Convergence of old and new: a case study analysis of the development online by a South African radio station: Radiosondergrense/www.rsg.co.za
- Authors: Vasques, Vanessa Claudia
- Date: 2002
- Subjects: Radio stations -- South Africa , Radio stations -- South Africa -- Marketing , Radio stations -- Computer network resources , Radiosondergrense
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3498 , http://hdl.handle.net/10962/d1003913 , Radio stations -- South Africa , Radio stations -- South Africa -- Marketing , Radio stations -- Computer network resources , Radiosondergrense
- Description: This thesis is a case study analysis of the dream one radio station had about creating something new and unique on the Internet. RadioSonderGrense (RSG), an Afrikaans South African radio station, saw opportunities for themselves as a radio station on the Internet and put enormous resources and man-power into their venture. Their vision of what the Internet could bring to their radio station, and what they could bring to a website set the ground for creative and innovative thought. This dissertation is an examination of whether the Internet lived up to the expectations RSG had for it, and whether they were able to use their resources (in terms of their audience, their advertisers and the uniqueness of radio) to create something new and never seen before. The foremost aim of this dissertation is to shed some light onto the up-to-now under researched area of why radio stations have begun to develop on the Internet. Through the analysis of RSG, their comes to this subject some new thoughts and ideas about the convergence of these two mediums. RSG, and radio in general, are examined historically, practically and in comparison to the Internet. This is done in order to fully grasp the project that RSG had set for themselves and to realize where they had come from and where they hoped to go. It is argued that although RSG had hoped for great things, their innovative thought was not enough to guarantee them their dreams. They were not able to fully utilize the resources available to them in combination with what the Internet could offer them to fulfill the expectations they had for themselves. The foremost conclusion is that although RSG were able to envisage what the Internet could add to the radio station, they fell short of giving their listeners, users and advertisers a tool which could make the RSG website truly unique. Their website gives the user some interesting and useful applications, but it does not make full use of what the Internet and radio together could create.
- Full Text:
- Date Issued: 2002
- Authors: Vasques, Vanessa Claudia
- Date: 2002
- Subjects: Radio stations -- South Africa , Radio stations -- South Africa -- Marketing , Radio stations -- Computer network resources , Radiosondergrense
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3498 , http://hdl.handle.net/10962/d1003913 , Radio stations -- South Africa , Radio stations -- South Africa -- Marketing , Radio stations -- Computer network resources , Radiosondergrense
- Description: This thesis is a case study analysis of the dream one radio station had about creating something new and unique on the Internet. RadioSonderGrense (RSG), an Afrikaans South African radio station, saw opportunities for themselves as a radio station on the Internet and put enormous resources and man-power into their venture. Their vision of what the Internet could bring to their radio station, and what they could bring to a website set the ground for creative and innovative thought. This dissertation is an examination of whether the Internet lived up to the expectations RSG had for it, and whether they were able to use their resources (in terms of their audience, their advertisers and the uniqueness of radio) to create something new and never seen before. The foremost aim of this dissertation is to shed some light onto the up-to-now under researched area of why radio stations have begun to develop on the Internet. Through the analysis of RSG, their comes to this subject some new thoughts and ideas about the convergence of these two mediums. RSG, and radio in general, are examined historically, practically and in comparison to the Internet. This is done in order to fully grasp the project that RSG had set for themselves and to realize where they had come from and where they hoped to go. It is argued that although RSG had hoped for great things, their innovative thought was not enough to guarantee them their dreams. They were not able to fully utilize the resources available to them in combination with what the Internet could offer them to fulfill the expectations they had for themselves. The foremost conclusion is that although RSG were able to envisage what the Internet could add to the radio station, they fell short of giving their listeners, users and advertisers a tool which could make the RSG website truly unique. Their website gives the user some interesting and useful applications, but it does not make full use of what the Internet and radio together could create.
- Full Text:
- Date Issued: 2002
The use of the female voice in three novels by J.M. Coetzee
- Authors: Graham, Lucy Valerie
- Date: 1997
- Subjects: Coetzee, J. M., 1940- -- Criticism and interpretation , Coetzee, J. M., 1940- Foe , Coetzee, J. M., 1940- In the heart of the country , Coetzee, J. M., 1940- Age Of Iron , Women in literature , Voice in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2224 , http://hdl.handle.net/10962/d1002267 , Coetzee, J. M., 1940- -- Criticism and interpretation , Coetzee, J. M., 1940- Foe , Coetzee, J. M., 1940- In the heart of the country , Coetzee, J. M., 1940- Age Of Iron , Women in literature , Voice in literature
- Description: This study investigates J.M. Coetzee's use of the female voice in In the Heart of the Country, Foe and Age of Iron, and is based on the premise that Coetzee's position as a male author using a female voice is important for readings of these novels. Although the implications of Coetzee's strategy are examined against the theoretical background of feminist or gender-related discourses, this study does not attempt to claim Coetzee for feminism, nor to prove him a misogynist. Instead, it focuses on the specific positional and narrative possibilities afforded by Coetzee's use of a female voice. Chapter One comments on the fact that Coetzee's strategy of "textual cross-dressing" has not been given much critical attention in the past, observing that research on South African literature has largely been limited to studies of racial and colonial problematics. This introductory chapter mentions that the different female narrators in Coetzee's novels articulate aspects of a discourse in crisis, resulting in profound ambivalence in their representation. Chapter Two observes that the female voices in Coetzee's novels invoke the textual illusion of a speaking/writing female body, and explains that this is useful in expressing aspects of what Coetzee refers to as the suffering body. Although Coetzee appropriates a female narrative position and employs certain subversive textual elements associated with "the feminine", attempts made by certain critics to label Coetzee's writing as ecriture feminine are rejected as highly problematic. Instead, the study contends that the femaleness of the narrators relative to "masculine" discursive power enables Coetzee to perform a critique of power "from a position of weakness". Furthermore, the presence of certain "feminine" elements within these narrators suggests Coetzee's affiliation with characteristics derided within phallocratic discourses, and becomes a strategic means of fictive self-positioning, of figuring his own position as a dissident. Chapter Three is a study of In the Heart of the Country, and proposes that Magda is represented as a typical nineteenth century hysteric. Her hystericized narrative is linked to certain avant-garde narratives, such as the nouveau roman and "New Wave" cinematography, both cited by Coetzee as influences on the novel. Furthermore, the novel provides insight into the ambiguous role of the hysteric and dramatises the position of the dissident: on a discursive level Magda's narrative is subversive, and yet in terms of social "reality" her revolt is ineffectual. Chapter Four addresses the issue of author-ity in Foe, and draws on Coetzee's affiliation with Susan Barton, the struggling authoress, whose narrative reveals the levels of power and authority operating within, novelistic discourse when she asks "Who ,is speaking me?". The study observes that Foe also performs a critique of the power-seeking project of liberal feminism, as the novel sets Susan's quest for authorship against the background of a more radical "otherness", that of Friday. Chapter Five asserts that Age of Iron exploits the ethical possibilities of a maternal discourse. Tracing parallels between images of motherhood in psychoanalytic feminism and in Age of Iron, this chapter argues that Kristeva's theory of abjection is relevant for a reading of Elizabeth Curren's position as a mother who has cancer. The childbirth metaphor as it appears in Age- of Iron becomes an alternative and profoundly ethical way of figuring the process of novel writing.
- Full Text:
- Date Issued: 1997
- Authors: Graham, Lucy Valerie
- Date: 1997
- Subjects: Coetzee, J. M., 1940- -- Criticism and interpretation , Coetzee, J. M., 1940- Foe , Coetzee, J. M., 1940- In the heart of the country , Coetzee, J. M., 1940- Age Of Iron , Women in literature , Voice in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2224 , http://hdl.handle.net/10962/d1002267 , Coetzee, J. M., 1940- -- Criticism and interpretation , Coetzee, J. M., 1940- Foe , Coetzee, J. M., 1940- In the heart of the country , Coetzee, J. M., 1940- Age Of Iron , Women in literature , Voice in literature
- Description: This study investigates J.M. Coetzee's use of the female voice in In the Heart of the Country, Foe and Age of Iron, and is based on the premise that Coetzee's position as a male author using a female voice is important for readings of these novels. Although the implications of Coetzee's strategy are examined against the theoretical background of feminist or gender-related discourses, this study does not attempt to claim Coetzee for feminism, nor to prove him a misogynist. Instead, it focuses on the specific positional and narrative possibilities afforded by Coetzee's use of a female voice. Chapter One comments on the fact that Coetzee's strategy of "textual cross-dressing" has not been given much critical attention in the past, observing that research on South African literature has largely been limited to studies of racial and colonial problematics. This introductory chapter mentions that the different female narrators in Coetzee's novels articulate aspects of a discourse in crisis, resulting in profound ambivalence in their representation. Chapter Two observes that the female voices in Coetzee's novels invoke the textual illusion of a speaking/writing female body, and explains that this is useful in expressing aspects of what Coetzee refers to as the suffering body. Although Coetzee appropriates a female narrative position and employs certain subversive textual elements associated with "the feminine", attempts made by certain critics to label Coetzee's writing as ecriture feminine are rejected as highly problematic. Instead, the study contends that the femaleness of the narrators relative to "masculine" discursive power enables Coetzee to perform a critique of power "from a position of weakness". Furthermore, the presence of certain "feminine" elements within these narrators suggests Coetzee's affiliation with characteristics derided within phallocratic discourses, and becomes a strategic means of fictive self-positioning, of figuring his own position as a dissident. Chapter Three is a study of In the Heart of the Country, and proposes that Magda is represented as a typical nineteenth century hysteric. Her hystericized narrative is linked to certain avant-garde narratives, such as the nouveau roman and "New Wave" cinematography, both cited by Coetzee as influences on the novel. Furthermore, the novel provides insight into the ambiguous role of the hysteric and dramatises the position of the dissident: on a discursive level Magda's narrative is subversive, and yet in terms of social "reality" her revolt is ineffectual. Chapter Four addresses the issue of author-ity in Foe, and draws on Coetzee's affiliation with Susan Barton, the struggling authoress, whose narrative reveals the levels of power and authority operating within, novelistic discourse when she asks "Who ,is speaking me?". The study observes that Foe also performs a critique of the power-seeking project of liberal feminism, as the novel sets Susan's quest for authorship against the background of a more radical "otherness", that of Friday. Chapter Five asserts that Age of Iron exploits the ethical possibilities of a maternal discourse. Tracing parallels between images of motherhood in psychoanalytic feminism and in Age of Iron, this chapter argues that Kristeva's theory of abjection is relevant for a reading of Elizabeth Curren's position as a mother who has cancer. The childbirth metaphor as it appears in Age- of Iron becomes an alternative and profoundly ethical way of figuring the process of novel writing.
- Full Text:
- Date Issued: 1997
Technologies of the self in the writings of William S Burroughs
- Authors: Williams, Michael John
- Date: 1996
- Subjects: Burroughs, William S., 1914- -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2225 , http://hdl.handle.net/10962/d1002268 , Burroughs, William S., 1914- -- Criticism and interpretation
- Description: William Burroughs's profane life has been an affront to conventional morality, and his transgressive works have strained against the thematic and formal boundaries of literature. Although he has remained a problematic figure, he is gradually gaining recognition as a literary innovator. This thesis argues that his writings may be understood as technologies of the self, that is, the texts are tools that the writer Oses to transform himself. The Introduction outlines the problems that his writings pose for criticism; provides an overview of critical responses to his work; and demonstrates the appropriateness of Michel Foucault's theory of the technologies of the self as an approach to his texts. Furthermore, it makes a comparison between Burroughs's concerns and similar concerns evident in Foucault. The most prominent of these is a fear of control, and a desire to escape from control. It is argued that this similarity arises from the writers' shared experience of homosexuality in the twentieth century. This experience provokes them to undertake a·work of homographesis, in which they attempt to undermine the construction of identity in text, whilst simultaneously reinscribing identity in problematized autobiographical writing. Chapter One provides a corrective to the critical neglect of Burroughs's homosexuality and focuses on his sexual problematic as a key factor in the development of his literary style. It argues that the writer has an abject imagination that was precipitated by three principal traumatic experiences: his homosexuality, his addiction to opiates, and the accidental shooting of his wife. The chapter examines the way that the writer develops his unique literary style, the routine, in an attempt to express his psychic disintegration. The routine becomes the basic building block of Naked Lunch, serving both as a cathartic release of psychic anguish and as an attempt to subvert repressive social and linguistic structures. The metaphor of the anal aesthetic is introduced to describe the intersection of linguistic, psychic and political strategies in the texts. Chapter Two addresses the period,subsequent to Naked Lunch, in which Burroughs experimented extensively with the cut-up technique to develop a form of aleatory collage. The chapter argues that the writer hoped that the technique would enable him to transform himself and to~discover a new way of thinking, but suggests that its extreme nature both isolated him from his audience and intensified his psychic abjection. Chapter Three follows on from this to argue that the writer responds to the limitations of the cut-up in The Wild Boys by returning to a more intelligible form of writing. This return corresponds with an attempt to inscribe homosexual themes into his work directly. However, the combination of a homosexual agenda and the writer's defence against the identity loss of abjection leads him to assert a radical masculine identity that causes him to perceive women as the chief perpetrators of control. As a result, he rejects women from his mythological system. Chapter Four suggests that in Cities of the Red Night and The Place of Dead Roads the writer moves away from the radical queer agenda of The Wild Boys in the hope of discovering a form of ethics that avoids the traps of universalized humanism and the harsh "othering" of the queer agenda. The chapter draws a parallel between Burroughs's individualized ethics and Foucault's idea of an ethics grounded in aesthetic self-fashioning. Chapter Five examines The Western Lands, in which the writer confronts death in order to discover the nature of individual value in a normalized culture. Like Foucault, Burroughs believes that the most important task in a limited existence is the dandyistic creation of the self.
- Full Text:
- Date Issued: 1996
- Authors: Williams, Michael John
- Date: 1996
- Subjects: Burroughs, William S., 1914- -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2225 , http://hdl.handle.net/10962/d1002268 , Burroughs, William S., 1914- -- Criticism and interpretation
- Description: William Burroughs's profane life has been an affront to conventional morality, and his transgressive works have strained against the thematic and formal boundaries of literature. Although he has remained a problematic figure, he is gradually gaining recognition as a literary innovator. This thesis argues that his writings may be understood as technologies of the self, that is, the texts are tools that the writer Oses to transform himself. The Introduction outlines the problems that his writings pose for criticism; provides an overview of critical responses to his work; and demonstrates the appropriateness of Michel Foucault's theory of the technologies of the self as an approach to his texts. Furthermore, it makes a comparison between Burroughs's concerns and similar concerns evident in Foucault. The most prominent of these is a fear of control, and a desire to escape from control. It is argued that this similarity arises from the writers' shared experience of homosexuality in the twentieth century. This experience provokes them to undertake a·work of homographesis, in which they attempt to undermine the construction of identity in text, whilst simultaneously reinscribing identity in problematized autobiographical writing. Chapter One provides a corrective to the critical neglect of Burroughs's homosexuality and focuses on his sexual problematic as a key factor in the development of his literary style. It argues that the writer has an abject imagination that was precipitated by three principal traumatic experiences: his homosexuality, his addiction to opiates, and the accidental shooting of his wife. The chapter examines the way that the writer develops his unique literary style, the routine, in an attempt to express his psychic disintegration. The routine becomes the basic building block of Naked Lunch, serving both as a cathartic release of psychic anguish and as an attempt to subvert repressive social and linguistic structures. The metaphor of the anal aesthetic is introduced to describe the intersection of linguistic, psychic and political strategies in the texts. Chapter Two addresses the period,subsequent to Naked Lunch, in which Burroughs experimented extensively with the cut-up technique to develop a form of aleatory collage. The chapter argues that the writer hoped that the technique would enable him to transform himself and to~discover a new way of thinking, but suggests that its extreme nature both isolated him from his audience and intensified his psychic abjection. Chapter Three follows on from this to argue that the writer responds to the limitations of the cut-up in The Wild Boys by returning to a more intelligible form of writing. This return corresponds with an attempt to inscribe homosexual themes into his work directly. However, the combination of a homosexual agenda and the writer's defence against the identity loss of abjection leads him to assert a radical masculine identity that causes him to perceive women as the chief perpetrators of control. As a result, he rejects women from his mythological system. Chapter Four suggests that in Cities of the Red Night and The Place of Dead Roads the writer moves away from the radical queer agenda of The Wild Boys in the hope of discovering a form of ethics that avoids the traps of universalized humanism and the harsh "othering" of the queer agenda. The chapter draws a parallel between Burroughs's individualized ethics and Foucault's idea of an ethics grounded in aesthetic self-fashioning. Chapter Five examines The Western Lands, in which the writer confronts death in order to discover the nature of individual value in a normalized culture. Like Foucault, Burroughs believes that the most important task in a limited existence is the dandyistic creation of the self.
- Full Text:
- Date Issued: 1996
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