Meine Vaterstadt Klausenburg (rumänisch: Cluj, ungarisch: Kolozsvár) kann ohne Übertreibung für eine Musikstadt gehalten werden. Vier Lehranstalten unterschiedlicher Art - Musikschule, Musiklyzeum, Kunstvolksschule für Erwachsene und Gheorghe-Dima-Musikakademie - beschäftigen eine große Anzahl von qualifizierten Lehrkräften, sorgen für den Künstlernachwuchs und tragen wesentlich zur Vermehrung und Erziehung des Publikums bei. Das Orchester und der Chor der Transilvania-Staatsphilharmonie sind Spitzenemsembles des rumänischen Musiklebens und treten des öfteren auch in ausländischen Konzertsälen auf. Weltweite Besonderheit des lokalen Musiklebens stellen die beiden Opernhäuser dar. Das eine heißt \"Opera Română und ist die älteste Staatsoper des Landes, das andere \"Állami Magyar Opera\", was in strenger Übersetzung \"Staatliche Ungarische Oper\" bedeuten würde, um mit der \"Magyar Állami Opera\", der Budapester Ungarischen Staatsoper, nicht verwechselt zu werden. Eine dritte ungarische Staatsoper gibt es nicht. Worin besteht der rumänische bzw. ungarische Charakter beider Institutionen?

Die Oper stand schon immer im Zentrum des Interesses des rumänischen Publikums. Keine andere Musikgattung verstand es, in einem so hohen Maße das Interesse des Publikums zu gewinnen. Die Optionen gegenüber der Oper wirkten wie Magnetfelder und wurden von den zahlreichen Musikmelomanen affektiv wahrgenommen, die beliebtesten Melodien der Arien und Chöre konnte man selbst auf den Straßen wahrnehmen. Keine andere Musiksparte beanspruchte in den Tageszeitungen und Zeitschriften so viel Raum wie das Musiktheater und die rumänische Oper.

Écrivain prolifique, Alexandre Hardy [15 ?? – 1632] a régné sur le théâtre français pendant une trentaine d’années, fournissant aux premières troupes professionnelles leur répertoire. Cette thèse aborde l’œuvre du dramaturge comme celle d’un poète professionnel, devant écrire pour faciliter le jeu des comédiens et pour intéresser les spectateurs des premiers théâtres de ville. Les scènes d’action violente d’Alexandre Hardy apparaissent comme une invention propre à l’écriture professionnelle, invention répétée et variée dans les tragédies, tragi-comédies et pastorales que le poète publie entre 1623 et 1628. Longtemps considérée comme une concession à un goût soi-disant populaire, cette scène pathétique relève, au contraire, d’un théâtre du Public qui, par l’évidence des spectacles de violence et les émotions ainsi suscitées, interroge les spectateurs sur le[s] sens de leur communauté. Cette étude dégage comment, au XVIe et au XVIIe siècles, les controverses théoriques sur la représentation scénique des violences débattent de son lien avec une esthétique de la merveille et de son pouvoir pathétique. Elle examine la poétique et la rhétorique du spectacle violent dans l’œuvre de Hardy, en montrant comment cette scène pathétique donne sens au rassemblement de spectateurs institués en témoins. La quête d’une expérience collective des émotions se rattache à une conception du théâtre de ville comme lieu où les spectateurs font l’essai de leur concorde, idéal urbain encore vivace à la fin de la Renaissance. Lire l’œuvre d’Alexandre Hardy fait apparaître les ambitions du théâtre de ville et leurs évolutions au début du XVIIe siècle. / A prolific writer, Alexandre Hardy [15??-1632] has dominated French theatre for about thirty years, providing the first professional companies with their repertoire. This dissertation studies his work as one of a professional poet, who had to make matters easier for the actors and to arouse the interest of the audience of the first urban theatres. These professional requirements account for the invention of scenes of violence which appear repeatedly, albeit with some variation, throughout the tragedies, tragi-comedies and pastorals published between 1623 and 1628. Critics have long considered such a use of pathos as a concession made to popular taste. In fact, it takes part in the creation of a theatre of the Public which, through the evidence and emotional impact of violent representation, leads the spectators to question the meaning of the community they form. I have first put into light how, in theoretical writings dealing with the problem of staging violence, such a poetical choice was related to the aethetics of marvel [meraviglia]. I have then studied the poetics and rhetoric of violence in Alexandre Hardy’s plays and shown that theatrical pathos summoned the spectators as witnesses of the action performed on stage, giving sense to their reunion. Finally I have related the search for collective emotions to a conception of urban theater which was still vivid at the end of the Renaissance – theatre as a place where spectators experimented concord. Thus Alexandre Hardy’s work reveals the ambitions and mutations of urban theatre at the beginning of the seventeenth century.

Title: Kreativ reklam. En bra idé? (Creative advertising. A good idea?) Author: Evelina Karlsson Tutor: Larsåke Larsson Course: Bachelor Thesis: Media and Communication Purpose: The purpose of this study is to, through qualitative studies inquire creative prized advertise in Sweden to see which influence creativity have on both creative director and the audience. The questions are: * Which influence does creativity have on advertising? * What are differences between prized advertisements and those that have not won any prizes? * What opinion does the public have on creative advertising? Theory and previous research: The theoretical foundation of this essay is based on American studies of creative advertising. Theories regarding the public opinion on advertise is also included in the theoretical framework. Material and method: The method of the study is qualitative interview. Four personal interviews with creative directors and two focus-group interview have been done with students of mixed age and gender. The material consists of five creative adverts, prized during the twenty-first century in "Guldägget" ("the golden eggs"), a Swedish advertising competition. Result: Despite of the fact that the previous studies are critical; this study shows a constructive attitude to creative advertising by making it easier and funnier to absorb. The conditions are that creativity has to be rightful proportioned and not too poetical, otherwise it can prevent the recipient from getting the message. Keywords: Advertising agencies, Award winner, Creative ability, Audience attitude.

Purpose: the aim of this study is to investigate the relation between audience experience and the success factors of dinner shows. Due to many possible aspects of dinner shows, as part of the audience experience, current study focuses on three concepts - the show, the interaction, and the dinner . The success factors and audience attendance were researched to give the entire study context and are relevant to answer the research questions. Methodology: an approach that can be characterised through an exploratory and abductive nature is used, based on primary data, which results in qualitative data. Interviews were conducted with experts from different companies or shows, different countries (the Netherlands, Ireland, or Sweden) and different point of views (audience member, performer, or manager). Additionally, observations were made at one of the shows studied. Results & Conclusions: the main findings are categorised into three parts: the audience experience (1), the success factors (2), and audience attendance (3). The type of show has no significant influence on the audience experience. Active participation and the quality of the food are recognised as important regarding audience experience at dinner shows. Success factors for dinner shows are: the show, the service, the servicescape and other surroundings, and the interaction between performers and the audience. Audience attendance is broad in terms of age, gender, ethnic background, and social class. Suggestions for further research: further studies are needed to understand the relationship between audience experience and success factors for dinner shows, especially regarding the experience during and after the dinner show. Moreover, other concepts in dinner shows - such as the service/staff and surroundings - are suggestions for further research, as these have been recognised as success factors of such shows. Contributions: the concept of dinner shows has not been much studied. Especially the audience experience, dinner experience, and success factors combined is not to be found in existing literature. The results of this study provide a starting point for further academic investigation regarding success factors and audience experience in dinner shows. The outcome of this study assists managers in working effectively towards performance improvements, regarding positive audience experience and success factors in dinner shows. Limitations: the limited number of interviewees affects the possibility to generalise findings.

The diploma thesis "Who are the fans of the BBC series?" deals with the BBC TV

Thesis Representation of fat people in chosen media content is audience research based on perception of thickness, related to characters from three selected czech television series. Fat Studies was primary science literarture source for thesis theory and practical research part is using both, quantitative and qualitative methodology. Quantitative method of data collection were self-serviced questionnaire shared throught internet. Qualitative method used half- structured personal interviews. Thesis is trying to answer, if there is existing correlation between thickness (body constitution) of character and popularity based on character personality. This correlation was statisticaly confirmed only for characters, which are considered strongly obese. Not for any other type of characters. Another findings confirmed, that there is strong positive correlation between popularity of personality and character attractiveness.

The primary purpose of this thesis was to discover whether two classical modes of persuasion, which Paul used in the letter to the Galatians, are really useful tools for effective preaching. This study consists of seven chapters. The introductory chapter provided a problem posing and formulation of the study, a clear study goal and hypothesis and delimitation and definition, and indicated the methodology to be used to accomplish this thesis. In chapter two, a historical review of classical rhetoric was presented. A brief history of classical rhetoric and the relationship between rhetoric and preaching as communication were explained to serve as general background to classical rhetoric and the relationship between rhetoric and preaching. In chapter three, some basic concepts of classical rhetorical theories for this thesis were considered to explain how these terms are used and related in this thesis. Chapter four was devoted to two parts. First is an investigation of Paul in an attempt to determine whether he used classical rhetorics. Galatians is a strong echo of Paul’s actual oral preaching so that the level of Paul’s rhetorical awareness and the nature and characteristics of his letter can be grasped. Second is an examination of the rhetorical situation in which the original communication was accomplished. To understand the kinds of rhetoric, and Paul’s main purpose in Galatians, the particular historical situation and rhetorical problems have to be understood, as well as the literary structure of Galatians, the purpose of Galatians and Paul’s intent in the letter as a whole. In chapter five, the modes of persuasion (ethos, and pathos) in Galatians were analysed. This chapter showed the reader how Paul used and developed Aristotles’ two modes of persuasion in his preaching to persuade audiences effectively to actions. In chapter six, the implications for effective preaching was discussed in terms of the twin modes of persuasion in Galatians. This study set the important strategies for effective contemporary preaching. Chapter seven presented and an overview and sermon outline of the four elements of persuasion for effective preaching and contributions to persuasive preaching for the effective preacher. In the final chapter, a summary of the contents was presented in the Conclusion, which arrived at a concrete argument in terms of which the hypothesis presented in the Introduction can be tested. / Thesis (PhD (Practical Theology))--University of Pretoria, 2005. / Practical Theology / unrestricted

There is a dearth of information on community radio in South Africa; although much attention has been given to the role of community radio in development, education and community representation, there has been very little focus on community radio’s functioning within South Africa’s current broadcast system. The researcher explored the viability of the current conception of community radio by means of a literature review, as well as an examination of the South African Advertising Research Foundation’s listener figures for community radio stations across South Africa. The researcher then investigated how conducive the present broadcasting climate is to the growth of this medium through the use of a campus radio station as case-study. Semi-structured interviews were held with the management staff of a campus radio station; a thematic analysis was then conducted on the completed interviews so as to extract the meanings inherent in the participant’s experience. As such, the question of whether community radio can continue to survive within South Africa’s three-tier system of broadcasting without a radical re-conceptualization of the broadcasting system itself, was addressed. The researcher explored what community radio gives to the world of broadcasting that commercial and public radio does not, and how these contributions can be compounded to ensure the long term sustainability of this medium. These arguments were then put forth in the creation of a hypothetical re-conceptualization of a new broadcasting system. / Dissertation (M (Research Psychology))--University of Pretoria, 2007. / Psychology / M (Research Psychology) / unrestricted

This thesis explores the components that are involved in the translation of a text that are interpretable by two distinct readerships. It examines: - theory that provides an understanding of dual-readership texts for children and adults; - examples of dual-readership texts, their translations, and analyses of these; - Bled by Daniel Danis and my English translation as a test case of a contemporary dual-readership source text and translation. The ultimate goal of this thesis is to shed light on what could be a new sub-domain of translation studies, namely, research on dual-readership translation. My translation of Bled provides insight into my own interpretation of dual-readership translation, namely, focusing on what is desirable and what is achievable in the translation of this type of text.