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Humans’ emotions have the ability to take over, which might end up with responses inappropriate to the situation. The solution to inappropriate responses is to have a better awareness. Great team-work, calm employees, and rational decision making are all qualities that derive benefit from emotional self-awareness. However, studies show that only 36 percent can identify their emotions as they happen. This paper takes on the opportunity to raise emotional self-awareness by designing a prototype that enables the users to reflect and anonymously share their emotion through an audience response system. Forty-eight participants, in various group sizes, did within-subjects tests. They started by writing down their answer to the question: How do you feel?. They later answered through the prototype. Whether or not the participants managed to be more specific through the prototype was measured, as well as their perceived anonymity. The results revealed that the prototype was useful in both helping the users to learn emotion definitions and further specify their emotion. In regards to the perceived anonymity, it showed that the design was favoring a larger group size around 20 participants.

Esports is a growing cultural phenomenon with a large number of stakeholders such as professional players, audiences, sponsors, game developers, and competitive events like tournaments, championships and leagues. This thesis studies spectator experiences in e-sports; exploring the factors that make for an enjoyable spectatorship experience. The study takes a qualitative approach involving questionnaire and interviews. A total of 30 questionnaire responses and 4 interviews were used to identify 5 factors that make for a good viewing experience. They are moments of great skill, live commentary, favorite teams/players and social aspects, watching the game in person, and intense matches. The research findings provide insights that can inform the development of strategies to optimize and enrich the spectatorship experience, thus contributing to the continued growth and success of esports as a form of entertainment.

This thesis examines the social media habits and preferences of female representatives of older Generation Z. The study aims to explore how individuals of this fraction of Gen Z choose social media platforms and content, interact with them and how social media is connected to their offline lives to understand female representatives of older Gen Z as a media audience. Using semi-structured interviews and observations data were gathered to be analyzed through the prism of a constructed theoretical framework uniting lifeworld theory, media repertoires theory, and worthwhileness theory to contextualize participants' experiences and motivations.  The findings reveal that regardless of similar needs older Gen Z women seek to satisfy on social media, they distribute functions between platforms differently and need no fewer than 3 platforms in their social media repertoires to meet their varied needs. The selection of these platforms is influenced by factors such as the capacity for public connection, normative pressures, technological aspects, situational fit, and content format offered. Emotional engagement, authenticity, and relatability were found to be key drivers of content consumption and interaction, with a preference for visual and short- form video content. The study also highlights the reciprocal relationship between online and offline experiences, showing how social media shapes and is shaped by participants' real-life contexts, which contextualizes criteria they measure social media platforms and content against in their offline lives and makes this study relevant beyond the digital sphere.  The findings contribute to understanding Gen Z as a social media audience and inform marketing strategies and audience engagement efforts, but also contribute to the understanding of digital anthropology, cultural transmission, and identity formation in the digital age. It underscores the evolving dynamics of social interaction, the need for data security awareness, and the potential to predict social trends.

本研究採焦點團體及網路文字訪談方式，以閱聽人的解釋與詮釋等心理層面探討，透過13位受訪女性閱聽人的韓劇收視經驗及風格剖析，試圖理解她們對於韓劇置入商品的接收、解讀以及個人消費間的關聯性，藉此建構出置入性行銷的影響因素與輪廓，作為未來台灣戲劇製作單位或廣告主在置入性行銷實務運用上的參考。 研究發現，身處在商業社會的都會女性早已熟悉「置入性行銷」的手法，她們對於隱性的置入較顯性的方式具有好感度，同時，她們也認為韓劇的高品質與時尚感和大量高端品牌的置入有關。對於都會女性來說，韓劇善用明星魅力包裝置入的商品，透過閱聽人理想學習典範以及大量的流行符號建構，淺移默化地影響台灣都會女性閱聽人對於韓系商品的認同。此外，本研究認為戲劇相關的部落格或影劇消息等次文本，將再次形塑置入商品對於閱聽人的影響力，並助於置入商品的再次擴散。未來有關置入性行銷策略，建議可將置入的商品或品牌融入劇情之中，以風格的營造取代品牌商標出現的頻次，同時運用高端品牌的置入商品提升其他商品的符號價值。 / This research adopts qualitative methodology to explore audience perception of product placements in Korean Drama. Upon considering the audience’s perspective, this study intends to discover cognitive activities about how placed products affect their awareness and consumption behaviors. In particular, the purpose of this study is to assist Taiwanese media practitioners and marketing planers in developing future marketing communication strategies for the practice of product placement. The results of this study indicate that 1) Female audiences in the business environment are familiar with product placement. Their attitudes toward implicit placements are more positive than explicit placements. Furthermore, they feel the volume of high fashion brands placed in Korean Drama improves the quality of the show. 2) Korean Drama is good at portrayal management, which develops affective commitment and purchase intention to the placed brands via building popular drama characters and trendy identifications. Meanwhile, the related subtexts, such as blogs, entertainment/celebrity news, are evidenced to trigger product placement effects. 3) As a marketing strategy, this study suggests integrating the placed product or brand into the storyline, to create a trend rather than using repeated appearance of brand logos in the show. In addition, the study also suggests the use of high fashion brand placements to enhance the value of the unknown products in the show.

Hur välgörenhetsorganisationer kommunicerar är betydelsefullt för att skapa engagemang. Genom att använda olika element i kampanjfilmer kan organisationerna öka uppmärksamheten och medvetenheten hos mottagaren. Syftet med denna studie är att ta reda på hur två av Sveriges främsta välgörenhets­organisationer kommunicerar via kampanjfilmer för att väcka ett engagemang hos publiken. Vi undersöker vilka element och myter som finns närvarande i kampanjfilmerna, hur celebriteter kan bidra till att väcka engagemang samt vilken roll sociala medier har i publikens engagemang. Den teori vi utgår från i denna studie berör ämnen som celebriteter, publikengagemang samt spridning i sociala medier. Det är en kvalitativ studie med en induktiv ansats och vi genomför en semiotisk bildanalys samt retorisk analys av fyra kampanjfilmer. Urvalet består av två kampanjfilmer från Unicef och två kampanjfilmer från Plan Sverige. Studiens resultat visar att välgörenhetsorganisationer använder celebriteter för att tilltala målgrupper i olika åldrar och för att öka trovärdigheten i deras kommunikation. Genom att använda utsatta barn som element förstärks känslor som medlidande och frustration över barnens situation och detta kan väcka känslor och behov av ett djupare engagemang hos mottagaren. Att använda element som humor, kända talespersoner samt unika budskap kan kampanjer sticka ut från mängden och få en större spridning i sociala medier. Mottagare kan känna en vilja att dela budskapen vidare, dels för att stärka sitt personliga varumärke men även för att inleda en diskussion kring problemet. / How charities communicate is an important aspect in creating engagement. By using different elements in campaign films, organizations can increase the visibility and awareness of the receiver. The purpose of this study is to find out how two of Sweden's leading charity organizations communicate via campaign films in order to create engagement. We examine which elements and myths that are present in the campaign films, how celebrities can help to encourage involvement and the role of social media in audience engagement. The theoretical framework for this study is based upon topics such as celebrity spokespersons, audience engagement and spread in social media. It is a qualitative study using an inductive approach, and we conduct a semiotic and rhetorical analysis of four campaign films. The sample consists of two campaign films by the organization Unicef ​​and two campaign films from Plan Sverige. The study shows that charities use famous people to appeal to audiences of different ages and to increase the credibility of the communication. By using underprivileged children as elements, feelings of compassion and frustration over the situation of children are reinforced and this can arouse a need of deeper involvement of the receiver. Using elements of comedy, celebrities and unique messages, campaigns can stand out from the crowd and get a larger spread in social media. Receivers may feel a desire to share the messages further, partly to strengthen their personal brand, but also to create a debate on the issue.

While over the years stakeholders such as publishers and academics have taken a keen interest in research into writing and publishing, they have been less concerned about research into indigenous children‟s literature. In this thesis a comprehensive examination of children‟s literature in the indigenous African languages of South Africa and in Zulu in particular, is presented. Qualitative research methods have been applied, using questionnaires and interviews to gain first-hand knowledge of problems and possible solutions to the dearth of original children‟s literature in the indigenous languages. The data obtained in this regard has proved invaluable to the researcher and, hopefully, will be so to others in the future. Oral folktales narrated before the influence of the missionaries qualify as children‟s literature. The transition from the oral performance of these folktales to the reading of written children‟s texts is discussed in detail. This is achieved by considering the milieu, themes, content, functions and values of this children‟s literature. The discussion of imilolozelo (lullabies) and izilandelo/izidlaliso (game songs) presents the genre of children‟s traditional oral poetry as a form of performance based not only on narrative but also on songs and/or chants interspersed with rhythmical movements to relay their message. Zulu school readers as modern literature for children are also examined by tracing their background and the development of original Zulu children‟s written literature since it was first recorded by the missionaries. Contents and themes of these early readers, dating from the 1800s, are examined and compared with a series of graded readers published in 1962 by C.L.S. Nyembezi. The sixth chapter of the thesis investigates Zulu children‟s picture books as contemporary literature. Various types of picture books and their functions are discussed. Research findings point to an urgent need for the training of African authors in the writing of age-appropriate books in indigenous African languages. Lastly, the study proves that it is feasible to regard traditional oral and modern indigenous texts as children‟s literature. / D. Litt. et Phil. (African Languages)

Critical studies and creative works in the Sesotho novel have made some of the important contributions in Sesotho literary history in particular, and African literary history in general. However, such contribution has been dictated by a particular history and an ideology. The world-view in literary practice that emerged from that history is the one that tends to divorce literature, literary study and language from society. Consequently, this study identifies this practice as a problem that needs to be addressed. This study argues from this perspective that literature, literary study and language should be re-established as integral parts in a manner that pedagogical practice would translate into positive social practices. To realise this ideal the study approaches the study of the Sesotho novel from the perspective of literary production. The theory of literary production insists that literature is a form of social production. This argument becomes even more pertinent to the study of the novel, which is viewed as having profound elements of realism that mirror society. A consideration of the Sesotho novel as a form of literary production that is linked to other forms of social production immediately leads to the question of the development of the Sesotho novel. The possibilities that are identified include external influence and internal evolution in the development of the Sesotho novel. These possibilities also have a bearing on the study of the Sesotho novel in particular and the study of the African novel in general. In order to pursue the argument to its logical conclusion, the development of the Sesotho novel is divided into three periods: 1900-1930; 1930-1960 and the 1960s- 1990s. Each of these periods demonstrates a particular ideological leaning that is akin to the material conditions of each period. Taking this trend as a pattern in the development of the Sesotho novel, this study advocates an approach that links literature and literary studies to society. / African Languages / D.Litt. et Phil. (African Languages)

1979年，村上春樹（Murakami Haruki）以小說《聽風的歌》奪得日本講談社群象新人獎，由於風格新穎廣受年輕人歡迎，被評論家視為日本文學新旗手，同時也代表日本當代文學的轉折。1987年《挪威的森林》以七百萬冊的銷售量晉身日本有史以來最暢銷的文學作品，奠定村上春樹在日本文壇的地位。至今他是目前全球最負盛名的作家之一，一系列的作品被翻譯為多國語言，在一定程度上，村上春樹也成為當今日本文化的代表。八○年代中期，村上春樹的名字首度出現在台灣媒體上。這位隨後在台灣被塑造成巨星形象的日本作家，以其獨特的符號和囈語寫作風格，創造的「村上式」文風及思考模式，在台灣成為一種流行的閱讀、創作以及生活品味象徵。結合行銷體系、網際網路及其作品具備發展成大眾文學的潛力，「村上春樹現象」由小眾、精英轉變為大眾蔓延開來，成為台灣社會特定時期鮮明的流行文化圖騰。本研究主要採取文獻與影音的跨文本閱讀，以探討村上春樹流行現象之文獻與村上文本為起點，並透過和村上讀者的深入訪談記錄，檢視國內村上論述之發展與內涵交相型構出的辯證過程，由產製到閱讀一一爬梳，勾勒一個由多種論述共同織就的村上春樹圖譜，進而解答為何村上作品能穿透地域和語言的限制，成為台灣九○年代唯一常踞書市的外文暢銷書，而村上春樹現象又為本地文化研究者和創作者帶來何種啟發。

近年來部落格興起，迅速形成一股風潮。部落格互動性高、進入門檻低，為缺乏高額行銷、宣傳預算的商業／非商業行為者提供了成本極低的新興宣傳管道，許多資訊化程度較高的非營利組織已開始選擇部落格作為其宣傳、發佈訊息或溝通的工具。 / 本研究以現有非營利組織部落格傳播研究為基礎，往閱聽人端延伸，探討非營利組織部落格閱聽人的使用與回饋行為，試圖描繪非營利組織部落格的閱聽人輪廓，提供非營利組織作為宣傳策略的參考。 / 研究發現，非營利組織部落格瀏覽者從動機、使用到回饋，整個過程呈現出環環相扣的因果關係，同時，每一個環節都受到瀏覽者的個人特質、周圍環境及其本身對公益事務（特定議題）或部落格此媒體工具的認知、態度、關注程度、過去經驗及…等多重因子形成的脈絡所影響。此外，「使用」和「回饋」中間還存在一個相當重要的環節：瀏覽者在接收非營利組織部落格的資訊刺激後，會因人而異，產生大小程度不一反應──包含對真實的認知、對訊息的共鳴或感動，進而轉化為行動欲望──，當此正面反應愈強，該瀏覽者便愈傾向做出進一步的回饋行動。 / 閱聽人瀏覽非營利組織部落格是一個動態的系列過程，充滿著各種影響因素，難以量化評估其效果或成敗。但從閱聽人的反應來看，非營利組織應可放心發展「部落格」此一媒體工具，省去架設網站的高金錢與技術成本，改以低成本、技術門檻低的部落格，將組織宣傳的人力物力集中在致力於「豐富內容」上，而不用再浪費時間學習網頁技術或尋找技術人才。同時，非營利組織也要善加利用部落格串聯的動能，可與使命相近的其他組織聯合舉辦活動或互相張貼串聯標籤，並以設計精美的標籤來鼓勵瀏覽者張貼在個人部落格上，擴展組織的宣傳觸角。