The creative potential and work of the performer in new music extends from the moment of conceptualising a concert to the moment of presenting it on stage and comprises many areas between and around those two points. In this thesis I explore the nature of this activity, from the act of playing itself to the commissioning and creating of new pieces, curatorial and collaborative tasks, and the actual concert presentation. I deliberately include interrelations between performer and music promoters, composers and the audience. This leads me to further areas of investigation, namely the question of the performer’s leadership, the charismatic bond with the audience and the creation of what I call “concert aura”. I do not strive to offer all-purpose formulae for the “perfect concert” or for the ideal collaboration. I investigate performance practice not as an absolute art but rather as something embedded in and shaped by social relations and society. Accordingly I understand this thesis as an empirically based study of the questions performers could ask, as well as processes in which they might want to engage, to find meaningful solutions for each new situation. Not all of the questions I raise will be new to each performer, but in their collaborative and concert practice many performers rely on a random, unsystematic, empirical understanding that has been gained by chance. In contrast, I attempt to draw a theoretical basis for my investigation from the fields of psychology, philosophy, media science and sociology, together with the evaluation of my own and other artists’ performance practice. In this way I hope to develop an academic foundation and a comprehensive, systematic approach that can be applied to different collaboration and concert situations. Part 1 of my thesis is concerned with theories and concepts relating to creativity, collaboration and presentation (concert aura and charisma) and aims to establish a firm theoretical basis for application in practice. Part 2 presents, discusses and analyses a selection of case studies from my own practice, considered in relation to the theories discussed in the first part. I conclude by offering guidelines to collaboration and giving a model example of how one might plan a future performance, aiming to create a Gesamtkunstwerk through the totality of the preparation and presentation, its social and psychological connotations. The thesis includes two DVDs with Quicktime Movies and two CDs with recordings of the compositions, commissioned as part of this research and discussed throughout the thesis. The Appendix contains three sample-CDs with an accompanying commentary which give an introduction to contemporary playing techniques for the acoustic and electronic violin and acoustic viola. This CD is intended as a guide for composers to get acquainted with the instruments and was given to each composer involved in this research.

This dissertation examines Galen of Pergamon's text On Anatomical Procedures (De anatomicis administrationibus) and considers its audience and purpose. The first chapter presents the audience of the text as Galen perceived it; I use Galen's explicit rhetoric about his readers to paint a picture of his ideal envisioned audience and then measure this against the concrete expectations that he conveys through the explicit and implicit prerequisites he demands of his readers. The second chapter, by contrast, makes strides towards uncovering the actual audience of the work by examining the ramifications of Galen's expectation that his readers will actively participate in the studies he describes; I study the availability of the books, tools, and animals that he expects his audience to be able to purchase, in order to understand the financial and social implications. The third chapter considers the text itself, taking into account the manner and timing of its composition, Galen's linguistic choices vis-à-vis his audience, and the details of his specific directions; I use this analysis to define the nature of the text and how the audience was expected to interact with it, thus necessarily engaging with the norms in ancient medical education and the role that books found there. The fourth and final chapter compares the text to his other anatomical writings, particularly his more descriptive and philosophically oriented treatise, De usu partium, as a final way to determine the purpose of this highly unusual work and its place both in his oeuvre and in its contemporary environment. / The Classics

This thesis describes and analyzes how the online newspaper genre has evolved since its inception on the Internet in the mid-nineties. The overall research question is: What characterizes the online newspaper genre evolution? The thesis is based on both synchronic and diachronic studies with a multimethod approach (including six different studies involving, e.g., interviews, questionnaires and web site analyses) intended to provide a comprehensive picture of this genre evolution. On the basis of genre theory, the thesis proposes a framework for understanding online newspaper genre evolution, integrating design (layout) aspects with publisher and audience views. Applying this framework to the collected empirical material, the thesis presents a comprehensive and integrated view of this evolution. Over time, online newspapers have evolved into a specific digital genre, with genre characteristics such as content and form, distinguishing them from other digital genres. However, this rapid development has also lead to diversities in form and function, triggering both academics and practitioners to seek ways to design for consistency within the genre. Several factors have influenced the online newspaper genre evolution, e.g., inhouse attitudes, business model shifts and technological progress at the publishers’ side. The audience demographics, habits and preferences have also changed. The layout of the online newspapers has been altered into long pages stuffed with content like news streams, headlines, photos, and services not possible in the printed edition. There has also been a shift towards frequent updates throughout the day and more content produced for the web. In addition, the thesis contributes to digital genre theory by modifications relevant to the online newspaper genre. For example, the concepts of genre awareness and genre interdependence are elaborated, a framework for identifying genre characteristics is proposed, and the concept “positioning” is introduced. Further, the thesis also contributes with implications for online newspaper design and publishing with longitudinal mappings of online newspaper layout and the habits and preferences of the audience.

Šiuolaikinė visuomenė, paveikta virtualaus pasaulio ir nuolat besikeičiančių, tobulėjančių technologijų gausos, tapo kur kas išrankesnė nei informacijos ir technologijų plėtros amžiaus pradžioje. Per visą šį laikotarpį pasiekta daugybė rezultatų, kurie suteikia galimybę susisiekti ir komunikuoti tarpusavyje kuo daugiau žmonių. O daugumos organizacijų esminis uždavinys – kaip komunikacijos priemonių pagalba pasiekti tikslinę auditoriją, sukurti tokį produktą, kuris būtų paklausus ir perkamas. Pastaruoju metu verslo organizacijos vis labiau ėmė telkti dėmesį į jaunimo auditoriją. Viena iš pagrindinių tą lėmusių priežasčių buvo auganti jaunimo perkamoji galia, jų daroma įtaka tėvų sprendimams ką pirkti. Analizei pasirinktas Lietuvos studento pažymėjimo partnerystės programos atvejis, tiriamos 129 įmonių, dalyvaujančių partnerystės programoje bei siekiančių studentų palankumo, ir beveik 200 000 Lietuvos aukštosiose mokyklose besimokančių studentų nuomonės. Šio darbo objektas yra įmonių komunikacija siekiant studentų auditorijos. Išanalizavus, kokius komunikacijos būdus bei priemones tikslinei studentų auditorijai pasiekti pasirenka į jaunimą besiorientuojančios organizacijos, siekiama pasiūlyti komunikacijos, su kone lanksčiausia visuomenės grupe – studentų auditorija, pagrindinius principus. Tyrimo tikslui pasiekti, keliami šie konkretūs darbo uždaviniai: remiantis aktualia moksline literatūra, pristatyti jaunųjų vartotojų bruožus bei organizacijų komunikaciją siekiant šios... [toliau žr. visą tekstą] / Modern society, impacted by the virtual world and plenty of constantly changing and developing technologies has become much more selective than at the beginning of the development age in information and technologies. During the entire period there have been achieved a lot of results those provide with an opportunity to contact and communicate interdependently among more and more people. Moreover, the essential objective of major organizations is: how to target the more specific audience via aid of communication means and create such a product which would be marketable and purchasable. Currently business organizations have started paying more and more attention to the youth audience. One of the key reasons for that is an increasing youth purchasing power and their impact on parents’ decisions what to buy. The case in the partnership programme of Lithuanian student identity card was selected for the analysis. There were researched 129 companies participating in the partnership programme and seeking students’ friendliness and almost 200000 students’ opinions, who are studying in higher Lithuanian schools. The object of the following thesis is communication targeting students’ audience. Having analyzed what communication ways and means are chosen for the targeting of students’ audience by the organizations oriented towards the youth, it is sought to suggest the key communication principles with nearly most flexible sociable group – students’ audience. In order to achieve the... [to full text]

This thesis examines the cultural consumption of the Korean music video Gangnam Style in the broader context of the increasing popularity of Korean popular content, often called the Korean Wave, and of complex conditions of transnational consumption. Specifically, it investigates why the music video Gangnam Style gained popularity not only in East Asia but also over the world, how it is circulated, and what conditions contribute to its success. It focuses on the role of the networked audiences and the interactions between the networked audiences and mainstream media through a chronological analysis on the distribution and reproduction process of Gangnam Style on YouTube. Through the case study of Gangman Style, this thesis attempts to rethink the established globalization theories and to suggest new perspective of cultural circulation in the globalized and digitalized media environment.

Titel: Vill du kolla på en film? En kvalitativ studie om hur två tittargrupper i Sverige värderar externa och interna faktorer angående deras filmkonsumtion Författare: Alice Paues & Hampus Mörner Handledare: Lowe Hedman Syfte: Syftet med denna kandidatuppsats var att undersöka hur två tittargrupper i Sverige värderar externa och interna faktorer angående deras film konsumtion. Uppsatsen bygger på en huvudfrågeställning och tre ytterligare frågeställningar: Hur värderar en yngre och en äldre svensk tittargrupp externa och interna faktorer angående deras egna film konsumtion? Vilka externa faktorer har mest värde enligt dessa tittargrupper? Vilka interna faktorer har mest värde enligt dessa tittargrupper? Varierar dessa faktorer beroende på plattform? Metod och Material: Uppsatsen bygger på en kvalitativ metod som genomfördes med hjälp av fokusgruppsintervjuer. För dessa fokusgruppsintervjuer så designades en intervjuguide där frågorna var relaterade till våra tre genomgående teman: externa faktorer, interna faktorer och skillnader mellan plattformar. Frågorna var även guidade av teorier inom vårt ämne. Vi valde att göra ett strategiskt urval. Urvalet bestod av två tittargrupper, en yngre där åldersintervallet var 18 till 33 och en äldre där åldersintervallet var 50 till 65. Huvudsakliga resultat: Det huvudsakliga resultatet från studien visade att den externa faktorn som äldre värderade högst var film kritiker, medan yngre värderade trailers och liknande material högst. Båda grupperna motiverades av samma behov när det gällde film konsumtion. Dock, så värderade yngre kognitiva behov högre än äldre, och äldre värderade känslomässiga behov högre än yngre. Vi fann även att det fanns skillnader mellan olika plattformar, där fyra huvud motivationer värderades olika. Dessa var: sociala behov, flyktbehov, behov att få välja sitt egna innehåll och avslappning. Antal sidor: 60 Kurs: Media- och kommunikationsvetenskap C Universitet: Uppsala Universitet, Institutionen för Informatik och Media Termin: HT 2014

The present work examines the construction of race on reality television through the use of an exemplar in this genre, MTV's The Real World. By the sheer fact of its popularity and ubiquity, as The Real World is nearly two decades old and is the longest-running example of the genre, reality television programming warrants deeper academic investigation. The present work argues that as we are consuming mass media, we are also consuming specific ideas about our social world. These ideas inform audiences and are necessary to uncover in order to learn about the social structure of our racialized society. Findings reveal race and ethnicity is embedded in our culture and how this show has communicated race through its depiction and even exclusion. Further, findings reveal that racial and ethnic relations are most often depicted as a "Black versus White" issue. The current work focuses specifically on the construction of race because of the similarly ubiquitous nature of race in society. Because The Real World is a long-running series, it provides an ample database from which to sample for a discourse analysis. The show is marketed and viewed by a specific target audience such that it allows for the exploration of one of the research arguments: that we must continue to rethink and challenge our view that mass media audience members, specifically here television, are passive consumers of material. The present work seeks to extend the application of theoretical contributions of Hall, Morley, Ang, and Jenkins by applying models to a type of programming that complicates the vision of media where consumers and producers are identifiably different spheres. The field of reality television programming is unique because of its dependence on viewers to become cast members and participants in the media production process. Finally, as previous research has shown, even in fictional settings viewers have conflated the individual who plays a character and the character the actor is playing. Thus by analyzing issues of race, where the line between real and unreal is purposely blurred the impact of how race is constructed can be quite great.

This thesis is an account of praxis: it examines Playback conceptually, and portrays a programme of practical work exploring the experience of workplace audiences of five Playback Theatre performances, delivered from 2002-2005. The aim of the performances was to assist multi-disciplinary teams of staff in community health centres in Auckland New Zealand to communicate and work together with more understanding of each other. The thesis describes Playback as a way not only to elicit complex narratives which allow for diverse points of view to be expressed, but also as an aesthetic reworking of these narratives using action, music, dance, gesture and speech, in ways which have been influenced by 20th century avant-garde forms such as surrealism, dada, collage, jazz and poetry. Unlike some forms of theatre, Playback calls on elements of ritual and group method, in that it relies on audience members taking an active part in the performance by contributing narratives from their own lives. The thesis interrogates the notion of audience in theatre, using the words audience, spectator, spectactor, participant, public and polis, and specifically investigates two moments of the theatre as polis, in the French and Russian revolutions, when the potential of theatre to engage with the widest cross-section of the nation led to influential experiments and innovations in theatrical practice, each of which influenced the succeeding century. Some Playback discourse and practice is found to contain simplistic, even nostalgic, concepts of personal narrative, and the potential for performers’ interpretations in Playback to reinscribe social privilege is noted. In spite of its simple structure, Playback demands extremely complex skills from all the performers, not only the facilitator. In addition, the complex setting of the practical work encompasses both local NZ health initiatives and developments in global health. The work in each Healthcare Centre is described in a complete chapter: each containing details of the Centre and the Playback, seen through the findings of the patient focus groups, through comments made in interviews by the staff and through the researcher’s observation and experience. In all three Centres, existential and emancipatory metanarratives surfaced in the performances and in interviews. Professionalism was seen as meaning different things: at Ngākau it was a measure by which people were found to be unsatisfactory; at Oranga, it referred to applying the lessons of the Playback to one’s own practice; while at Pātaka, professionalism was evident in narratives of self care, dedication and seeking clarification and support from peers. While the study revealed limitations of Playback, it also pointed to some unique contributions this form of improvisational theatre can make to a programme of staff or group development. In particular, Playback can open up spaces, people and topics, for non-dogmatic, pluralistic, embodied thinking and reflection, leading people to more nuanced understandings of themselves and each other, and can even affect attitudes and behaviours.

Seneca the Elder’s Controversiae and Suasoriae (c. 39 CE) provide a window onto declamation (fictional forensic or deliberative oratory) during the reign of the Roman emperor Augustus (27 BCE–CE 14). Although widely practiced as a form of elite education and entertainment, declamation was maligned by contemporaries as detrimental to rhetorical development. Modern scholars, such as Bloomer, Gunderson and Imber, have demonstrated how declamation acted as a medium for learning and asserting elite cultural identity. Previous scholarship, however, has focused on only the speaker in declamation. In this thesis I examine the secondary voices present during declamation: other speakers and the audience. In Chapter 1, I place Seneca the Elder and his work in context and examine how the format of his work allowed for the inclusion of voices beyond the speaker’s. In Chapter 2, I examine how declamation allowed its participants to assert a claim on Roman identity and lay out Seneca’s critical model, through which he validated or denied the identity-claims of the men in his work. In Chapter 3, I look at declamation as a multi-participant activity, examining speaker-to-speaker interactions in Seneca’s text and the way he constructs a community of shared speech, one which is tied to successful performance rather than a particular time or place, to support these interactions. In Chapter 4, I argue that Seneca uses the voice of the audience to assert and maintain the boundaries of the community and that he applies the label of scholastici (men who viewed declamation exclusively as entertainment) to audience members who fail to maintain the boundaries and, thus, rebuts the main complaint against declamation by relegating its unsuccessful participants to another genre of speech. / Graduate

Este trabalho investiga a atuação do repórter de TV, profissional que, apesar de ser o principal narrador das histórias retratadas na televisão, se encontra à margem das pesquisas em telejornalismo. O objetivo foi mapear um estilo do repórter sob uma perspectiva histórica, buscando identificar diferenças e permanências nos elementos visuais da passagem, termo que no jargão jornalístico se refere ao momento em que o repórter aparece na reportagem. Como referencial teórico, utiliza-se o conceito de habitus de Bourdieu (2011), estudos de performance e dramaturgia de Goffman (1985), Coutinho (2012) e Gutmann (2012), entre outros autores, como Vizeu (2005), Benjamin (1996), Abreu e Lima (2010) e Mota (2001). Foram analisadas 72 reportagens das primeiras décadas do telejornalismo brasileiro e 73 reportagens contemporâneas, totalizando 145 passagens. Os resultados apontam um aumento no uso de movimentos de câmera, assim como o repórter também está se movimentando mais durante a passagem. O enquadramento mais utilizado é o plano americano, mas o plano geral, em que o repórter aparece de corpo inteiro, se tornou mais usual. O tempo médio da passagem aumentou, a formalidade do figurino está sendo deixada de lado e o grafismo surge como elemento visual auxiliar do repórter. O trabalho ainda reafirma a importância do papel do repórter de TV, figura que conduz a narrativa, confere credibilidade ao relato e estabelece um elo com a audiência. / This paper investigates the performance of the TV reporter, a professional that, despite being the main narrator of the stories on television, is excluded of researches in television journalism. The goal was to map a reporter style from a historical perspective in order to identify differences and continuities in the visual elements of the piece to camera, a term that in the journalistic jargon refers to the moment the reporter appears on TV. As a theoretical framework, we use the concept of habitus of Bourdieu (2011), performance and dramaturgy studies of Goffman (1985), Coutinho (2012) and Gutmann (2012), among others, as Vizeu (2005), Benjamin (1996), Abreu e Lima (2010) and Mota (2001). For this study, we analyzed 73 reports from the first decades of Brazilian television and 72 current reports, totalizing 145 pieces to camera. The results show an increase in the use of camera movements, and the reporter is also moving more during the piece to camera. The most widely used framework is the medium shot, but the wide shot, in which the reporter appears full body, became more common. The average time the reporter is displayed on the vídeo increased, the formality of clothing is being left aside and the graphics appears as a visual element helping the reporter. The study also reaffirms the importance of the TV reporter, that leads the narrative, gives credibility to the report and establishes a link with the audience.