Esta pesquisa trata das maneiras pelas quais a imagem pública do artista popular gaúcho Vitor Mateus Teixeira, conhecido como Teixeirinha – que morreu em 1985, depois de uma longa carreira de sucesso no Brasil e no exterior na música e no cinema – é construída, percebida e colocada em circulação. Através de uma etnografia das manifestações de seus fãs no cemitério da Santa Casa, das correspondências dos fãs, dos discursos da imprensa escrita e televisiva sobre o artista, e dos projetos de vários agentes dedicados à gestão de sua imagem pública, especialmente aqueles conduzidos por sua família, representada pela Fundação Vítor Mateus Teixeira, eu tento mostrar como a imagem de um ídolo popular pode se tornar um objeto de disputas. Além disso, argumento que a trajetória de um “herói” do povo pode, através de um viés antropológico, ser tomada como uma espécie de lente através da qual se pode colocar em evidência muitas dimensões do imaginário e da memória coletiva da sociedade brasileira. / This research is about the ways through which the public image of gaucho popular artist Vitor Mateus Teixeira, known as Teixeirinha – who passed away in 1985, after a long successful career in Brazil and abroad in the music and cinema business – is built, acknowledged and placed into circulation nowadays. Through an ethnography of his fans’ manifestations at the Santa Casa cemetery, of fan mail, of the discourse from the press about the artist, and the projects of the various agents dedicated to the management of his current image, especially the ones conducted by his family, represented by the Vitor Mateus Teixeira Foundation, and the press from Rio Grande do Sul, I try to show how this image of a popular idol can become a disputed object. Besides that, I argument that the trajectory of a popular "hero" can, through an anthropological bias, be taken as a type of lens, which is able to place in evidence many dimensions of the imaginary and of the collective memory of the Brazilian society.

社群行銷為互動性與即時性很高的行銷模式，對企業而言日趨重要。透過良好的社群媒體經營，可以使企業提高討論聲量與品牌價值，進而帶動銷售達到透過網路引導購買而獲利的效果。故如何善加利用現今最成功的社群媒體Facebook粉絲專頁是企業行銷的成功關鍵因素之一。 本研究鎖定銀行業做研究主體，擷取2016年整年度的資料以個案分析法的方式深入探討台灣前五名銀行業粉絲專頁之經營方式與互動程度。本研究透過類目建構中的分類標準包含多媒體運用性、資訊性、顧客支援性、組織設定做官方貼文的訊息策略分析，瞭解其優勢策略和品牌區隔。本文並以粉絲專頁定義的KPI指標和數據的量化分析，運用多元回歸分析整合五間粉絲專頁資訊，歸納出銀行業在台灣成功的粉絲專頁之行銷模式。 根據以上分析之經營數據與國外粉絲專頁案例，本研究針對官方貼文的內容面給予較理想的粉絲專頁經營策略，以影片類型和抽獎活動主題為主軸並搭配其他貼文模式可以提升粉絲的總反應程度，本文之行銷建議讓台灣銀行業未來社群行銷發展能更有效率且提升整體商業價值。故本研究之分析架構可以運用到不同的產業類型中給予經營參考，未來後續研究也可以再加入不同反應變數或不同的社群媒體做更深入更全面性的社群媒體品牌經營。 / Social media marketing is an highly interative and high-quality maketing method, It is more important for interprises these days. By running a well social media can improve the business popularity and brand value, or even drive sales to increase profit. So how to make good use of most popular social media Facebook Fan page is the key to success of business marketing. The study focuses on the banking industry, using content analysis to explore the 2016 entire year’s data of the top five bank’s fanpage in Taiwan. Through category of construction classification, the study analysis the type, theme, interation and time of official posts to understand its advantages and strategies. Furthermore, the study uses muti regression to sum up the successful fan page marketing model of banking industry in Taiwan. Based on the above analysis of operating data and success cases in foreign countries, the study hopes to provide more ideal business proposals so that the development of social media in Taiwanese banking industy can be more efficient and enhance the commercial value. Therefore, the analysis structure of the study can be applied to different types of industries to give reference for business, the future studies can also add different variables or other social media to do more comprehecsive social media brand management.

Made available in DSpace on 2016-04-29T14:23:28Z (GMT). No. of bitstreams: 1 Caio Assis Capasso.pdf: 1551637 bytes, checksum: c0c126f85ced7a9208f93a493d6d39d8 (MD5) Previous issue date: 2014-03-12 / This research aims to verify how videogames allow the creation, sharing and collaboration of user-generated content, and the characteristics of fan communities that are created to such objective. For this work we minimally define videogames as digital games that are dependent of a computational support for its realization. Some useful videogames for the better understanding of the activities of creation and alteration of content by players and the manner they happen, particularly the creation of mods: the name commonly used to refer to the practice of alteration of a videogame s characteristics through the manipulation of files and/or processes that are constitute it, resulting in a different experience from the one originally planned by its developer. With this we try to offer clues and pointers towards a deeper understanding of the manners the roles of producer and consumer, author and user, player and fan are transforming with the ascension of new technologies and now (digital) media. With this intent we give special attention to the players turned modders amateur content creators for a specific videogame -, through the online communities engaged in the creation and distribution of this kind of content. Three author groupings are used as theoretical foundation for this research. The first é composed by authors that helps us to think questions regarding participatory culture and the promises of the internet, among them we can cite Howard Rheingold, Sherry Turkle, clary Shirky, Axel Bruns and particularly Mizuko Ito and Henry Jenkins. In the second grouping Katie Salen and Eric Zimmerman and Jesper Juul offer the concepts that allow us to take into account the expressive dimensions od videogames. The third grouping, with a special emphasis in the works of Olli Sotamaa, David Nieborg and Julian Kucklich that offers us empirical study cases for us to study the questions related to modding as a productive practice. We attempt to operationalize a theoretical perspective that deal with the expressive potential of videogames and how the interventions characterized as mods are one of the most intriguing ways to subvert the author/user and producer/consumer relationships. We also attempt to suggest similarities and differences between videogames and other media. Other objective is to enrich the debate regarding online participation and the artifacts it produces, trying to think participatory culture and the media convergence in the contemporary consumption and production practices through videogames / Nesse trabalho discutimos videogames, definidos como jogos digitais dependentes de um suporte computacional para sua realização, que nos ajudam a entender melhor as formas que as atividades de criação e alteração de conteúdo por jogadores se dão. Atenção especial é dada à criação de mods : termo comumente utilizado para denominar a alteração de características de um videogame através da manipulação de arquivos e/ou processos que o constituem e que resultam em uma experiência diferente da originalmente pretendida. A intenção dessa pesquisa é verificar como os videogames permitem a criação, troca e colaboração de conteúdo criado por usuários e as características das comunidades de entusiastas que são formadas para tais fins. Os videogames, e o modding em particular, são objeto de estudo valioso num período onde a crescente agência de consumidores sobre objetos midiáticos pode ser percebida tanto como estratégia de libertação quanto de exploração, pois se encontra na interseção entre atividade lúdica e trabalho, produção amadora e indústria. São fornecidos pistas e apontamentos na direção de um entendimento mais profundo das maneiras como os papéis de produtor e consumidor, autor e usuário, jogador e fã vêm se transformando com o desenvolvimento das novas tecnologias e das mídias digitais, a partir de um ponto de vista sociológico e historiográfico. Também damos atenção especial e aos modders jogadores que se tornam criadores amadores de conteúdo para videogames. Utilizamos três grupos de autores na fundamentação teórica. O primeiro é composto por autores que ajudam a pensar questões referentes à cultura participativa e as potencialidades da internet, especialmente Mizuko Ito e Henry Jenkins. No segundo Katie Salen e Eric Zimmerman e Jesper Juul oferecem os conceitos que permitem considerar as dimensões expressivas dos videogames. O terceiro grupo, com ênfase especial a Olli Sotamaa e Julian Kucklich, oferecem os casos práticos utilizados para estudar as questões relativas ao modding enquanto prática produtiva. Nossa intenção é operacionalizar uma perspectiva teórica que trabalhe o potencial expressivo de um videogame e como as intervenções que classificamos como mod são uma das maneiras mais intrigantes de subversão das relações autor/usuário e produtor/consumidor. Pretendemos também apontar semelhanças e diferenças entre videogames e outras mídias e enriquecer o debate a respeito da participação online e dos artefatos que ela produz, e pensar a cultura participativa e a convergência midiática nas práticas de consumo e produção da sociedade contemporânea através dos videogames

Popular culture scholar Henry Jenkins chronicles the intellectual and emotional labor of being an “aca/fan” – or an academic, trained in media criticism, who also operates as a media consumer. This panel explores aca/fan identity through Joss Whedon’s media narratives, such as The Avengers, Buffy the Vampire Slayer, Cabin In the Woods, Dollhouse, Dr. Horrible’s Sing Along Blog and Fire

The Cutler Formation is composed of thick, arkosic, alluvial conglomerate, sandstone, and mudstone shed southwestward from the Uncompahgre Uplift into the Paradox Basin. More basin-ward the Cutler is recognized as a group consisting of differentiable formations. Discrete formations historically have not been distinguished near the uplift, but this study identified several separate successions in the Richardson Amphitheater. Research at the Richardson Amphitheater, ~12 km southwest of the uplift and ~30 km northeast of Moab, Utah, led to a systematic subdivision of the Permian Cutler Formation proximal to the uplift. Likely driven by channel cutting and migration across the alluvial fan, six 10-20 m thick successions are partially exposed. The dominant observed facies are basal conglomerate and channel-fill trough cross-stratified sandstone overlain by finer-grained distal sheetflood and frequently pedogenically altered sandstone. Down-warping of identified successions and the presence of additional sands within the area of flexure suggest that localized salt withdrawal created a sediment depocenter in the Richardson Amphitheater, ~6 km northwest of the Onion Creek salt diapir. The identified salt withdrawal feature is more proximal to the Uncompahgre Uplift than any of the major documented salt structures in the area and was not previously documented. Six measured stratigraphic sections and hundreds of high-precision differential GPS data points outlining major lateral erosional surfaces form the basis for interpretation. Five mapped erosional surfaces (bounding surfaces based upon differential GPS point interpolation) are laterally extensive within the approximately one square kilometer study area, and as such, represent stratigraphically significant surfaces. Within the generated structural geocellular model, stratigraphic data from measured sections informed facies modeling between major surfaces. This outcrop model may serve as an analogue for subsurface systems deposited in similar settings.

Pendant une éruption volcanique sur des sommets englacés, des coulées de débris syn-eruptifs,dénommées lahars, peuvent être générées par la fonte partiale de glaciers. Ce phénomène estbien connu sur le volcan Cotopaxi, Equateur. La présente étude concerne trois vallées et un cônede déjection sur le flanc sud-ouest de ce volcan. Une première analyse a été conduite par relevésde formes géomorphologiques dans ces vallées qui témoignent des processus d’érosion et desédimentation lors du passage de lahars dans le passé, notamment ceux du dernier événementéruptif datant de 1877 AD. Bien que les types des formes géomorphologiques déterminées sontles mêmes, leur distribution spatiale varie d’une vallée à l’autre en fonction d’une interaction deparamètres morphologiques locaux. Les conditions environnementales individuelles déterminentégalement le volume de l’écoulement, paramètre crucial dans la délimitation de zones de risques delahars dans les plaines adjacentes. Pour cela, une deuxième étude a été menée à grande échelle surle cône de déjection à l’exutoire de la vallée la plus au Sud des trois. Une analyse intégrale de la morphologiede surface et des affleurements naturels a été complétée par des données stratigraphiquesde subsurface obtenues via un sondage avec un Géoradar. Reconstituer l’architecture sédimentairede ce cône permet de visualiser la distribution spatiale de formes érosives et de dépôts. L’étude àrévélé que différentes parties du cône sont actives à des moments distincts et les épaisseurs dedépôts de lahars sont variables en fonction du type d’écoulement et de son volume. Ceci permetde relier les dynamiques géomorphologiques des plaines alluviales aux zones d’initiation de laharssur les flancs du volcan. Enfin, cette étude a débouché sur la mise en place d’une nouvelle fonctiondans le logiciel de modélisation de lahars LAHARZ prenant en compte l’incorporation progressive desédiment dans un contexte érosif dans les vallées, ce qui permet une meilleure délimitation de zonesde risque de lahars sur le cône. / During a volcanic eruption at ice capped volcanoes, syn-eruptive volcanic debris flows, lahars, canbe triggered through the partial melting of the glaciers. This phenomenon is well known to have happenedat Cotopaxi volcano, Ecuador, where the present study has been realized. The latter concernsthree drainages on the southwestern flank of the volcano and one alluvial fan. A first analysis hasbeen conducted assessing geomorphologic features in the drainages testifying from erosional anddepositional processes during past lahars, in particular of those generated during the last eruptiveevent dating back to 1877 AD. Although the types of determined geomorphologic features are thesame, their spatial distribution varies among the three valleys as a function of an interplay of localmorphologic parameters. The individual environmental conditions determine also the flow volumeof such lahars, a critical parameter when to delineating hazard zones in the adjacent lowlands. Thesecond analysis has therefore be performed at large scale on the alluvial fan forming at the mouthof the southernmost of the three drainages. An integral study of the surface morphology and naturalexposures was enriched with subsurface stratigraphic information obtained through a ground penetratingradar survey. The sediment architecture of the fan provides valuable insights on the distributionof erosional features and deposits. Different fan parts appear to be active at different times andlahar deposit thicknesses are highly variable as a function of flow type and volume. This allows torelate floodplain dynamics to the initiation zone of lahars on the upper flanks of the volcano. At last,this research led to integrate a new bulking function acknowledging for erosional processes in thevalleys into the lahar-modeling software LAHARZ allowing to better delineate lahar hazard zones onthe fan.

<p>Abstract</p><p>Title: Interactivity and participation - a qualitative study about the making of machinima with</p><p>World of Warcraft (Interaktivitet och och deltagande – en kvalitativ studie kring skapandet av</p><p>machinima med World of Warcraft)</p><p>Number of pages: 68 total, 50 without appendix</p><p>Author: Peter Brandberg</p><p>Tutor: Else Nygren</p><p>Period: Autumn 2006</p><p>Course: Media and Communication Studies C</p><p>University: Division of Media and Communication, Department of Information Science, Uppsala University</p><p>Purpose/Aim: The aim of this study is to take a closer look at the phenomenon machinima by analysing a number of specific movies from the site worldcraftmovies.com. This analyse is focusing on how the content of these movies relate to the wider game culture of the MMORPG World of Warcraft, what specific elements in the movies is referring to and if there is differences or similarities between different genres (or categories).</p><p>Material/Method: The method used in analysing the movies is a combined method inspired by hermeneutic, semiotics and discourse analysis.</p><p>Main results: Instead of answers this study raises many questions about the diverse content of the movies. A general division can be seen between movies focusing on the games rules and movies that are trying to present a fictive world. But the study also shows how there are many movies moving between these two points. The study also suggests that further studies need to focus on the emotional investment players put into the game.</p><p>Keywords: cultural studies, participatory culture, convergence culture, fan culture, new media, game studies, machinima, MMORPG, World of Warcraft</p>

Abstract Title: Interactivity and participation - a qualitative study about the making of machinima with World of Warcraft (Interaktivitet och och deltagande – en kvalitativ studie kring skapandet av machinima med World of Warcraft) Number of pages: 68 total, 50 without appendix Author: Peter Brandberg Tutor: Else Nygren Period: Autumn 2006 Course: Media and Communication Studies C University: Division of Media and Communication, Department of Information Science, Uppsala University Purpose/Aim: The aim of this study is to take a closer look at the phenomenon machinima by analysing a number of specific movies from the site worldcraftmovies.com. This analyse is focusing on how the content of these movies relate to the wider game culture of the MMORPG World of Warcraft, what specific elements in the movies is referring to and if there is differences or similarities between different genres (or categories). Material/Method: The method used in analysing the movies is a combined method inspired by hermeneutic, semiotics and discourse analysis. Main results: Instead of answers this study raises many questions about the diverse content of the movies. A general division can be seen between movies focusing on the games rules and movies that are trying to present a fictive world. But the study also shows how there are many movies moving between these two points. The study also suggests that further studies need to focus on the emotional investment players put into the game. Keywords: cultural studies, participatory culture, convergence culture, fan culture, new media, game studies, machinima, MMORPG, World of Warcraft

The project of this thesis has been to examine the results of the development of the reputation and concept of the historical figure of Horatio Nelson as symbol of masculinity from nearly the beginning of the myth-making and mythologizing in the nineteenth century to the present. There have been several studies recently that examine Nelson the myth, Nelson as legend, Nelson as hero: they study the process of the development of this character. As a result of the mythologizing the history of Horatio Nelson is likely lost. However the memory of Nelson a very different thing and the focus of this thesis has been reinforced through commemoration throughout the two centuries since his death coming to a logical conclusion in 2008. This was done in both the public sphere (in the form of monuments) and in the private sphere (Nelson was merchandised) with the logical result in the first part of the twenty-first century being a manifestation of Nelson in fan culture on the internet. He has now been essentialised, extrapolated, and used in a wide variety of ways to navigate masculinity by both genders.

This research considers how the culture of game developer Cyan Worlds influences the gameplay environment and the culture of fans in Myst Online: Uru Live. The game has gone through two commercial releases and in both cases it was cancelled after a short time. Fans have attempted to salvage the game by producing their own server software and content creation tools. Recently, Cyan released their own source code and development tools to the fan community, giving fans an official channel for creating new content. This work builds off of Pearce's (2009b) study of the culture of Uru players and emergent play, but adds the dimension of considering the culture of developers themselves. A primary goal of this study was to determine how the culture of a game developer like Cyan shapes the constraints of the designed "play ecosystem" (Pearce 2009b: 7), and how it shapes the processes by which fans can salvage aspects of the game to create new content. One finding is that the design of Uru's gameplay environment is rooted in the cultural practices, personal philosophical goals and individual personality traits of its developers. Fans were able to assert ownership over the Uru story-world and the means of production of new content by proactively applying technical and problem-solving skills--the same sorts of skills that players must apply to solving puzzles in Myst games. This fan action, coupled with Cyan's goal of making an open-ended world, has helped to propel the initiative to provide open-source tools for creating new content. When fans produce new content, they draw significantly from an existing shared cultural repertoire of cues and conventions. These conventions are supported both by the software affordances of the development environment and by cultural precedent--they are readily adapted to Myst-like narratives and are easily "read" by experienced players.