「選秀節目」風潮近幾年來再度席捲台灣，也成功地進入部分網路閱聽人的生活之中，成為一種習以為常的收視經驗，然而，近期節目收視率的滑落並無法斷然宣告網路閱聽人對「選秀節目」失去興趣，為求貼切地理解其動態的收視經驗，本研究從「日常生活理論」面向切入網路閱聽人之選秀節目收視經驗，研究選秀節目如何在網路閱聽人的生活中佔據特定的空間／時間，並結合相關的閱聽人研究，從「主動閱聽人」、「接收分析」面向，歸納出網路閱聽人結合網路使用所具有的「非同步收視」、「強調互動參與感」、「兼具傳播者身分」之收視特質，形構其動態的日常收視形式，並構成收視實踐模式之基礎，藉以詮釋屬於個體微觀的收視實踐戰術。 本研究以台大批踢踢實業坊【SuperStarAve】BBS板作為研究個案，嘗試運用「網路民族誌」(Netnography)－結合網路文本分析、參與觀察、線上訪談之研究方法，試圖描述網路閱聽人日常生活中的選秀節目收視經驗。研究結論指出，網路閱聽人藉由個人與生活脈絡協商、配置的「戰術」，與節目產製「策略」相對地收視著「超級星光大道」，本研究認為，其日常收視經驗需考量個人所處的生活脈絡與網路傳播情境所造成的收視變動性，並因個人對節目「真誠性」的解讀而變動對「超級星光大道」的日常收視形式；藉網路使用之便，重新組配收看節目之生活空間與時間，也各自建置個人迂迴的收視戰術－兼具反制與延伸之意義。是以，網路閱聽人之選秀節目日常收視經驗乃成為動態的過程，從中展現如de Certeau所指游擊式的收視「戰術」，藉以反制節目產製策略，從中找尋獲致個人收視愉悅與意義之機會。 / Recently, “Talent TV Show “ has become such a popular program genre in Taiwan. This study aims to understand how Internet audiences combine heterogeneous elements of their lives. de Certeau’s theory of everyday practices will be applied to serve as the analytical framework, and concretely describe the modalities of watching TV and the formalities of interpret practices. This is a case study that makes use of the research methodology of Netnography to analyze BBS “ SuperStarAve ”. And the main argument of this study shows what Internet audiences’ tactics of watching TV are. Internet audiences alternate different media tactically to fit in with their life arrangements, and they make a detour to interpret the authenticity of the program. In addition, Internet audiences contemplate to seek for opportunities of establishing the trajectory of watching TV to pleasure themselves. As a result, it can be concluded that the feature of diversity existing among individual Internet audiences shapes the movement of the everyday experience of watching TV.

By 1960, television advertisers recognized the economic potential of American youth, and producers were expected to develop programs to attract them, while still maintaining appeal for the older audience members. This task was to prove difficult as the decade wore on. While continuing to link the nation's cold war concerns to the portrayal of good and evil, some shows, like 77 Sunset Strip, and The Mod Squad, explored alternative lifestyles, but still accepted American values. As the 1960s developed, crime programs continued to promote American hegemony but became increasingly more open to alternative reading strategies. This study examines the strategies developed to draw a youth audience to 1960s crime programs, while also supporting the dominant ideology of American society.

La coédition de traductions faites au Québec, puis diffusées sous la marque d’un éditeur français, est une pratique à laquelle ont recours les éditeurs pour accroître le rayonnement de leurs titres. Ces coéditions s’effectuent selon des modalités variées dont l’évolution est parfois imprévisible. Dans le processus, les éditeurs et les traducteurs sont amenés à faire des compromis sur la langue d’arrivée afin de rejoindre les publics cibles outre-Atlantique. En quoi consistent ces compromis? Sont-ils terminologiques, lexicaux, culturels ou purement subjectifs? Comment sont-ils perçus par les traducteurs et les éditeurs? Ce mémoire explore ces questions par le biais de quatre études de cas de coéditions de traductions par des éditeurs et des traducteurs littéraires du Québec. L’analyse montre que ces compromis, qu’ils soient ou non culturels, affectent peu la qualité du français mais qu’ils créent parfois chez les éditeurs et les traducteurs un sentiment de domination culturelle de la part de la France. Ce discours est cependant nuancé par les types de pratiques de coédition et par la position des traducteurs dans la structure de l’édition. Un meilleur encadrement des pratiques de coédition et une valorisation du statut du traducteur dans le champ littéraire pourraient contribuer à atténuer certaines tensions liées à la coédition. / The copublishing of the translated version of literary books in Quebec and then distributed under a French publishing brand, is a practice used by editors to broaden the outreach of their books. The process of copublishing is carried out through various methods which tend to evolve in an unpredictable way : editors and translators make compromises about the target language in order to reach their cross-Atlantic markets. What is the nature of these compromises? Are they terminological, lexicographical, cultural or merely subjective? How are they perceived by translators and publishers? This essay explores these questions through the study of four cases of literary works copublished by publishers and literary translators from Quebec. The analysis demonstrates that these compromises, be they cultural or not, have little impact on the quality of French in the copublishing market, which is often in France. But they sometimes create a feeling of cultural dominance on the part of France. This discourse is however nuanced by the type of copublishing practice and the position occupied by translators within the publishing structure. A clearer framework for copublishing practices and a better status for the translator of literary works would contribute to mitigate some of the tensions related to copublishing.

This thesis demonstrates how the dynamics of hypertext fiction can inform an understanding of spectatorial practices provoked by contemporary performance and installation work. It develops the notion of the ‘hypertextual experience’ to encapsulate the particular qualities of active user engagement instigated by the unstable aesthetic environments common to digital and non-digital artworks. The significance and application of this term will be refined through an examination of different works in each of the study’s six chapters. Those discussed are as follows: Performances: Susurrus, by David Leddy; Love Letters Straight from the Heart and Make Better Please, by Uninvited Guests; The Waves, by Katie Mitchell; House/ Lights and Route 1 & 9, by the Wooster Group; Two Undiscovered Amerindians Discover the West, by Coco Fusco and Guillermo Gómez-Peña. Digital works: Afternoon (1987) by Michael Joyce; Victory Garden (1992) by Stuart Moulthrop; TOC by Steve Tomasula; The Princess Murderer by Deena Larsen. Installations: H.G. and Mozart’s House, by Robert Wilson; Listening Post, by Mark Hanson and Ben Rubin. In developing and discussing the hypertextual experience the thesis uses a number of conceptual frameworks and draws on philosophical perspectives and digital theory. A central part of the study employs an adaptation of possible worlds theory that has been recently developed by digital theorists for examining hypertext fiction. I extend this application to installation and performance and explore the implications of framing a spectator’s experience in terms of a hypertextual structure which foregrounds its performative operations and its engagement with machinic processes.

Sociological Research of TV Audience Behaviour Factors Determining The Time Spent Watching TV ABSTRACT The thesis deals with the phenomenon of TV viewing and with TV audience behaviour research. The theoretical part demarcates watching TV within leisure activities and deals with the question of motivation for watching TV as well. It also mentions the approach of people who intentionally try to exclude TV from their life. The text does not omit even the important contemporary determinants of watching TV - Internet and digitization of TV broadcasting. Subsequently, the main methods of TV audience behaviour research in the Czech Republic are introduced. In the empirical part, the main factors that most affect the time spent watching TV are being identified - first through separate elementary analyses and afterwards through searching for a regression model that would best predict the time spent watching TV for individuals and groups based on their socio-demographic and other characteristics. Keywords: television, time spent watching TV, watching TV, ATS, Peoplemeter, TVmeter, TV viewer, TV audience behaviour research

This diploma thesis named "Young people and its relationship with printed newspapers in the period of the new media" shows the way of treating the printed newspapers by the nowadays young generation within the Czech Republic. The thesis is based on the hypotheses predicting the tough situation and future position of printed newspapers. Concerning the experts' predictions the sole existence of the newspapers could be threatened by uninterested approach of young readers. The first part of the article shows the young people relationship to the printed newspapers as presented in selected international surveys and researches. The conclusions of these materials are essential sources used in my own further survey. As a part of the article the specific data presenting the situation of the Czech newspapers market are presented. It shows the printed newspapers decreasing demand which is significant as well as on the Czech Republic market. The methodology of the research is presented in the next part of the article. As a proper method the quantitative analysis is selected - the "focus-groups" method. The tested sample was forty of students in total. All of them were studying the secondary school or the university. Each part of the topic being analyzed is presented in the next part of the work. Also the...

The thesis "The documentary series Kmeny from the perspective of creators and viewers" addresses the audience reception and notions of culture documentary series producer strains. Kmeny are unique documentary series that aired on Česká televize from March 2015 to June 2015. The aim is to describe the primary intention of producers representing various urban subcultures and this plan will be confronted with the reception of the audience. The theoretical part focuses on the documentary, his conception of the role and film-maker. Further describes several approaches to research audiences and influence of media messages to the audience. Research will be presented to representatives of the main concepts of cultural studies - Stuart Hall and John Fiske. The last part will focus on the aesthetics receptionist kostnická škola. The research part will be done through interviews with viewers and creators. Secondary research method will be in-depth interviews with viewers within an ethnographic approach.

Title: Marketing research of motivation to attendance of fans FK Dukla Praha on matches. Objectives: The main target of this thesis is to reveal the cause of low attendance at local matches of FC Dukla Praha, based on marketing research. Methods: Marketing research consists of qualitative methods. For acquiring the necessary data, methods of electronic questionnaire, personal enquiry and interview were used. FC Dukla Praha fans inquiry was conducted by a method of electronic questionnaire on server Vyplňto.cz. During FC Dukla Praha fans motivation factor measurement, a part of Al-Thibiti (2004) questionnaire was used. The people enquiry was conducted by a method of personal enquiry. The interview was conducted as an in-depth individual talk supervised by Ing. Vladimír Šmíro, marketing manager. The statistics analysis was implemented for the gained data interpretation. Results: The results of this research revealed many reasons that lead to descending number of the audience of FC Dukla Praha matches. The most serious ones are unsuitable terms and times of the matches, the whole generation of FC Dukla Praha fans outflow, unsuitable premises, quality of performances and difficult access to the pitch/stadium. The club received sufficient information and at present, they try to remedy this negative...

The following report documents my 480-hour internship from August 17th, 2015 to January 29th, 2016 in the Education and Public Programs Department at the Contemporary Arts Center (CAC). I worked closely with the Marketing and Visual Art Departments. I chose the organization to experience an environment that commits itself to presenting high quality performing and visual arts. This paper assesses the CAC’s history, present day status, and future outlook. It also offers suggestions on how certain aspects can be improved in order to extend the organization’s longevity. Over the course of five months I observed strengths, weaknesses, opportunities and threats to the organization. Additionally, using knowledge gained from my Arts Administration classes and personal observations, this paper offers predictions as to the organization’s future.

A tese a ser defendida é a de que a autorregulação institucionalmente estruturada e legitimada pela regulação é um eficiente arranjo para tratar as falhas e riscos inerentes ao mercado de bolsa. O trabalho se inicia com a descrição da atual estrutura da autorregulação do mercado de bolsa, destacando seu novo formato institucional decorrente do processo de desmutualização e abertura de capital das entidades administradoras do mercado de bolsa e concluindo pela necessidade de adoção de novas perspectivas sobre o tema que transcendam o aparente antagonismo entre concepções liberais e intervencionistas. A partir dessa premissa, o trabalho apresenta uma visão panorâmica da evolução histórica da autorregulação do mercado de bolsa e considerações sobre os conceitos de autorregulação em outras áreas do conhecimento, a fim de identificar suas variações e seus elementos mais marcantes que constituirão a base a partir da qual serão apresentadas as novas perspectivas de análise do tema. As perspectivas propostas enfocam a natureza jurídica da autorregulação do mercado de bolsa como atividade paraestatal destinada a concretizar o modelo teórico neoclássico de justa formação dos preços segundo a livre atuação das forças de oferta e demanda e, também, melhorar os padrões de conduta praticados no mercado. Para tanto, o trabalho propõe que as decisões tomadas no âmbito da autorregulação se pautem por critérios materiais baseados nas premissas teóricas da concorrência perfeita e na exigência de cumprimento dos deveres derivados da boa-fé objetiva (informação, lealdade e proteção). Por fim, é apresentada uma especulação teórica, preliminar e não definitiva, denominada teoria palco-platéia, que visa situar o desenvolvimento da estrutura de autorregulação do mercado de bolsa como parte de uma questão essencial de interação entre indivíduo e sociedade representada nas diversas situações comunicativas envolvidas nos processos decisórios individuais e coletivos que modelam os padrões de conduta e as instituições públicas e privadas. / The thesis to be defended is that the institutionally structured self-regulation and legitimized by the regulation, is an efficient array to treat flaws and risks inherent of the exchange market. The paper begins with a description of the current self-regulation structure of the exchange market, highlighting its new institutional format, due to the demutualization process and IPO of the entities that manage the exchange market, and concluding with the need of the adoption of new perspectives regarding the subject-matter that transcend the apparent antagonism between liberal and interventionist conception. From this premise, the paper presents an overview of the history of self-regulation of the exchange market and considerations on the concepts of self-regulation in other areas of knowledge, for the purpose of identifying its variations and its most striking elements that will form the basis from which the new perspectives of analysis of the matter will be presented. The proposed views focus on the legal nature of the exchange markets self-regulation as a parastatal activity that seeks to achieve the neoclassic theoretical model of fair pricing, according to the free action of forces of supply and demand, and also improve the conduct standards in the market. Therefore, the paper proposes that decisions made within the self-regulation should be guided by material criteria based on theoretical postulations of perfect competition and in the requirement of the obligations derived from the objective good faith (information, loyalty and protection). Lastly, a preliminary and not final, theoretical speculation is presented, denominated stage-audience theory, which aims to situate the development of the self-regulation structure of the exchange market, as part of an essential matter of interaction between individual and society represented in various communication situations involved in individual and collective decision-making, which shape the standards of conduct, and public and private institutions.