Made available in DSpace on 2016-12-08T16:52:02Z (GMT). No. of bitstreams: 1 123962.pdf: 853116 bytes, checksum: 5b96138465f60c0aec070f138dc53547 (MD5) Previous issue date: 2015-08-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Que rei sou eu?, aired by Globo TV in the late 80s, is a milestone in the history of Brazilian soap operas for breaking her traditional canons: melodrama gives way to awareness of social and political problems, a hybridization of signs real e fictional that generated tension in the world of political and social reality. The use of satire and allegory contributes to portray the reality of Brazilian New Republic through a European kingdom of the eighteenth century. These features enhance the power of dramatization of the most important product of the Brazilian cultural industry. But the tension between fiction and reality turned out to serve as a counterpoint to the politicization of aesthetics, to enable the articulation of a speech emphasizing the aesthetics of political practices. / A novela Que Rei sou Eu?, exibida pela Rede Globo de Televisão no fim dos anos 80, é um marco na história da teledramaturgia brasileira por romper-lhe os cânones tradicionais. O melodrama folhetinesco cede espaço à conscientização de problemas sociais e políticos numa operação dialética entre signos reais e ficcionais, o que acabou por gerar tensão no universo da realidade política e social. O recurso à sátira e à alegoria contribuiu para a tarefa de retratar a realidade brasileira da Nova República por meio de um reino europeu do século XVIII. Essas características realçam o poder da teatralização do mais importante produto da indústria cultural brasileira. Porém, a tensão entre ficção e realidade acabou por servir de contraponto: gerou a politização da arte da teledramaturgia, ao possibilitar sua articulação com a estetização das práticas políticas.

Afrikaans television has experienced numerous transitions since the introduction of television in South Africa in 1976. An interesting trend in Afrikaans television since 2007 involves the rebroadcast of programmes, by the SABC and kykNET, which were originally produced 10 or even 20 years ago. These broadcasters do not only rebroadcast their own Afrikaans material, they also rebroadcast each other’s material. Consequently, for the last several years, Afrikaans television programmes have been diverse in terms of source (SABC or kykNET) and original context (time of production and first broadcast). Against this background certain questions arose regarding the comparability of these different Afrikaans programmes and how each programme constructs Afrikaans identity in a certain way that is relative to its original context of production. This comparative study explored the construction of Afrikaans identity in three Afrikaans television dramas each originating from a different context of production. The sample consisted of Ballade vir ’n Enkeling (BE) (SABC: 1987; rebroadcast on SABC 2: 2007), Wenners (SABC: 1992/1993; rebroadcast on kykNET: 2009) and Song vir Katryn (Song) (kykNET: 2003; rebroadcast on SABC 2: 2008). This study is situated within the context of cultural studies and a qualitative visual textual analysis was conducted, using narrative and semiotic analysis methods to unpack the meanings communicated by the selected visual texts. Relevant themes, including language, gender, class and values, were identified and examined. It was found that language-wise, these programmes reveal a major shift from the 1980s and early 1990s (on the SABC) to the 2000s (on kykNET) regarding the use of the Afrikaans language. BE and Wenners show standardised Afrikaans as the norm, while in Song nonstandardised Afrikaans takes the dominant position. In terms of gender the texts from the 1980s and 1990s endorse traditional gender roles and heterosexual relationships as part of Afrikaans identity. The text from the 2000s, conversely, depicts both traditional and modern conceptualisations of gender and acknowledges both heterosexual and homosexual relationships. Class did not surface as a significant theme in BE or Wenners, but in Song this theme highlights the class awareness of a conservative Afrikaans community. Song constructs an Afrikaans identity that challenges Afrikaner conservatism. Each programme’s values themes highlighted a particular focus. BE explores the complex relationship between the individual and the group within the 1980s. Wenners emphasises a conservative approach to Afrikaans identity that favours order, authoritative structure and good behaviour. In contrast, Song tackles the controversial issues of substance and sexual abuse, and presents an Afrikaans identity that is willing to deal with these taboo topics in an openminded way. Finally, it was found that although all three texts are critical of the traditional nuclear family construct, they still maintain that even when contested, family remains a key part of Afrikaans identity. In comparing these texts, similarities and differences were identified, but the findings show a noticeable transmutation, from the 1980s to the 1990s and finally the 2000s, in the conceptualisation and representation of Afrikaans identity. / Dissertation (MA)--University of Pretoria, 2014. / Afrikaans / MA / Unrestricted

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Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This dissertation investigates the medical drama series as a television phenomenon which foregrounds the body as central narrative device. By considering House M.D. and Jozi H as global and local manifestations of this genre, transnational, spatial and metafictional categorisations of the body are traced to reveal its nature as social spectacle, and meaningbearing corporeal text. The body and its concomitant identities are exposed as continually and continuously screened inside, outside and, moreover, in relation to the hospital. As an institutional space, the hospital is (re)positioned in national and transnational discourses as nexus for personal and public, individual and societal, as well as local and global truths about the body (politic). Michel Foucault’s understanding of the human body, its position as part of the larger body politic, and its control by the state is employed to foreground the bio-political classification of the (ab)normal body. Both the hospital, as space for healing, controlling and containing the body, as well as the body, as a corporeal and a psychic space itself, are signified as heterotopic spaces: part of, but also outside other places and bodies. / AFRIKAANSE OPSOMMING: Hierdie verhandeling ondersoek die mediese dramareeks as televisie-fenomeen wat die liggaam as sentrale narratiewe middel aanwend. Deur House M.D. en Jozi H as globale en plaaslike uitbeeldings van hierdie genre in oënskou te neem, word transnasionale, ruimtelike en metafiksionele kategoriserings van die liggaam nagespoor om die aard daarvan as sosiale verskynsel en betekenisdraende liggaamlike teks te onthul. Die liggaam en sy verwante identiteite word aaneenlopend en aanhoudend beskou binne, buite en, verder, in verhouding tot die hospitaal. Die hospitaal as institisionele ruimte word (her)posisioneer in nasionale en transnasionale diskoerse as skakel tussen persoonlike en openbare, individuele en sosiale, asook plaaslike- en globale waarhede oor die (staats)liggaam. Michel Foucault se beskouing van die liggaam en die groter staatsliggaam, asook die staat se beheer daaroor beklemtoon die bio-politiese klassifisering van die (ab)normale liggaam. Sowel hospitaal, as helingsruimte, ruimte van beheer en inperkende ruimte, as die liggaam, as ’n materiële en ’n psigiese ruimte, word voorgestel as heterotopias: deel van, maar ook verwyder van, ander ruimtes, plekke en liggame.

Thesis deals with basic tendencies and preconditions of the aesthetic development of Czechoslovak television drama of the 50s and 60s through its specialist reflection. The method of a discourse analysis which is applied to the area of aesthetics and inspired by the concepts of Michel Foucault and Achim Landwehr maps locally- and time-based field of the discourse about television drama and penetrates surface relations between subdiscourses (television criticism, television theory and influences of institutions) with the aim to capture the formative order of the discourse. A basic axis of the analysis is the evolution of the concept of television specifity which will be tracked through the crucial discussions of the period. They reflects a gradual revision of initial assumptions about the formal emancipation and the legitimacy of art of television. The next step of the analysis is the mutual comparison of solutions at which these discussions arrived via various aspects and methods. This way a second goal of the discourse analysis will be fulfilled - to trace the essential unity of the discourse which is represented by the complex of jointly asserted requirements about the ideal form of the television drama. The complex is possible to consider as an implicit poetics of Czechoslovak television drama...

The TV series represent a specific phenomenon in Egypt and other Arab countries. Albeit generally regarded as an uninteresting part of popular culture rather than a sort of art, the TV dramas should be seriously taken into consideration by all of social, history, and art scientists. Firstly, because of the extreme popularity among the large majority of the Egyptians, the series are often used by authorities for spreading certain ideological and political messages. The questions of national unity and the rise of militant Islam were chosen as examples to prove this in the thesis. Secondly, the Egyptian TV series reflect the social changes in Egyptian society and promote modernisation. This is shown in the thesis on the cases of marriage and the woman status. The production of TV series in Egypt is enormous and watching them is very widespread. Therefore, the TV dramas represent a powerful means to influence Egyptian society. Keywords: TV series, television, Egypt, popular culture, film, television drama, Egyptian society, social changes, satellite broadcasting, media.

This is an exploratory study conducted to assess the way in which social media could enhance the experience for audiences of the South African Broadcasting Corporation (SABC) television drama. This study focused on Facebook and Twitter since they are two of the top five social media networks that are popular in the country and which have the potential to offer television more mileage in terms of communicating with its audience and extending its reach. The guiding theory for this study was uses and gratifications theory. This theory was employed to assist in assessing the opportunities that exist for SABC television drama, as well as to assess the ways in which the audience believe social media could be helpful in interacting with SABC television drama. The results for this study are interesting in that the majority of respondents believed that having a hashtag on screen during a drama broadcast would help to increase interactivity with the programme, as it could help direct audiences to the correct interactive space for that programme and they would be able to share their ideas and comments on the drama directly with the producers, making feedback immediate. It was interesting to note that the respondents believed that they could interact with SABC television drama for information relating to the story. The findings suggest that SABC television drama needs to actively adopt social media in its programmes for maximum interaction. There is also the need for an understanding of how they Facebook and Twitter could be embedded in SABC drama. / Communication Science / M.A. (Communication Science)