Master's thesis "Comparison of popularly educational weekly youth magazines Mladý Hlasatel and Vpřed in 1930s through 1950s" contrasts two youth titles that were published around the WWII. Both titles, connected not only through the editor and father-like figure Jaroslav Foglar, were immensely popular in their time and constitute the phenomenon of journalism for children of that era. Both magazines were published during uneasy times, firstly during the dawn of the war and during the Protectorate of Bohemia and Moravia; secondly, after ten years, during the rise of communists' influence and subsequent Communist coup d'état in 1948. This master's thesis follows my bachelor thesis "Mladý Hlasatel and it's authors" describing history, authors and specifics of this magazine. Master's thesis adds comparably detailed information about the magazine Vpřed, but its main objective is to compare the titles published in "free" era before the WWII and after it, and the ones that were published during the limited freedom of the press during the war and after the year 1948. This work seeks not only to compare the content, authors and information in both magazines, but also to comprehend the contemporary context of that era, observe the impact of ideological and political influences, as well as describe different...

The thesis has a goal to investigate the audience of reality shows available on Czech broadcasting market. Different types of shows will be analysed using selected parameters through the quantitative analysis. We will look for the similar and different parameters of audiences. The thesis is mostly focused on the show Hotel Paradise and its qualitative analysis.

Research question: 1. How have famous people in images contributed to the spread of #BlackLivesMatter’s message? 2. How can the content in the image be tied to the BlackLivesMatter movement.   Aim: The aim of this study is to research how famous people have appeared in images and in a what way they have contributed to spread of #BlackLivesMatter’s message   Method and material: A case study will be performed on the collected material from  two specific case-events that are affiliated to the movement. The material will be analyzed with a semiotic method with guidelines by Hansen and Machin (2013). All material is collected online and consists pictures that can be connected to BlackLivesMatter on a denotative or connotative level.   Main results: This study's result showed that different types of performances and appearances with famous people contributed to spreading BlackLivesMatter’s message. The contribution was visualized through performances, posing at events and music videos, and use of different objects such as clothing, people, hands, and/or posing that created connotative association which could be connected to the BlackLivesMatter movement.

Various tax impacts of advertising are analysed in the thesis. Advertising is perceived as an instrument serving the purposes of searching customers and supporting sales, and it may subsist in many particular forms. The tax deductibility of adverisement costs for the determination of income tax base are analysed, and consequently the tax implications of various advertising forms are introduced from both of the income tax and VAT view. From the tax point of view, the differentiation between the advertising and entertainment is important. Cost-free provision of promotional items forms a special exception. Furthermore, the gifts are diversified from the sponzoring and also the tax impact on the side of the recipient is mentioned. A special attention is paid to tax impacts of advertising through the means of promotional samples and tasting, price reductions and fidelity schemes. Also the legislation limitation of the marketing competitions are analysed. The respective theme is also influenced by the EU-harmonisation of advertising and tax areas, from which the possible progress in this field may be deducted.

O presente trabalho é um estudo sobre os primeiros anos do futebol carioca, sua inserção no mundo capitalista e seu papel como catalisador de uma ordem social competitiva necessária ao desenvolvimento pleno deste sistema econômico durante a Primeira República e os primeiros anos da Era Vargas. A pesquisa recai sobre um clube em especial, o Vasco da Gama. Seus dirigentes, na maior parte das vezes ligados à classe empresarial da colônia portuguesa, tomaram atitudes inovadoras e até mesmo revolucionárias para o período. Enquanto os principais clubes da Capital defendiam um futebol elitizado, branco e amador, os diretores vascaínos introduziram em seu recém-montado time de futebol elementos das mais variadas camadas da sociedade, muitos deles mulatos e negros, e, em sua maioria, analfabetos, profissionalizando-os. Construíram aquele que chegou a ser o maior estádio de futebol da América do Sul e transformaram o clube em um dos maiores do mundo em menos de vinte anos de prática deste esporte. Dessa maneira, a colônia portuguesa conseguiu meios para fugir ao preconceito exacerbado que sofria na cidade e inseriu definitivamente os jogadores de origem humilde no seio dos grandes clubes como proletários do futebol. / The present paper is the result of a study about the first years of football in Rio de Janeiro, its insertion in the world of capitalism and its role as the focus point of the competitive social order that was necessary to the full development of this economic system during the Primeira República (First Republican Period) and the first years of Era Vargas. The research focused mainly on one football club Vasco da Gama. The club directors, most of which were somehow related to entrepreneurs from the Portuguese colony in the city, took innovative actions, which were quite revolutionary for that period. Whereas the main clubs in the capital city defended football as a white amateur practice for the elite, Vasco directors introduced players from the most varied social strata many were black or mulatto, and most of them were illiterate - and attempted to professionalize them. They built a football stadium, which came to be the largest in South America, and changed their club into one of the most important clubs in the world, in less than twenty years dedicated to that sport. By doing so, the Portuguese colony found their ways to escape from the widespread prejudice of which they were victims in the city and definitely inserted players from lower-classes into the big clubs, changing them into football proletarians.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-09-12T12:16:41Z No. of bitstreams: 1 DIS_MARCEL_VIERO_COMPLETO.pdf: 7949872 bytes, checksum: e9446a7629852c1c2b6566b868f0f8f1 (MD5) / Made available in DSpace on 2017-09-12T12:16:42Z (GMT). No. of bitstreams: 1 DIS_MARCEL_VIERO_COMPLETO.pdf: 7949872 bytes, checksum: e9446a7629852c1c2b6566b868f0f8f1 (MD5) Previous issue date: 2017-07-28 / The dissertation is about Branded Entertainment in the television of Brazil from an advertising campaign of Combat to Cancer of Mama launched in 2015. The case was exhibited outside the commercial brake and within the program Fant?stico of the open channel of the Globo Network, in the year in which the ?Fashion Target? campaign would celebrate twenty years in the country. The commercial brake and the advertising that runs between entertainments were investigated by the research. The theoretical framework that bases the research starts on leisure and social with Dumazedier (1973) and entertainment with Cobra (2008), Dyer (2005), Parreno (2010), Mackee et al (2014) and Hackley (2015). Machado (2009), Marcondes (2002) and Kotler (2010) support advertising and Wolf (2015) television in the digital age. Reis e Silva (2009) offers an initial methodological model for analysis of the entertainment product and the case of Branded Entertainment. The objective aspects regarding the production, distribution and exhibition of entertainment and subjective ones with the content of this product are observed in the analysis, that proposes to understand also the roles of the partners in this process. Television channels, digital influencers and producers of audiovisual entertainment content could also act in Branded Entertainment establishing another kind of commercial relations that still in evolution process. / Esta disserta??o tem como tema de pesquisa o Branded Entertainment na televis?o aberta do Brasil, a partir da campanha publicit?ria de Combate ao C?ncer de Mama que aconteceu em 2015. O caso foi exibido fora do intervalo comercial e dentro do programa Fant?stico do canal aberto da Rede Globo, no ano em que a campanha do ?Alvo da Moda? comemoraria vinte anos de atua??o no pa?s. O intervalo comercial e a publicidade que atua fora dele s?o investigados pela pesquisa. O referencial te?rico que fundamenta a pesquisa parte do lazer em Dumazedier (1973) e do entretenimento com Cobra (2008), Dyer (2005), Parreno (2010), Mackee et al (2014) e Hackley (2015). Machado (2009), Marcondes (2002) e Kotler (2010) sustentam a publicidade e Wolf (2015) a televis?o na era digital. Reis e Silva (2009) oferece um modelo metodol?gico inicial para an?lise do produto de entretenimento e do caso de Branded Entertainment. Aspectos objetivos referentes ? produ??o, distribui??o e exibi??o do entretenimento e subjetivos com rela??o ao conte?do deste produto s?o observados na an?lise, que prop?e entender tamb?m os pap?is dos colaboradores neste processo. Canais de televis?o, influenciadores e produtores de conte?do de entretenimento audiovisual atuam no Branded Entertainment formando rela??es que fogem do convencional.

O presente trabalho é um estudo sobre os primeiros anos do futebol carioca, sua inserção no mundo capitalista e seu papel como catalisador de uma ordem social competitiva necessária ao desenvolvimento pleno deste sistema econômico durante a Primeira República e os primeiros anos da Era Vargas. A pesquisa recai sobre um clube em especial, o Vasco da Gama. Seus dirigentes, na maior parte das vezes ligados à classe empresarial da colônia portuguesa, tomaram atitudes inovadoras e até mesmo revolucionárias para o período. Enquanto os principais clubes da Capital defendiam um futebol elitizado, branco e amador, os diretores vascaínos introduziram em seu recém-montado time de futebol elementos das mais variadas camadas da sociedade, muitos deles mulatos e negros, e, em sua maioria, analfabetos, profissionalizando-os. Construíram aquele que chegou a ser o maior estádio de futebol da América do Sul e transformaram o clube em um dos maiores do mundo em menos de vinte anos de prática deste esporte. Dessa maneira, a colônia portuguesa conseguiu meios para fugir ao preconceito exacerbado que sofria na cidade e inseriu definitivamente os jogadores de origem humilde no seio dos grandes clubes como proletários do futebol. / The present paper is the result of a study about the first years of football in Rio de Janeiro, its insertion in the world of capitalism and its role as the focus point of the competitive social order that was necessary to the full development of this economic system during the Primeira República (First Republican Period) and the first years of Era Vargas. The research focused mainly on one football club Vasco da Gama. The club directors, most of which were somehow related to entrepreneurs from the Portuguese colony in the city, took innovative actions, which were quite revolutionary for that period. Whereas the main clubs in the capital city defended football as a white amateur practice for the elite, Vasco directors introduced players from the most varied social strata many were black or mulatto, and most of them were illiterate - and attempted to professionalize them. They built a football stadium, which came to be the largest in South America, and changed their club into one of the most important clubs in the world, in less than twenty years dedicated to that sport. By doing so, the Portuguese colony found their ways to escape from the widespread prejudice of which they were victims in the city and definitely inserted players from lower-classes into the big clubs, changing them into football proletarians.

lt;p align="justify"gt; Trata-se de um estudo sobre a realidade do trabalho e do lazer dos jovens rurais do município de São João Evangelista-MG, cuja realidade informa as dificuldades de emprego e a falta de espaços de lazer próprios para os jovens. O objetivo geral do estudo é analisar como o trabalho e o lazer, nesse município, influenciam na qualidade de vida dos jovens rurais, bem como propor lineamentos ou diretrizes para o estabelecimento de políticas públicas voltadas para os jovens rurais. É um estudo de abordagem qualitativa com dados coletados a partir da amostra de entrevistas e questionários semi-estruturados. A necessidade em obter uma renda que permita atender às necessidades do trabalhador e de sua família, aliada ao desgaste decorrente da sobrecarga de trabalho nas atividades agrícolas, tem levado diversos jovens a buscarem nas poucas atividades de lazer, momentos de descontração e alívio da tensão do dia-a-dia. Ao contrário dos moradores da cidade que buscam no meio rural momentos de tranqüilidade, lazer e descanso, para quem reside no campo, este representa um local de trabalho. As poucas opções de lazer existentes nas localidades de origem dos jovens favorecem a migração dos mesmos para a sede do município nos finais de semana. As observações realizadas no cotidiano destes jovens expõem a necessidade de um lineamento das políticas públicas voltadas a este segmento da população.lt;/pgt; / lt;p align="justify"gt; This dissertation examines the features of rural youth's working conditions and entertainment activities at São João Evangelista county, in the state of Minas Gerais. The reality of this county is the lack of job opportunities and of entertainment spaces appropriated to the youth. The main objective of this research is to analyze how the work and entertainment conditions in São João Evangelista interfere in rural youth's quality of life, as well as to propose a path to establish public politics headed to them. This is a qualitative research whose data were collected by interviews and semi-structured questionnaires. The preoccupation about earning a salary that supplies the needs of the worker and his family, besides the stress caused by the common overworking in agricultural activities, have been frequently led the young workers to use their free time as a way to relief the tension of daily routine. Differently of urban population, whom often go to the rural environment to search for pleasant moments and rest, the rural population sees it only as their working place. But the lack of entertainment options make them go to the city centers at their free time. The features observed about the routine of this young people show the need of public politics headed to this specific public.lt;/pgt;

O presente trabalho é uma reflexão crítica sobre o estatuto da imagem e sua relação com amemória e a história na sociedade contemporânea, em que a influência dos meios de comunicação demassa, da indústria cultural e dos recursos audiovisuais é dominante. Em contraponto a essa produçãoaudiovisual, que produz consenso acerca da memória e da história, impondo uma espécie depadronização das experiências, examinou-se como uma outra produção cinematográfica pode servircomo meio de um aprendizado crítico frente às mudanças da percepção humana com o advento denovas tecnologias, tal como apresentado por Benjamin no ensaio A obra de arte na era dareprodutibilidade técnica. A partir da interpretação do ensaio de Benjamin por Miriam Hansen, tratousede refletir sobre o conceito de mimese desdobrado em jogo e semelhança que propicia aoaparato cinematográfico a possibilidade de emancipação de uma repetição infernal e perversa,regulando uma nova relação entre ser humano e máquina voltada para a criação não destrutiva ecrítica. Através da produção fílmica de Chris Marker, deparou-se com um cinema em que a montageme a organização da sintaxe fílmica podem criar novas constelações de sentido e abrir brechas para umapossível perlaboração da memória, pois a imagem em conjunção com o texto incita a reflexão sobre ahistória e sobre a própria imagem. Na análise de filmes, fotografias e textos de Marker, procurou-secompreender o modo de articulação de imagem e som em seus trabalhos, levando em conta asconsiderações de Benjamin sobre o cinema e sobre a história.!No cinema de Marker, o trabalho é o dejustamente converter o cinema em antídoto contra a dominação, fazendo com que o aparato se voltecontra a ilusão falseadora, denunciando os próprios modos de produção de imagens e da história. Suamontagem se realiza através de uma mimese da memória criativa um agenciamento de imagens esons que cria conjunções dialéticas, que desperta para o que foi esquecido e provoca a reflexão. / This thesis is a critical treatment of images and their relationship to memory and incontemporary social history, specifically the influence of the mass media where audiovisual media aredominant in industrial culture. Mainstream audiovisual production creates consensus of memoriesand accepted history by imposing standardization of experience, in contrast this thesis focuses on ananalysis of a different practice within cinematography which, through developing critical reflection,highlights how human perception has changed due to the adoption and influence of new technologies:ideas put forward by Benjamin in his essay The Work of Art in the Age of Its Technical Reproducibility. Miriam Hansens interpretation of mimicry, developed by play and similarity, is astarting point for this thesis. Herein it is proposed that cinema has the ability to free itself from endlessand perverse repetition, establishing between humans and technology a new relationship that is criticaland non-destructive. By investigating the syntax in Chris Marker films, which consider history andimages, this thesis aims at a possible working-through process as to how cinema could enablememory. Benjamins writings about cinema and history are explored by analysing Markers films,photographs and texts; understanding is sought through the manner of his articulation of image andsound. In Markers films, the purpose is to fairly convert the cinema into an antidote againstrepression, by turning his cameras on the illusions and denouncing those same production methodsused to make false images and history. The montage of his images mimics a creative memory, anarrangement of sounds and images that create dialectic connections; his work awakens what had beenforgotten and provokes reflection.

Hösten 1919 i Sverige tillsattes en skatt som skulle beskatta nöjestillställningar. Dess främsta uppgift var att indriva intäkter till kommunkassan. Anledningen till denna skatts uppkomst var att Sverige stod med ekonomiska problem efter första världskrigets slut och behövde nu ta till vissa åtgärder för att stabilisera den igen. En av dessa åtgärder var att tillsätta nya skatter, vilket nöjesskatten, som den kom att kallas, var en av dem. Nöjesskatten är en så kallad punktskatt. En punktskatts uppgift är att indriva ökad inkomst till staten. Sijbren Cnossen diskuterar punktskatters påverkan i sin avhandling The Economics of Excise Taxation, han diskuterar främst varorna tobak och alkohol som har ”punktbeskattats”. Han diskuterar att specifika varor som tobak och alkohol fungerar att sätta punktskatt på just för att de är specifika och lätta att administrerar. I min undersökning har jag undersökt vad nöjesskatten som lag egentligen innebar och om det fanns några oenigheter till vilka nöjestillställningar som skulle beskattas. Nöjesskatten innebar att nästan alla form av nöjen som var aktuella första halvan av 1900-talet skulle beskattas, dit räknades inte bara teater utan även travkörning och luftballongsflygning. Det har även visat sig att det fanns en hel del oenigheter om vad som bör räknas som nöjestillställning alls, vad som trots att det var en nöjesställning inte borde beskattas och vad som borde beskattas men lägre än annat. Efter att ha identifierat nöjesskatten så valde jag att titta på hur en teater- och biografverksamhet handskades med den mellan perioden 1925-1939 och verksamheten jag valt är Uddevalla Teater AB i staden Uddevalla på Sveriges västra kust. Det visade sig att teatern i Uddevalla inte betalade nöjesskatten en enda gång under den perioden jag undersökt. / The autumn of 1919 in Sweden was added a tax which would tax entertainment. Its main task was to increase revenues for the municipality. The reason for this tax's rise was that Sweden was financially problematic after the First World War and now had to take some measures to stabilize it again. One of these measures was to add new taxes, which the Entertainment tax was one of them. The Entertainment tax is a so-called excise tax. An excise duty is to increase revenue to the state. Sijbren Cnossen discusses the effects of excise duties in his thesis The Economics of Excise Taxation, he mainly discusses the goods tobacco and alcohol that have been "punished". He discusses that specific goods such as Tobacco and Alcohol work to tax only because they are specific and easy to administer. I have investigated my investigation of what the Entertainment tax as a law really means and whether there were any disagreements to what entertainment events would be estimated. The Entertainment tax meant that almost every form of entertainment that was current first half of the twentieth century would be taxed, not only theater but also trafficking and air ballooning. It has also been shown that there was a great deal of disagreement about what should be considered as a state of entertainment at all, what a entertainment should not be taxed and what should be taxed but lower than anything else. After identifying the Entertainment tax I chose to look at how a theater and cinema business dealt with it between 1925-1939 and the business I chosed was Uddevalla Teater AB in the town of Uddevalla on Sweden's west coast. It turned out that the theater in Uddevalla did not pay the satisfaction tax one time during the period I investigated.