar constantemente entre a inovação e a tradição. Por um lado, procura diferenciar-se de outras tramas por meio de experimentações na linguagem, especialmente no que se refere à representação da realidade; por outro lado, a trama apresenta uma série de elementos bastante característicos da telenovela brasileira, como pudemos observar nas análises. / This research has as its proposal to discuss and reflect on the dichotomy fiction/reality present in contemporary Brazilian soap operas, performing an interdisciplinary approach of the issues concerning the mechanisms of discursive and thematic organization of the soap opera Vidas Opostas, broadcasted by Rede Record, focusing the subject of social violence. More precisely, we aim to explore the possibilities offered by Discourse Analysis to the operation of visual and verb-visual objects and to the implementation of an analysis methodology to the soap opera, verifying how its discourse on violence is constructed. It required, therefore, a theoretical deepen and, at the same time, an expansion in terms of theoretical-methodological construction, further considering the object specificity, which is constituted not only by nonverbal language, but also by moving images. In our analysis, we realized the existence of a strong demarcation in the representation of the spaces configured as the favela and the asfalto; this demarcation was not limited only to the characterization of these places, but it has spread out to the various plans of the discourse. Regarding the thematic of violence, we observed that, despite the representation of violence as a constitutive element of these two places, the discursive territory construction also remains. Thus, we identified in Vidas Opostas not only a geographical demarcation of the spaces called favela and asfalto, but also (and primarily) a discursive demarcation, which on the one hand exalts the favela and in the other hand, criticizes the asfalto. With this proposal, the soap opera intends to differ itself from the pattern tradicionally imposed by Rede Globo television, through distinctive thematic and aesthetic construction. It proposes itself as a television product which gives visibility to marginalized categories of society, thus accomplishing a social function beyond entertainment and alienation. However, this effort to overcome its rival broadcaster makes the soap opera constantly oscillate between innovation and tradition. On the one hand, it aims at distinct itself from other soap operas through experimentation in language, especially in the reality representation; on the other hand, it presents various elements which is typical of Brazilian soap operas, as we could see in our analysis.

Made available in DSpace on 2016-10-13T14:10:40Z (GMT). No. of bitstreams: 1 Rosilene Moraes Alves Marcelino.pdf: 1945205 bytes, checksum: 8e0963c5df7041c073c5e83691295811 (MD5) Previous issue date: 2012-03-26 / Our purpose embraces the consumption of goods in the Brazilian soap opera and the appropriation of such practices by students (Student Jessica Nunes Herculano from CIEJA and EJA Escola Estadual Prof. Antonio Alves Cruz), consumers of such cultural media product. We develop our thesis supported by three vertices - Communication, Education and Consumption - while in the Communication Sciences, we put our object under the light of Reception Studies, Mediation Theory, and studies performed on the soap opera in Brazil. Backed by these biases, we analyzed the soap opera Passione, from Silvio de Abreu, aired in prime time, from May 17, 2010 to January 14, 2011. To conduct our analysis, by way of definition, we chose the character Clô, who, over the plot, the consumption practices represented a possibility to set up an identity and belonging to a new social group. We take snippets of scenes from this character to students from two public schools in São Paulo, aiming to understand how the consumption practices were appropriate and re-signified. To conduct our research, we chose to adopt a multimethodological strategy, which includes quantitative and qualitative approaches, documental, bibliographic and empirical researches, application a map of cultural consumption and group discussion techniques and depth interviews. For treating the materials, we chose to use the French Line Discourse Analysis (FDA). As theoretical benchmark, we turn to authors such as, for example, Adilson O. Citelli, Ana Carolina Escosteguy, Baron Isherwood, Don Slater, Eni Orlandi, Guillermo Orozco Gómez, Itânia Gomes, Jesús Martín- Barbero, Luís Henrique Alonso, Maria Aparecida Baccega, Maria do Rosário Gregolin, Maria Immacolata Vassallo de Lopes, Mary Douglas, Mikhail Bakhtin, Néstor García Canclini, Nilda Jacks. / Nosso objeto compreende o consumo de bens na telenovela brasileira e a apropriação de tais práticas por estudantes (do CIEJA Aluna Jéssica Nunes Herculano e do EJA Escola Estadual Prof. Antônio Alves Cruz), consumidores deste produto cultural midiático. Desenvolvemos nossa dissertação apoiados em três vértices Comunicação, Educação e Consumo sendo que, nas Ciências da Comunicação, colocamos nosso objeto à luz dos Estudos de Recepção, da Teoria das Mediações, e dos estudos realizados sobre a telenovela no Brasil. Respaldados por estes focos, analisamos a telenovela Passione, de Silvio de Abreu, levada ao ar em horário nobre, no período de 17 de maio de 2010 a 14 de janeiro de 2011. Para conduzir nossa reflexão, a título de delimitação, elegemos a personagem Clô, para quem, ao longo do enredo, as práticas de consumo representaram uma possibilidade de constituição de identidade e de pertencimento a um novo grupo social. Levamos trechos de cenas dessa personagem a estudantes de duas escolas públicas paulistanas, com o objetivo de compreender como as práticas de consumo eram apropriadas e ressignificadas. Para conduzir nossa pesquisa, optamos pela adoção de uma estratégia multimetodológica, que compreende abordagens quantitativas e qualitativas, pesquisas documental, bibliográfica e empírica, aplicação de mapa de consumo cultural e técnicas de grupo de discussão e entrevistas em profundidade. Para tratamento dos materiais, optamos pela utilização da Análise do Discurso de Linha Francesa (ADF). Como referencial teórico, recorremos a autores como, por exemplo, Adilson O. Citelli, Ana Carolina Escosteguy, Baron Isherwood, Don Slater, Eni Orlandi, Guillermo Orozco Gómez, Itânia Gomes, Jesús Martín-Barbero, Luís Henrique Alonso, Maria Aparecida Baccega, Maria do Rosário Gregolin, Maria Immacolata Vassallo de Lopes, Mary Douglas, Mikhail Bakhtin, Néstor García Canclini, Nilda Jacks.

Made available in DSpace on 2016-08-10T11:07:20Z (GMT). No. of bitstreams: 1 Aguida Perpetua Ribeiro.pdf: 2214526 bytes, checksum: 2903127a79abea2e370025add5dce62a (MD5) Previous issue date: 2016-03-18 / The aims that guides this work is to analyze the structural components of the soap opera Saramandaia (1976) and the remake (2013), based freely on the work of Dias Gomes and transcribed by Ricardo Linhares. Their consequent aesthetic and receptive effects to contemporary period enable to the comparative study, which has regarded to its new restructuring. By privileging the tv soap opera Saramandaia in totum, focusing its presetation on TV, we could find that Dias Gomes, aesthetically, has stimulated to a kind of politic description of daily life routine in order to give an access to the fantasy of the viewer, in the perspective of the ironic absurd and the supernatural. The structuring elements uses a recurrent narrative model of literature, through a new look and emergent character of broadcasting in new media though. Thus, our study focuses in part to the hypotheses about the new forms of reception, such as; how they relate and are linked to the narrative of the soap opera nowadays and to the transmedia convergence phenomenon. This study are theoretically based up on the history of the soap opera, its characteristics, through concepts and novelistic speech applications, discussed by Bakhtin and Kristeva. Also, as scientific contribution we also use the theories by Baccega, Balogh, Bakhtin, Campedelli, Chiampi, Fry, Lopes Nogueira, Ortiz, Ricoeur, Todorov and others Russian formalists that were studied during the research. Research point as results to the knowledge of the generative meaning of course, especially in the "Level Narrative" by this literary character in Saramandaia also in the transmedia language. / O objetivo que orienta esta dissertação é o de analisar os componentes estruturais entre a telenovela Saramandaia (1976) e o remake (2013), inspirado livremente na obra de Dias Gomes e transcrita por Ricardo Linhares. Seus consequentes efeitos estéticos e receptivos à contemporaneidade favorecem o estudo comparativo a respeito de sua nova reestruturação. Ao privilegiarmos a telenovela Saramandaia in totum, focando sua realização na TV, constatamos que Dias Gomes, esteticamente, estimulou um tipo de politização do cotidiano ao dar acesso à fantasia do telespectador pelo viés do irônico, do absurdo e do sobrenatural. Seus elementos formadores utilizam um modelo narrativo recorrente da literatura, porém com nova roupagem e com caráter emergente de difusão nas novas mídias. Logo, nosso estudo privilegia em parte as hipóteses sobre as novas formas de recepção, ou seja, como se relacionam e se vinculam com as narrativas da telenovela na atualidade e o fenômeno da convergência transmidiática. Este estudo fundamenta-se teoricamente sobre a história da telenovela, suas características, por meio de conceitos e de aplicações do discurso novelístico, evidenciados por Bakhtin e Kristeva. Também contribuíram: Baccega, Balogh, Bakhtin, Campedelli, Chiampi, Fry, Lopes, Nogueira, Ortiz, Ricoeur, Todorov, formalistas russos e outros que se fizeram necessários ao longo da pesquisa. A investigação busca como resultado o conhecimento do percurso gerativo de sentido, em especial no Nível Narrativo , pelo caráter literário presente em Saramandaia, igualmente a linguagem transmidiática.

Made available in DSpace on 2016-04-26T18:10:36Z (GMT). No. of bitstreams: 1 Izabelle Cristine Carbonar do Prado.pdf: 4332616 bytes, checksum: 42339d7c5c5b1748addaca165adaec18 (MD5) Previous issue date: 2010-12-02 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The topic of this research is the miniseries A Casa das Sete Mulheres, by Walter Negrão and Maria Adelaide Amaral, a version of the homonimous book by Leticia Wierzchowski, broadcasted by Rede Globo from January to April 2003. It starts from the hypothesis that the process of translation involves not only subjects of content but also medium in order to transpose the story from the source text, besides the possibility that this translation process turns the plot more dense and entangled due to the need to maintain chapters on the air for longer time to explore the audience success. The thesis attempts to understand how the communicative translation processes enrolled in socio-cultural repertoire of the mestizo societies are required to discuss the consequences of the construction procedures of soup-operas from literary works. As a general objective, approaches the intersemiotic translation of a book into a miniseries format, showing the changes in history and understanding the re-establishment of the characteristics and emotions described in the source text. It is important to observe that, between similarity and difference, the processing product must have a structure that pleases the public and enables their understanding on the whole, so it will be checked how the translation process is submitted to the entertainment features of television and how the implementation of decisions are marked by the performance of the product. Scholars of culture semiotics, communication theory, translation and creative processes are utilized to characterize the cultural procedures that are inserted into television production. The theorists of miscegenation also play an important role in the issues addressed in this study. The theoreticalmethodological approach is, at first, to conduct a brief survey on the history of soap opera in Brazil and Latin America, considering the configuration of every genre of television drama and highlighting the potential of narrative miniseries. Later are observed, as part of specific objectives, micro-comparisons between the main scenes of the book and the miniseries, focusing on the case study in which the analysis is based, illustrating the similarities and differences between the source language and target language, always considering the media culture changes - a relevant component in this study. It is also considered the state of the art of Brazilian miniseries in the national and Latin America landscape of television drama / O objeto desta pesquisa é a minissérie A Casa das Sete Mulheres, de Walter Negrão e Maria Adelaide Amaral, uma adaptação do livro homônimo da autora gaúcha Letícia Wierzchowski, apresentada pela Rede Globo de Televisão entre Janeiro e Abril de 2003. Parte-se da hipótese de que o processo de tradução envolve não só questões de conteúdo como também de forma na transposição da história do texto de partida, além da possibilidade deste processo de tradução tornar a trama mais densa e enredada por conta da necessidade de manter os capítulos no ar por mais tempo, para explorar o sucesso de audiência. A dissertação pretende compreender como os processos tradutório-comunicativos, inscritos no repertório sócio-cultural das sociedades mestiças, são necessários aos desdobramentos dos procedimentos de construção das telenovelas saídas de obras literárias. Para isso, como objetivo geral, aborda o processo de tradução intersemiótica de um livro no formato de minissérie, evidenciando as transformações na história e entendendo a re-criação das características e das emoções descritas no texto de partida. É importante ressaltar que, entre a semelhança e a diferença, o produto deve possuir uma estrutura que agrade ao público e possibilite a sua compreensão no todo, por isso será verificado como o processo de tradução se submete às características de entretenimento da televisão e como as decisões desta transposição são marcadas pelo desempenho comercial do programa. São utilizados estudiosos da semiótica da cultura, da teoria da comunicação, da tradução e dos processos de criação para caracterizar os procedimentos culturais que estão inseridos na produção televisiva. Os teóricos da mestiçagem também desempenham importante função nas questões abordadas neste estudo. O desenvolvimento teórico-metodológico adotado é, inicialmente, a realização de um breve levantamento da história da telenovela no Brasil e na América Latina, entendendo a configuração de cada gênero da teledramaturgia e evidenciando o potencial narrativo das minisséries. Posteriormente são realizadas, como parte dos objetivos específicos, micro-comparações entre as principais cenas do livro e da obra, focando o estudo de caso no qual a análise está fundamentada, exemplificando as semelhanças e diferenças entre a língua de partida e a língua de chegada, nunca esquecendo das alterações provenientes da cultura de mídia fator relevante neste estudo. Também é considerado o estado da arte das minisséries brasileiras dentro do panorama da teledramaturgia nacional e na América Latina