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The Global ETD Search service is a free service for researchers
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Showing 1 to 7 of 7 (0.059 seconds)Spelling suggestions: "subject:"tre love""
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Representations of fatherhood in True Love Magazine, 2003-201020 November 2013 (has links)
M.A. (Communication & Media Studies) / Please refer to full text to view abstract
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A multi-semiotic discourse analysis of feminine beauty in selected True Love magazine advertisementsWilton, Marion January 2015 (has links)
Magister Artium - MA / Advertising and media imagery shape attitudes about race and ethnicity, which means that advertising media play an influential part in constructing the frame through which individuals perceive racial differences and negotiate norms and ideas around ethnicity. Physical signifiers such as skin colour and hair are not only considered to be the most important facets in global beauty culture but are also seen as two principal phenotypes for racial classification (Mercer, 1987). These two attributes are also deeply situated within Black Feminist Discourse Studies
and are therefore, culturally and socially significant (Erasmus, 1997; Hunter, 2002). As Dyer (1997:539) states: “every decision about a person’s worth is based on what they look like, what they speak, and where they came from.” Hence, body and hair politics point to power struggles which stem from historical discourses. As part of a capitalist environment, magazines such as True Love are also perceived as cultural commodities which occupy an important role in creating, transmitting and disseminating cultural meaning and in this regard, advertised texts are rich in cultural meaning and embedded with hidden ideologies. As a vehicle of social communication, True Love professes to be a mouth piece and a representative of the liberal, modern Black South African woman and portrays itself as a guiding companion and expert on womanhood (Laden, 2001). In this capacity, the magazine also creates and transmits messages about ideal feminine beauty.
Following a multi-semiotic approach, by incorporating multimodality and social semiotics as proposed by Kress and Van Leeuwen (2006), Van Leeuwen (2006; 2008) and O’Halloran (2011, in press), beauty advertisements are scrutinized in terms of the different semiotic principles which afford for different meaning-making opportunities and interpretation. Critical discourse analysis suggested by Fairclough (1992) and Wodak (1995) renders a supportive function to this social semiotic multimodal framework, in order to critically explore how the notion of ideal feminine beauty is constructed in True Love and to establish how inter-semiotic
relations are created, reinforced and function to sustain hegemonic ideas in present-day beauty advertisements. The findings suggest that socio-cultural meanings attached to phenotypic traits such as skin and hair remain significant in contemporary society as a result of the repeated themes in media, especially advertising. Moreover, the consequential emphasis on beauty culture and the
omnipresence of idealised imagery in mainstream media are responsible for composing and sustaining the belief that Whiteness is the only valid prototype of beauty. The whitewashing of Black models show how idealised preferences in media prevail. Advertisements display how the message of White superiority and supremacy is constructed visually and verbally, ultimately producing an overall ‘visual language of Whiteness’ which leads to devaluing and erasing forms of Black identity, while enhancing forms of White representation. This paper exposes existing dominant cultural narratives in the True Love advertising discourse that simultaneously produce and inflate an idealised Eurocentric version of feminine beauty. The hegemonic standard of feminine beauty dictates that women conform to a specific ideal which involves engaging in practices such as skin lightening, hair straightening or wearing weaves. This dissertation concludes that digital alteration techniques and photographic manipulation are predominantly used in mass media to portray advertised images resembling ideals closer, which means that it effectively enhances rather than detracts from the norm. Thus, White women look Whiter, thinner, richer and blonder. Caucasian models in advertised texts all have light hair and are seldom portrayed with dark hair. Light-skinned Black women portray Western mediated standards through physical appearances which seem to emulate those of their White counterparts, which Hunter (2011) describes as the ‘illusion of inclusion’. Although this marketing strategy operates under the premise of fostering ethnic diversity and to include women from all racial backgrounds, it reinforces the belief that Anglo-Saxon beauty norms are the only valorised signifiers of idealised beauty. Essentially, having a light skin colour is associated with sophistication, social mobility, success and the resulting financial and economic well-being. Based on this, the magazine appears to promote and celebrate feminine
beauty based on a Eurocentric ideal.
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Tur i spel, otur i kärlek? : En multimodal kritisk diskursanalys om könsroller i realityserien True Love SverigeHedberg, Klara January 2022 (has links)
I följande studie undersöks hur realityserien True Love Sverige konstruerar könsroller. Syftet är att få insyn i hur media kan påverka vår identitet, samt blottlägga hur en produktion går till väga för att kommunicera ett visst budskap. De metoder och teorier jag har använt mig av är multimodal kritisk diskursanalys, socialsemiotik, könsrollsteorin och Yvonne Hirdmans genuskontrakt. Resultatet visar att deltagarna konstrueras genom produktionsbolagets val av setting, attribut, perspektiv, ljud och musik. Analysen visar att programmet till stor del (re)producerar traditionella könsroller, men att vissa deltagare – främst de av manligt kön – bryter dem.
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Literary Speculations: Postmodern Dystopia and the Future of BooksCorrie, Emily P 17 August 2012 (has links)
This thesis identifies a trend in recent postmodern dystopian fiction for writers to metafictionally dwell on the place of literature in a future context. This trend springs from similar concerns present in the two most influential dystopian novels of the 20th century, Brave New World and Nineteen Eighty-Four. Yet, unlike Huxley and Orwell, for whom the marginalization of literature is merely one symptom of the hegemonic control oppressing these future societies, the postmodern writers I identify situate the book’s future disappearance at the epicenter of culture’s demise. In Gary Shteyngart’s Super Sad True Love Story (2010), electronic technologies have virtually eradicated print literature and the novel’s protagonist, Lenny, mourns the changes in social interactions he sees this shift in technology bringing about. In Jeanette Winterson’s The Stone Gods (2007), marginalized book-lovers see the devastation humanity continuously wreaks on the environment as a product of culture’s disdain for literature.
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The Ghosts of Guilt and BetrayalVoller, Leslie Abigail 11 December 2009 (has links)
This creative thesis is comprised of stories that present characters who deal with guilt and betrayal and explores various points of view. My work is informed by Junot Diaz’s The Brief Wondrous Life of Oscar Wao, which contains these themes and investigates narration. “Surviving Fog” centers around survivor’s guilt, while “Coming Full Circle, No Detour in Sight” demonstrates how a person can exert expectations on herself due to a religious background and personal values. Perhaps my most provocative story, “Beyond the Apple Orchard” delves into the emotional and physical betrayal of a father and the daughter’s struggles to overcome it. “Photographic Memories” embraces the surreal with a woman who can “read” photographs, whose story blends past transgressions that bleed into current ones, while “Send in the Clowns, Send in the Mob” explores herd mentality that stems from fear. Ultimately, each story contains kernels of truth that readers can grasp.
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Kanegelorato Ya SepediLebaka, Kgeledi Johanna 13 December 2006 (has links)
In this thesis, an attempt is made to divide the Sepedi love story as 'light' reading matter into different subgenres. In order to do this, a distinction has to be made between 'light' and 'serious' reading matter. In short, this distinction amounts to the following: -- The love story as 'light' reading matter deals with problems of love that are resolved and the story ends on a happy mate. The conflict is between 'good' and 'bad' and the characters are portrayed accordingly and are hence flat characters. There is more emphasis on action than on characterisation. Suspense is built up by a series of problems that prevent the lovers from meeting each other. The problems are gradually resolved and the story has a happy ending. -- The love story as 'serious' reading literature emphasises problems in life rather than problems of love. The characters are portrayed fully in their exposure to the storm and stress of life. The love affair being depicted is headed for disappointment, and the ending is often tragic. In Sepedi literature, the love story as 'light' reading matter (or entertainment literature) is divided into five subgenres, i.e. the love story as (a) a moral story, (b) a subdivision of the detective story, the romantic mystery of Ramsdell (1999), (c) the ethnic or multicultural romantic story, (d) the historical love story, and (e) the true love story. In the love story as a moral story, there is a strong focus on the loyalty of the lovers. Where there is infidelity, the good relationship can only be restored if the guilty one received his punishment. Example of this are Noto-ya-Masogana (Tsebe, 1954), Morweši (Motuku, 1969), Tshehlana ya ka (Bosoma, 1990) and Sesasedi sa katlego (Kekana, 1990). In the love story as a subdivision of the detective story, the intrigue (of love) is used to intensify the secret in the detective story. Kekana's Nonyana ya Tokologo (1985) and Nnete Fela (1989) are two suitable examples in which the attitude of the heroine prevents a quick unravelling of the problem. In the ethnic or multicultural love story, the happy ending is delayed by the fact that the lovers do not belong to the same ethnic or cultural group and because the love affair is under social and cultural pressure. Megokgo ya Lethabo (1992) is an example of such a story in which the lovers are a Mopedi and a Motsonga respectively, and the young man's family was not at all in favour of the relationship. In the historical love affair, the conflict in the story is intensified by the difference between the traditional and the present-day outlook on life. This subgenre differs from the previous one in that the conflict originates within the same ethnic or cultural group and in that it is the result of the changes that have, amongst other things, been brought about by urbanisation. An example of this subgenre is Rafapa' s Leratosello (1978). The true love story shares many of its characteristics with the love story as a moral story, as the conflict is also between 'good' and 'bad' characters. In this subgenre there is, however, no place for peace; the 'good' is not used to emphasise the moral. Examples of this are Leratorato (Motuku, 1977), Lerato (Ramokgopa, 1978) and Le Lerato (Moloisie, 1986). / Thesis (DLitt (African Languages))--University of Pretoria, 2006. / African Languages / unrestricted
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From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films / Från Snövit till Frost : En utvärdering av populära könsrepresentations-indikatorer tillämpade på Disneys prinsessfilmerNyh, Johan January 2015 (has links)
Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods. / <p>Betyg VG (skala IG-VG)</p>
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