This thesis explores prescriptive literature and conduct books, specifically The Book of Homilies, and how these prescriptions manifest in Shakespeare’s work. This text examines the depictions of marital relationships and argues that the actions of husbands in two of Shakespeare’s comedies, The Taming of the Shrew and The Merchant of Venice, deviate from prescriptive ideals that homilies deem proper for the husband-and-wife relationship. Through the combination of new historicism and gender criticism, this thesis suggests that Katherine and Portia use submission to gain agency in moments when they seem to have none while showing that the men do not fulfill their husbandly duties. This dynamic demonstrates that submission did not mean subordination, and men in these plays do not totally recognize the agency women have despite the larger scheme of patriarchal power still existing.

Magistro darbe pateikiami sporto renginių žiūrovų elgsenos teoriniai aspektai, tyrimo metodikos ir jos organizavimo analizė bei Lietuvos futbolo žiūrovų elgsenos tyrimas. Darbą sudaro: literatūros apžvalga, tyrimo metodika ir organizavimas, tyrimo rezultatai ir jų aptarimas bei išvados ir rekomendacijos. Pirmojoje dalyje aiškinama renginių ir sporto renginių sampratų esmė ir skirtumai, analizuojama sporto renginių žiūrovų tipologija ir jų elgseną įtakojantys veiksniai, nagrinėjama vartotojų-žiūrovų lojalumas, jų išlaikymas ir pakartotinio pirkimo priežastys bei aprašomas futbolo varžybų žiūrovų sprendimo priėmimo procesas. Antrojoje magistro darbo dalyje apra���omas tyrimo metodikos pagrindimas bei kiekybinio tyrimo „Futbolo žiūrovo Lietuvoje elgsena“ organizavimas. Trečiojoje dalyje atliekamas futbolo žiūrovų Lietuvoje elgsenos tyrimas ir formuluojamos sporto paslaugos-futbolo tobulinimo kryptys. Išvadose pateikiami pagrindiniai sporto renginių žiūrovų elgsenos aspektai, tyrimo parinkimo metodikos apibendrinimai ir kiekybinio tyrimo „Futbolo žiūrovo Lietuvoje elgsena“ rezultatai bei jais pagrįsti siūlymai. Svarbiausi šio darbo teoriniai ir praktiniai aspektai iliustruoti 21 paveikslu, 3 lentelėmis, 1 priedu, 1 formule, o teoriniams nagrinėjamos temos pagrindams panaudota 23 spausdintos literatūros šaltiniai bei 7 interneto puslapiai lietuvių ir anglų kalbomis. Darbe naudojamos pagrindinės sąvokos: sporto renginių žiūrovai, sporto paslauga, futbolas... [toliau žr. visą tekstą] / This masters work analyses the theoretical aspects of the audience behaviour in sport events. Also the research methods and the analysis of its organization together with the research of the Lithuanian soccer viewers behavior. The work includes: overview of literature, research methods and organization, research results and discussions with conclusions and recommendations. First part covers the sports events and events point of conception and differences. It analyses the typology of sport events audience and the behavior influencing factors. Also discussing the loyalty of the audience, its consistency, and repetitive purchasing factors, and the soccer game viewer's decision making process. Second part talks about the proof of research methods and the organization of the quantitative research "the behavior of audience in Lithuanian soccer". Third part covers the research about the behavior of Lithuanian soccer viewers and develops sport services with soccer improving directions. Conclusion gives the main aspects of soccer viewers behavior, research selection methods, and the quantitative research "the behavior of audience in Lithuanian soccer" results and suggestions based on them. The main theoretical and practical aspects of this masters work are illustrated with 21 picture, 3 tables, 1 annex, 1 formula, and for the theoretical basics of the analyzed topic - 23 literature sources and also 7 internet web pages in Lithuanian and English languages have been used. The... [to full text]

No description available.

Den här expositionen visar mitt projekt från utbildningen Master i skådespelarkonst 2021-2023 på SKH i Stockholm. Uppsatsen heter "När vi ses" och den performativa delen "Hur gör vi med publikinsläppet?" Jag har som skådespelare och clown jobbat i många olika rum och med många olika publiköverenskommelser. Allt från scen-salong situationer där publiken vet exakt hur de ska bete sig och hur deras deltagande ser ut, till att spela för endast en person i en sjukhussäng eller i en liten roddbåt, där deltagandet tydligt måste förhandlas och kommuniceras. Jag har mött vuxna som är världsmästare i teateretikett, men inte kan svara på en fråga om den ställs från scenen, och jag har mött barn som är sjövilda förstagångsbesökare som har en intensiv dialog med oss på scenen. Jag är intresserad av dialogen mellan skådespelare och publik och av publikens delaktighet. Vilka normer och överenskommelser regleras det av? Hur påverkar rädslan att göra fel, bryta mot normen, upplevelsen av scenkonstverket? Begränsar den rädslan för skam det som är möjligt på teatern? Jag har också undrat över vilka roller publiken kan ha, vad i ett verk som kommunicerar denna roll, och om publiken kan byta roll i samma verk. I "Hur gör vi med publikinsläppet?" kan du läsa om arbetet med Eva och Margaretha, två halvmasker som båda är skådespelare men i vars konstnärsskap publiken spelar väldigt olika roller. / The essay is called "When we meet" and the performative part "How do we let the audience in?" As an actor and clown, I have worked in many different rooms and with many different audience agreements. Everything from stage-salon situations where the audience knows exactly how to behave and what their participation looks like, to playing for only one person in a hospital bed or in a small rowing boat, where participation must be clearly negotiated and communicated. I've met adults who are world masters of theater etiquette, but can't answer a question if asked from the stage, and I've met children who are wild first-timers who engage in intense dialogue with us on stage. I am interested in the dialogue between actors and audience and in audience participation. What standards and agreements are they regulated by? How does the fear of making a mistake, breaking the norm, affect the experience of the performance? Does that fear of shame limit what is possible in the theater? I have also wondered what roles the audience can have, what in a work communicates this role, and whether the audience can change roles in the same work. In "How do we let the audience in?" you can read about the work with Eva and Margaretha, two half-masks who are both actors but in whose artistry the audience plays very different roles.

In this qualitative research study, I use case studies to analyze the rhetorical understanding students have about online audiences, including how this understanding informs writerly choices, primarily in digital, self-sponsored writing. In this study I found that, while anxieties about online writing do exist, there are also many benefits for online writers that cause these anxieties to lessen. In addition, findings indicated that participants didn't always know how to correctly interpret and capitalize on audience feedback, which causes challenges, but these participants also claimed rhetorical power once they entered community spaces they cared about and better understood their purpose and roles as writers in those spaces. These findings contribute to composition pedagogy because they suggest areas for growth in the high school classroom, such as learning how to manage multiple audiences, how to best interpret feedback, and how to claim authority as young writers in unfamiliar rhetorical situations.

No description available.

No description available.

No description available.

Des recherches au Québec (Garon, 2009), en France (Donnat, 2011) et aux États-Unis (Kolb, 2001) confirment un état de fait général: le vieillissement du public de la musique classique. Si le public du répertoire est reconnu pour posséder un haut niveau d’études, pourquoi les étudiants universitaires de nos jours ne sont-ils pas plus présents dans les salles de concert ? Cette étude explore cette problématique d’abord par une recherche historique et par des entrevues auprès de certains des organismes de musique classique à Montréal, et ce afin de comprendre leurs stratégies de développement des publics concernés de 2004 à 2014. Ensuite, par un sondage auprès de 555 étudiants universitaires de la ville, pour faire un portrait de leur relation avec la musique à l’heure actuelle. Notre analyse, appuyée par une bibliographie en sociomusicologie et en sociologie des pratiques culturelles, confirme des tendances comme celle de l’«omnivorisme culturel» et l’éclectisme musical des jeunes universitaires. Elle nous montre aussi une réception positive des œuvres classiques, quoiqu’incompatible avec les critères esthétiques des genres musicaux favoris. À partir de ce paradoxe, nous étudions la force des motivations extramusicales qui les amènent aux concerts, leurs formats préférés, l’impact de l’éducation musicale, l’influence des parents, de l’internet, des nouvelles technologies. Finalement, nous constatons le nombre peu élevé d’initiatives des organismes musicaux dans le milieu universitaire à Montréal qui, pourtant, se montre un bassin au grand potentiel pour le renouvellement des publics de la musique classique. / Research conducted in Quebec (Garon, 2009), France (Donnat, 2011) and the United States (Kolb, 2001) confirm a general phenomenon: the classical music audience is aging. If such audiences are mainly known for having a high level of education, then why aren’t university students nowadays more present in classical music concert halls? This study explores the issue firstly by historical research and interviews with classical music organizations in Montreal in order to understand their audience development strategies from 2004 to 2014. Secondly, we explore it through a survey with 555 university students in the city to document their relationship with music. Our analysis, supported by a bibliography of Sociomusicology and Sociology of Cultural Practices, confirms trends such as the “cultural omnivorism” and the musical eclecticism of young academics. It also shows us a positive reception of classical works, although incompatible with the aesthetic criteria used to describe their favorite music genres. From this paradox, we study the strength of extra-musical motivations that lead them to go to live concerts. We also examine their favorite concert formats, as well as the impact of music education on their tastes, the influence of the parents, the internet and the new technologies. Finally, we confirm the low investment in activities among university students by the classical music organizations in Montreal, even though young academics represent a great potential for the renewing of classical music audiences.

In this work, I focus on the propagation of environmental issues through sitcom and comparison of the perception of these topics by Czech and Dutch audiences. I report on the results of focus group research of the American show The Big Bang Theory (2007-2019), from which artefacts were pre-selected with the assistance of thematic analysis. These findings suggest different perception of the environmental contents included in the researched series, the same as the varying perception of hypothetical promotion of the environmental issues in the future series. Generally speaking, the global sample perceives the promotion of environmental issues in popular media positively, though the degree and the form of the accepted usage of these topics vary. Czech audiences perceive the topics more negatively than the Dutch audience, showing a lower sensitivity threshold for a possible attack on their own opinions and identity. The most significant differences were observed in the perception of the concept of nature, the person interested in the environment, and the individual impact on the improvement/deterioration of the environment. A suitable tool for communicating environmental issues in the sitcom is corrective irony (allowing to emphasize the contrast between environmental awareness and personal actions to...