Veganism (or following a PBD) is scientifically proven to be one of the possible answers to the environmental, ethical and health issues our society is currently facing. The documentary film What the Health advocates this claim and presents the tremendous impacts, meat and dairy production and consumption, have on our environment, our personal health and for the people living on our planet. The documentary’s attempt of persuading people to adopt a PBD remained unanswered and was the chosen case-study for this research on audience reception and media effects. The purpose of this research is to provide new empirical data on how the documentary film What the Health changes females’ and males’ perception of a PBD. Using a qualitative method of in-depth interviews, this study aimed to understand how the documentary film What the Health changes females’ and males’ perception of a PBD in times of the 21st century Vegan social movement. Using theoretical insights from the following theories: Framing theory, schema theory, social representation theory, social cognition theory and the concept of hegemonic masculinity, this study aimed to assess whether the documentary film What the Health contributed to perception changes among its audience. And whether gender differences were prominent.The findings of this study indicated perception changes of a PBD among its audience. Preconceptions of Veganism as a social trend or for ethical justifications were changed to understanding people’s individual motivations for attaining such a diet. Overall, no significant gender differences were detected. The social determinant of perceived restrictions within a social context were the most dominant factors of not transitioning to a PBD. Meat is undoubtedly an inherent and substantial part of people’s lives and restricting oneself from it is not perceived to be the answer to environmental, personal health and ethical issues. However, the audience was observed to admire Vegans for their discipline and strength.This study indicated that the documentary film What the Health might have an effect on its audience in the long term, which is proposed as future research respectively.

In meinem Vortrag möchte ich zeigen, welche Entwicklungsetappen die Etablierung des Theaters in Tallinn durchgemacht hat. Interessant wäre darüber hinaus zu untersuchen, was dabei im Verhältnis zu anderen deutschsprachigen Theatern ähnlich bzw. was unterschiedlich war. Ich werde mich der Frage widmen, welche Beziehungen es zu anderen Truppen oder Theatern im Ostseeraum gab, welchem Repertoire die Vorliebe des Publikums galt und aus welchen Schichten der Tallinner Einwohner das Publikum bestand.

Das Kiewer Opernhaus stand schon mehrfach im Mittelpunkt wissenschaftlicher Untersuchungen. Dabei ging es jedoch nicht um seine Rolle als sozialer Faktor im kulturellen Leben der Gesellschaft. Die Presse des 19. Jahrhunderts aber bietet interessantes Material zu diesem Thema.

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?

The thesis deals with measuring impact of documentary films on attitudes and behavior of the audience. The theoretical basis of this thesis is the assumption that social impact is a dynamic process where the engagement of an individual can lead to change of attitudes and behavior, and the individual's influence on others can change the society. Another assumption is that the impact on an individual is influenced by emotional and rational involvement. The third assumption is that the impact on the viewer changes over time when the extent of short-term impact after seeing the movie is bigger than extent of the impact measured with delay. The analytical part is devoted to the application of the method of repeated questioning, which allows to capture the development of the impact on the viewer over time. Within this thesis, a secondary analysis of quantitative data gathered in research of impact of films on ecological topic screened in film festival One World has been conducted. In addition, a thematic analysis of the in-depth interviews was conducted. These interviews have been carried out in order to establish the reasons and ways in which films impact the viewers. The conclusion of this thesis is that differences can be observed between the short and long-term impact on viewers in specific areas of...

Die Musikbetriebe der klassischen und der „Neuen“ Musik sehen sich gegenwärtig mit zwei publikumsbezogenen Problemen konfrontiert. Während „die Neue Musik einsam alt geworden ist“ und „das spärliche Publikum, das oft nur ein Konzert besucht, weil es zum Abonnement gehört, […] dieser Musik häufig verständnislos gegenüber [sitzt]“ (DIE ZEIT 43/2009: 57), droht das vergreiste und oftmals als „elitär“ etikettierte Publikum der klassischen Musik allmählich auszusterben. Diese Befunde beruhen methodisch oft auf subjektive, alltagspsychologische Betrachtungen der Konzertbesucher im Konzertsaal, was häufig zu einer Fehlinterpretation der tatsächlichen Situation führt (vgl. Dollase 1985: 371). Will man erfahren, ob es das typische Klassik- bzw. Neue-Musik-Publikum wirklich gibt und worin es sich vom jeweils anderen unterscheidet, so ist eine wissenschaftliche Auseinandersetzung mit dieser Problematik unumgänglich. Seit dem Boom der Kultursoziologie in den 1970er Jahren wurden der Konzertbesuch und der Musikgeschmack immer mehr zum Gegenstand soziologischer Forschungen. Ihre Ergebnisse führten zu der Auffassung, dass die musikalische und musikkulturelle Praxis nicht nur auf persönlich bevorzugte ästhetische Qualitäten, sondern auch auf die Zugehörigkeit zu sozialen Gruppen verweist (vgl. Neuhoff 2001: 752). Anzunehmen wäre deshalb, dass sich aufgrund der kulturellen Nähe der klassischen und Neuen Musik zueinander, auch ähnliche Publika herausgebildet haben. Dass sowohl theoretisch als auch empirisch vieles gegen diese Annahme spricht, soll die vorliegende Studie zeigen. Ausgehend von einer Publikumsbefragung des „Moritzburg Festivals“ für Kammermusik und des „Tonlagen-Festivals“ für zeitgenössische bzw. Neue Musik sollen im Folgenden die sozialen Strukturen der jeweiligen Publika aus der Perspektive der sozialen Ungleichheit vergleichend analysiert werden. (... aus der Einleitung)

This project is based on collaborations between the clarinettist Maria Victoria Fernández and the composer Manuel Marí. The process of collaborating is described and two new pieces are composed as result. The first of the pieces is called “Cycles” andit is a solo piece for clarinet, while the second piece is called “Shadows” and is a piece for clarinet and live electronics. The concept of perception is explored and new techniques have been addressed to make this new music accessible both to new audiences and performers interested in this field.

Despite its exceptional importance as a cultural performance event in the Church of Jesus Christ of Latter-day Saints, General Conference has received little attention in Mormon studies, to say nothing of sociolinguistics. Situated within the larger question of how the public language of Mormon authorities has changed over time, this thesis seeks to discover style features of what impressionistically appears to be a unitary General Conference style since 1960 (the era of church "Correlation"). Statistical analysis is then used to determine which of five sociolinguistic factors and three pairwise interactions between four of the five sociolinguistic factors most saliently conditions the use of these style features in General Conference. Findings indicate that older male speakers are more likely to perform the majority of these style features, which opens the possibility that a new style may be emerging. Finally, this study attempts to give a theoretical account of style in General Conference by appealing to Alan Bell's (1984; 2001) "audience design" framework, and Nikolas Coupland's (2007) refinement of Bauman's cultural performance theory. The unique conditions of General Conference are best described as a "high performance event" in which speakers converge stylistically on an uncharacteristically present "in-group referee," namely the General Authorities of the church present in the LDS Conference Center during the live broadcast of General Conference.

This thesis analyzed the securitization of COVID-19 in Norway as a negotiation of meaning between the public and Norway’s prime minister. By employing framing analysis and a sociological approach to securitization, this thesis breaks with the binary view of ‘audience acceptance’ in securitization theory’s original framework. Instead, it argues for the relevance of understanding securitization in the context of COVID-19 as an intersubjective process between securitizing actor and audience. While scholars have tended to overlook the audience’s role in securitization processes, this thesis analyzed both the securitizing actor’s and the audience’s perspective. This made it possible to reveal competing views regarding threat perception and emergency measures.  The thesis contributed to the theoretical debate on the audience by highlighting the special ingrained role the public has been assigned in this particular securitization context. The nuanced analysis of audience acceptance showed that despite a general resonance regarding the threat perception, it revealed important tensions regarding the measures and the audience’s participatory role in the process. This questions whether COVID-19 in Norway can be considered to have been ‘successfully securitized’.

KŘÍŽOVÁ, Kristýna, The impact of Internet Versions of Printed Newspapers on Information about Extremism, Faculty of Humanities, Charles University, Prague, 2010, diploma thesis ------------------------------------------------------------------------------------------ Key words: electronic media, printed media, audience ------------------------------------------------------------------------------------------ The theoretical part of the work concerns the possible consequences of transforming printed media into electronic form with respect to the reporting of extremism. A cultural approach was selected which highlights the way in which the final form of a report and its interpretation is subject to cultural factors. The work draws on the Three Party Model of Communication Situations devised by Winfried Schulz, which models the mutual relationship between the three protagonists of an event - the main figures (representatives of extremist movements), journalists (mass media - Internet sites), and the audience (readership, recipients). Investigation of the possible interest of these three parties in information on extremism is considered on the basis of theories of critics of contemporary media. Interpretation reveals the difficulties associated with transforming the daily papers into electronic news sites and...