Browsing by Author "Botma, Gabriel Johannes"
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- Item"Koos sê..." : 'n kritiese diskoersanalise van die metakapitaal van ʼn invloedryke Suid-Afrikaanse mediamagnaat(Suid-Afrikaanse Akademie vir Wetenskap en Kuns, 2016-03) Botma, Gabriel JohannesHierdie artikel onderneem 'n kritiese diskoersanalise van die openbare uitsprake van die Afrikaanse mediamagnaat Koos Bekker van Naspers-faam, sodat die diskursiewe magsverhoudings waarbinne hy hom bevind duideliker omskryf kan word. Behalwe dat Bekker baie media-blootstelling gekry het, het hy die afgelope dekade of meer ook verskeie meningsartikels tot die koerante van Naspers bygedra, en die argument is dat hy as 'n invloedryke meningsvormer (die draer van "meta-kapitaal" in n Bourdieuaanse sin) in die samelewing funksioneer. In dié verband verwys die artikel na die diskoersteorie van Foucault en Bourdieu se vergelykbare teorieë oor die verband tussen taalgebruik en magsuitoefening. Daaruit vloei die metodiek van kritiese diskoersanalise, wat na aanleiding van die werk van Fairclough en Van Dijk hier op drie vlakke - teks, konteks van produksie, en samelewingskonteks - geskied. Die bevinding van die artikel is onder meer dat Bekker se komplekse posisionering ten opsigte van Afrikaans en Afrikaners gekenmerk word deur 'n identifisering met wit en bruin Afrikaanse jeugdiges, maar dat hy minder begrip vertoon vir die ouer geslag wit Afrikaners. Bekker beklemtoon ook gereeld die positiewe aspekte van kulturele inklusiwiteit en diversiteit, en is oor die algemeen optimisties, maar by tye ook skerp krities oor die "nuwe" Suid-Afrika. Sy skryfstyl, keuse van onderwerpe en publikasieplatforms getuig van strategiese berekendheid.
- ItemManufacturing cultural capital : arts journalism at Die Burger (1990-1999)(Stellenbosch : Stellenbosch University, 2011-12) Botma, Gabriel Johannes; Wasserman, Herman; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Journalism.ENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger during a period of radical transformation in South African society. The study is conducted within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory framework. While Bourdieu uses cultural capital in the main to describe the role of education and culture in the maintenance of elite power hierarchies, this study investigates how the nature of cultural capital at Die Burger was affected by power shifts when competing elites jostled for dominance in a post-apartheid dispensation. By drawing on Michel Foucault’s theory of discourse, the focus of research further incorporates the discursive positioning of arts journalists in their coverage of arts and cultural events in the 1990s in relation to shifting configurations of power. The argument is that arts journalism at Die Burger can be situated within networks of power and thus contributed to the structuring of post-apartheid society. In the words of Antonio Gramsci, arts journalists became involved in hegemonic and counter-hegemonic struggles. Flowing from these theoretical departure points, the study identifies critical discourse analysis (CDA) as an appropriate research method for textual analysis and adapts a five-phase model suggested by Teun van Dijk as part of his contextual CDA approach. The analysis thus focuses in turn on the context of discourse, discursive struggles between arts journalists and political journalists, strategies of classification used by arts journalists, emerging themes of discourse in arts journalism, and how the selection and presentation of arts journalism on news and arts pages were influenced by various factors, including the personal background and experiences of arts journalists (The concept of Bourdieu’s “habitus”). To affect triangulation and enhance the textual analysis, the study also employs semi-structured indepth interviews with arts journalists who were prominent at Die Burger in the 1990s. The study found that arts journalists were at the intersection of different and often diverging and contradictory power-points in post-apartheid discourses at the newspaper. On the one hand, some arts journalists embraced a legacy of editorial independence at the arts desk and sometimes created oppositional discourses to the official political view of the newspaper: for instance on the issue of alleged “collective guilt” for Afrikaners and whether Naspers should appear before the Truth and Reconciliation Commission (TRC) to explain its role in supporting the National Party (NP) during apartheid. On the other hand, many arts journalists shared the editor’s apparent aversion to the international cultural boycott supported by the ANC and harboured some of the same skepticism about the so-called Africanisation of society and resultant attacks on Eurocentrism in the arts. This study -- the first on this level to focus on Afrikaans arts journalism since 1994 -- represents a significant contribution to knowledge in the under-researched field of arts journalism in South Africa. Its purpose and process has furthermore developed theoretical and methodological innovations which can enrich the field of journalism studies.
- ItemPublic media and the public theology : at loggerheads or partners in complexity?(Pieter de Waal Neetlhling Trust, 2012) Botma, Gabriel JohannesMedia criticism, both from inside the journalism and media studies fraternity and outside, such as theology, often depart from reductionist normative functionalist and critical political economy perspectives. Examples from the former perspective include complaints from theologians that the media set the agenda, also relating to matters of religion, and that the content the media provide does not contribute to a healthy, moral and peaceful society. Media researchers who adopt critical perspectives often argue in turn that the media are tied to elite capitalist interests and values and contribute to the marginalisation and suppression of the disenfranchised in the deeply unequal post-apartheid South African society.
- ItemSinergie as politiek-ekonomiese strategie in die balansering van idealisme en markgerigtheid by Die Burger Wes-Kaap, 2004-2005(Stellenbosch : University of Stellenbosch, 2006-03) Botma, Gabriel Johannes; Wasserman, Herman; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Journalism.The leading South African media groups are subject to many challenges to their political economic interests as part of the international capitalist profit economy. These challenges coincided with the democratization and transformation of South Africa since 1994, which heralded many changes to the national political economic context within which media companies operate.
- ItemDie spies van die nasie : die demokratiese rol van die populere media en avant-garde kuns in Suid-Afrika(LitNet, 2013-03) Botma, Gabriel JohannesDie openbare oproer en debat in Suid-Afrika oor Brett Murray se The Spear-kunswerk in 2012 het verskeie vraagstukke na vore gebring. Hiervan is een aspek, die verwikkelde rol van kuns en die media in die daarstelling van ’n openbare sfeer in ’n demokratiese samelewing, moontlik nog onderbeklemtoon. Eerstens bespreek en evalueer hierdie artikel teoretiese insigte van Levine (2007) en Bourdieu (1993) oor die verhouding tussen sogenaamde avantgarde kuns en die populêre media. Vervolgens kom die eietydse rol van die populêre media en avant-garde kuns in ’n postkoloniale konteks na aanleiding van die The Spear-geval aan bod. Die artikel werp lig op die belangrike plek en rol van gemedieerde kuns en kultuur in ’n ontwikkelende demokrasie – of soos uitgedruk deur die boektitel van Levine (2007), effe aangepas (my toevoeging is tussen hakies): Provoking democracy: Why we need the arts (and the media). Ten slotte word die argument gestel dat ’n inklusiewe en dinamiese openbare sfeer deur die vrye wisselwerking van avant-garde kuns en die populêre media versterk word. In teenstelling met die algemeen-aanvaarde openbare-sfeer-teorie, waarvolgens slegs rasionele debat wat tot konsensus lei die demokrasie versterk, volg die insig dus dat konflik en onvoorspelbare uitkomste net so belangrik is.