Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960). Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa. / This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.

While numerous studies on academic writers composing for non-academic audiences exist, few if any studies address academic writers composing biographies for children. This self-reflective case study of a Eudora Welty biography for children provides insight into how an academic writer can effectively write in a specific genre (biography) for a specific audience (children) and into practical rhetorical choices such as choosing photographs and designing page layouts. The study also offers triangulated data regarding essential criteria of quality children’s literature as identified by experts in the field (editors, publishers, award committee members, scholars, and authors). The author’s findings include sixty-eight of the most often cited criteria, such as accuracy and the use of documented evidence, that serve as guidelines and a means of evaluating biographies written for children.

Avui dia, el món publicitari està vivint una sèrie de canvis trascendentals. Aquests vénen donats, principalment, per dos motius: l’auge de les noves tecnologies i la greu crisi econòmica que estem patint a nivell mundial. Aquesta recerca té com a objectiu conèixer els Joves Adults (JA) com a target publicitari, de la planificació de mitjans i com a consumidors de béns i serveis. Hem volgut centrar la tesi en els JA en general i veure quines diferències i similituds hi ha entre els JA urbans i aquells que viuen en ciutats de menys de 50.000 habitants (JAR). Trobem necessària fer aquesta distinció, ja que hem pogut constatar que la majoria d’estudis recents sobre publicitat i/o mitjans es centren massa en les grans ciutats o capitals. Creiem que estudiar com són aquest JA de ciutats més petites, individus que representen gairebé la meitat (47%) dels JA espanyols, és indispensable per tal de comprendre el col•lectiu de la manera més completa possible. Per fer l’estudi del cas, contraposem les dades quantitatives extretes d’AIMC Marcas per ambdós targets, els JAU i els JAR de i les complementem amb un estudi qualitatiu. Aquest es basa en entrevistes en profunditat entre els JA, així com un panell Delphi per tal d'aprofundir en les opinions de diferents professionals de la planificació de mitjans de les principals agències de l'estat. / Hoy en día, el mundo publicitario está viviendo una serie de cambios trascendentales. Estos vienen dados, principalmente, por dos motivos: el auge de las nuevas tecnologías y la grave crisis económica que estamos sufriendo a nivel mundial. Esta investigación tiene como objetivo conocer los Jóvenes Adultos (JA) como target publicitario, de la planificación de medios y como consumidores de bienes y servicios. Hemos querido centrar la tesis en los JA en general y ver qué diferencias y similitudes hay entre los JA urbanos y aquellos que viven en ciudades de menos de 50.000 habitantes (JAR). Encontramos necesaria hacer esta distinción, ya que hemos podido constatar que la mayoría de estudios recientes sobre publicidad y/o medios se centran demasiado en las grandes ciudades o capitales. Creemos que estudiar cómo son estos JA de ciudades más pequeñas, individuos que representan casi la mitad (47%) de los JA españoles, es indispensable para comprender el colectivo de la manera más completa posible. Para hacer el estudio del caso, contraponemos los datos cuantitativos extraídos de AIMC Marcas para ambos targets, los JAU y los JAR y los complementamos con un estudio cualitativo. Este se basa en entrevistas en profundidad entre los JA, así como un panel Delphi para profundizar en las opiniones de diferentes profesionales de la planificación de medios de las principales agencias del estado.

Titel: När mediabruset tar över- Hur en butik kan använda sig av gerillamarknadsföring Kurs: 2FE07E Examensarbete i företagsekonomi, Kandidatuppsats 15hp, VT2011 Författare: Rebecca Einarsson, Lejla Kurtovic och Izla Seffo Handledare: Martin Amsteus Examinator: Frederic Bill  Nyckelord: Gerillamarknadsföring, Generation Y, Målgruppsanalys, Attityder, Varumärke:företagsidentitet och företagsimage, Varumärkeskännedom. Syfte: Att skapa kunskap rörande hur en butik kan marknadsföra sig mot Generation Y med hjälp av gerillamarknadsföring.    Metod: Studien är av kvalitativ karaktär med ett induktivt angreppssätt. Det är även en fallstudie och primärdata samlades först in genom en djupgående intervju med fallföretaget, därefter utfördes en målgruppsanalys genom en fokusgrupp samt enkät.                                                                                                   Empiri: Det empiriska kapitlet påbörjas med en presentation av Rut m.fl. som följs av en intervju där målgruppen definierades till Generation Y. Utefter intervjun utformades en målgrupssanalys genom en fokusgrupp och enkät. Teori: De teorier som presenteras har härletts av det empiriska materialet och är relevant för de ämnen som tagits upp. Kapitlet behandlar målgruppsanalys, Generation Y, Varumärke:företagsidentitet och företagsimage,varumärkeskännedom samt gerillamarknadsföring. Avslutning: Studiens slutsatser är att gerillamarknadsföring är användbar då den är kostnadseffektiv, tilltalar Generation Y, ökar varumärkeskännedom och igenkänningsfaktorn samt kan skapa Buzz vilket kan leda till Word-of-mouth.                  Vidare forskning: Förslag till vidare forskning skulle kunna vara att studera ämnet mer ingående och skapa vetenskapligt material då gerillamarknadsföring är ett relativt outforskat område. Det skulle även vara intressant att mäta responsen till gerillamarknadsföring, speciellt de förslag som resulterat från denna studie. / When the media noise is taking over – How a store can make use of Guerrilla marketing Authors: Rebecca Einarsson • Lejla Kurtovic • Izla Seffo Tutor: Martin Amsteus Examiner: Frederic Bill 2FE07E Bachelor thesis in Business administration • Marketing programme School of Business and Economics atLinneaus University in Växjö • Spring 2011 Keywords: Guerrilla marketing • Generation Y • Target audience analysis • Attitudes • Brand: corporate identity and corporate image • Brand recognition Traditional marketing has been caught in a vicious circle. People have limited attention and are also limited by money, which means that consumers cannot pay attention to all advertising or buy everything. As companies invest more money on advertising it results in even more messages for people to take in and then it may be difficult for the company to get through the "noise". The consumers also tend to build up defenses against these types of traditional messages and actively avoid it, which do not make it easier for today's marketers so therefore marketers must simply find new ways to catch their attention. The purpose of this thesis is to generate knowledge regarding how a store can advertise to Generation Y by means of Guerrilla marketing. The research undertakes a qualitative data collection. Primarily a case study was undertaken and primary data for the main study was collected through an in-depth interview with the case business, and thereafter through a focus group and a survey that were based on an target audience analysis in order to understand the target audience, which in this study is limited to Generation Y.  Secondary data was collected from academic literature, scientific articles, dissertations and webpages. The theories that are researched are derived from the topics that arose from the empirical data. The findings and conclusion of the study is that Guerrilla marketing is cost-efficient, more appealing to Generation Y, enables a dialogue with the customers, increases brand recognition and recognition factor in general, but mostly it can create Buzz which can turn into Word-of-mouth communication. Guerrilla marketing is a relatively unexplored field and suggestions for further research would be to study the subject more profoundly and to create more scientific material in general. It would also be of interest to measure the response to guerilla marketing and especially to test the Guerrilla marketing suggestions that have resulted from this study on Generation Y.

This dissertation explores the social patterns and cultural layers of musical "open mics" in New York City. The study uses a qualitative approach which includes methods such as ethnography, in-depth interviewing, historical and discourse analyses focusing on open mics and the popular musicians who attend and perform them. Open mics, short for "open microphones," are public events that allow musicians to perform songs without a pre-planned, formal booking with a club or venue. Owing a historical and discursive connection to the folk hootenannies and jazz jam sessions of the past, these events have proliferated and spread considerably across the United States since the 1990s since their development, by name, in the late 1970s. Open mics not only reflect a do-it-yourself and participatory cultural ethos manifested with other recent expressive cultural activities, but also demonstrate a growing interstitial "musical third place" residing between private practicing and public performance. Musical open mics as musical third places provide musicians and singer/songwriters to network with other musicians, practice new musical compositions and play when other performance opportunities are not readily available. It provides a means for musicians to "hone their craft" in terms of performance methods and also construct musical identities in the almost exclusive company of other working singer/songwriters. This "backstage region" is thus framed and keyed by the musicians onto a continuum between two theoretical poles: performance practicing and practicing performance. Performance practicing as defined in this study frames a more performance-oriented display for musicians in locations called "closed open mics" or COMs. These settings, also residing on a theoretical continuum are socially more exclusive in terms of performance types, the aesthetic careers of the performers, the genres represented and the sociological makeup of the setting participants in general. OOMs or "open open mics," on the other hand, usually have a more fluid, diverse sociological composition of musical performers, performance types, and musical genres played and represented in these mainly weekly events. Closed open mics align into more homogeneous, isomorphic settings comprising "local open mic scenes" and open open mics remain more heterogeneous, socially inclusive, and unsettled as "pre-scenes."

Consumers acquire products to enhance their lives, but the happiness from these acquisitions generally decreases with the passage of time. This process of hedonic adaptation plays an integral role in post-acquisition consumer satisfaction, product disposal and replacement behavior, and the "hedonic treadmill" that partially drives the relationship between consumption and happiness. Humans are social animals, however, and we know little about the relationship between the social environment and hedonic adaptation. My dissertation addresses this gap by exploring the moderating role of social presence (Essay 1) and self-concepts (Essay 2) on hedonic adaptation to products. Essay 1 explores how social presence affects hedonic adaptation to products. Research on general happiness has shown that significantly positive life events tend to maintain their positivity for longer periods of time when they involve active social interactions. I examine a more common situation in the domain of product consumption, i.e., the presence of others during consumption, and test whether hedonic adaptation to products is moderated by public contexts. By tracking happiness with products over time, I show that a "social audience" (i.e., the presence of others and the perception that those others notice the consumer) moderates hedonic adaptation through a consumer's inference of the social audience perspective. Inferring that the social audience is admiring one's product slows down adaptation, and inferring that the social audience is negatively viewing one's product accelerates adaptation. Essay 2 explores the role the identity-relevance of a product plays in hedonic adaptation. Extant research illustrates that consumers avoid consuming identity-inconsistent products in order to avoid dissonance arising from product choices conflicting with important self-concepts. I show that dissonance can also arise from consuming identity-consistent products because of the force of hedonic adaptation. I provide evidence that consumers feel uncomfortable experiencing declining happiness with identity-consistent products and thus resist hedonic adaptation to such products in order to resolve the dissonance. / text

Bakgrund: Skolan som institution har existerat i olika former under många århundraden, samtidigt som den hela tiden har följt samhällsutvecklingen. Om problematiken med mobbning inom skolmiljön har det vittnats åtminstone i flera decennier, trots att skolan påvisar den genom aktivt arbete med främjande och förebyggande åtgärder. Vittnesmål kring mobbning kommer oftast från personer som har varit utsatta, ofta långt efter att kränkningarna ägt rum, och ger oss ett perspektiv på problemet. Vår intention med denna uppsats har varit att lyfta upp mobbning från ett annat perspektiv, genom att fånga upp lärarnas upplevelse kring det praktiska arbetet mot mobbning. Syfte: Studiens övergripande syfte är att med hjälp av Goffmans teori om scen, skapa en fördjupad förståelse för vad lärarna inom ett antimobbningsteam på en grundskola har för upplevelse kring deras arbete mot mobbning mellan eleverna. De frågeställningar studien förhåller sig till är: 1. Hur beskriver grundskollärare från antimobbningsteam sin roll i förhållande till elever i mobbningssammanhang? 2. Hur kan Goffmans begrepp scen, roll, aktör, publik, team, inramning och uppsättning användas för att förstå lärarnas upplevelse kring mobbning? Metod: En kvalitativ ansats har använts med fem semistrukturerade intervjuer med lärare från antimobbningsteamet. Analysen av skapad data gjordes utifrån Goffmans dramaturgiska teori om scen samt tidigare forskning. Resultat: Resultatet visar på att vid mobbningen mellan skoleleverna är det hela gruppen som deltar, antingen aktivt genom att utöva kränkningar, eller passivt genom att uppmuntra till det via positiv respons. Detta sker oftast bortom lärarnas synhåll, på scener och vid sådana tillfällen som lärare inte kan bevittna. Studien synliggör att lärare upplever sig ha bristfälliga kunskaper kring problematiken samt att det saknas tidsmässiga resurser för att motarbeta problemet. Scenen för mobbning ramas in av skolans styrdokument men även genom skolans bristande satsningar på resurser och lärarutbildningar. / Background: The school as an institution has existed in various forms for many centuries, and constantly followed the development of society. Regarding the problem of bullying in the school environment, it has been testified as a problem during at least several decades. This despite the fact that the school demonstrates it through active efforts of promotion and prevention. Testimony about the bullying usually comes from people who have been exposed, often long after the violations occurred, and gives us a perspective on the issue. Our intention with this essay has been to illustrate the bullying from a different perspective, by capturing the teachers' experience on the practical work against bullying. Purpose: The overall aim is that by using Goffman's theory about stage, creating a deeper understanding of what teachers in an anti-bullying team at a primary school experience within their work with bullying among students. The issues the study relates to are: 1. How primary school teachers from the anti-bullying team describes their role in relation to students in bullying context? 2. How can Goffman's concept stage, role, actor, audience, teams, setting and set be used to understand the teachers' experience concerning bullying? Method: A qualitative approach has been used with semi-structured interviews in which the analysis of the created data was based on Goffman's dramaturgical theory about the stage and previous research. Results: The results show that the whole group is involved at the bullying between school children, either actively by exercising violation, or passively by encouraging it through positive feedback. This usually occurs beyond the teachers' sight, on stages and at such times the teachers cannot witness. The study reveals that teachers feel they have insufficient knowledge about the problem and a lack of time resources to address the problem. The stage of bullying is framed by the school's governing documents and also by the school's lack of investment in resources and teacher training.

This study offers insights into the motif of monstrous corporality in a transmedia environment, through the vampire and zombie characters. Different narratives of corporeal transformation surround us constantly. On one hand, discourses of self-improvement in late modernity (Giddens 1991/2008) and ‘makeover culture’ (Johansson, 2006; 2012; Miller, 2008; Weber, 2009) demand a ‘creation of self’ through change and development, often in relation to physical appearance and bodily traits. On the other hand, numerous narratives of monstrosity and bodily change through destruction are also evident. This study takes on this double focus on corporality, against the backdrop of a late modern mediascape that has enabled people to imagine lives and possibilities different from their own through electronic mediation (Appadurai, 1996). As narratives now move between media platforms, new dimensions are brought to the imaginary, as different platforms interact differently with audiences. The aim of the study is to examine monstrous corporality in popular culture both in relation to media texts and audience practices through analyzes of representation, consumption and performance. The study examines medial and corporeal transformation through: concrete bodily change (the monstrous body), shifts between media platforms (transmedia) as well as the transmission of affect between media material and viewer (embodied spectatorship). These dimensions are explored in four empirical chapters, which examine two television series (True Blood and The Walking Dead) through textual analyses, the promotion of these series, audience participation (in online fora) and also participatory practices (Live action role play and zombie walks) through focus group interviews. The results indicate that the theme of monstrous corporeal change in TB and TWD reflects corporeal change in late modernity in several ways. Both transformations are focused on ‘before’ and ‘after’ and change of the monstrous body is connected to particular traits or parts of the body, which are also prominent in makeover culture narratives, such as skin, teeth and weight (appetite). The televisual narrative offers representations of bodily interiors and bodily harm that affect the viewers in a physical way, through an embodied spectatorship. The analyses of transmedia environments connected to the series indicate that the promotion of the programs use dimensions that emphasize the corporeal address, by bridging the gap between diegetic and actual reality. This is done through media environments (posters, websites and the like), and by introducing diegetic elements as actual, tangible objects in the actual reality of potential viewers. The analyses of posts on televisionwithoutpity.com show that participants use forum discussions as strategies to prolong and widen the media experience, and share it with others. Interviews with larpers and participants in zombie walks indicate that practices that stage the monstrous, also function as deepened embodied narrative experiences. Performances such as larps and zombie walks are interpreted as both conscious acts, and as strategies to handle unconscious performative (Butler, 1991/2006) dimensions of late modernity. Taken together, the zombie and vampire embody the pressures, risks and paradoxes connected to late modern makeover culture, and the mediated form they are presented through, tie them closer to those who engage in narratives about them.

本研究從「使用與滿足」理論，以警察廣播電臺為探討的對象，研究聽眾願意主動提供路況資訊的使用動機與滿足程度。 警察廣播電臺為公營廣播媒體，節目內容以治安交通等公共服務為主。警廣自1971年設立第一座交通專業電臺臺北臺，以電話接收聽眾提供路況；於1996年率先啟用智慧型電話系統，將全省免付費路況提供專線統一為0800000123，受理來自全省各地聽眾提供即時路況。近年來，路況報導為廣播閱聽眾收聽廣播的重要因素之一，且從幾次重大的意外災害發生後，警廣很快的從聽眾提供的資訊掌握災情，聽眾主動提供的資訊發揮了功能。 本研究以量化研究方式，採用問卷調查法。研究結果發現，聽眾願意主動提供路況的動機，分別為「分享參與」、「資訊守望」、「人際連絡」、「尋求解決困難的方法」以及「個人化需求」等五個構面。並且想知道即時的路況是聽眾收聽警廣最主要的動機。 關鍵詞：使用與滿足、主動的閱聽人、廣播、路況報導 / Radio Listener’s Media Use and Gratification－ Example of the Police Broadcasting Service Abstract This study employs 「uses and gratifications」theory to investigate motivations for actively providing road condition information and resulting gratification among listeners of Police Broadcasting Service. Police Broadcasting Service is a public radio station with program content chiefly comprising public service matters connected with law and order and transportation. Since it established Taiwan's first specialized traffic station—Taipei Station—in 1971, Police Broadcasting Service has received telephone reports of road conditions from listeners. The station launched the 0800000123 smart phone system—Taiwan's first—in 1996, to provide a Taiwan-wide toll-free road condition hotline to accept real-time road condition reports from listeners throughout Taiwan. In recent years, the station's road reports have become one of the most important factors causing the public to listen to the station. Furthermore, after several major accidents that occurred in the past, Police Broadcasting Service quickly gained a picture of the situation from information provided by listeners, showing that the voluntary provision of information by listeners is very effective. This study employed a quantitative research approach and used the questionnaire survey method. The study's findings indicated that listeners' motivations for actively providing road information included the five aspects of 「shared participation」, 「information watchman」, 「interpersonal contact」,「looking for means of solving problems」, and 「individual needs」. Furthermore, wishing to hear real-time road conditions constitutes listeners' chief motivation for listening to Police Broadcasting Service. Keywords: uses and gratifications、active audience、listeners、radio station、road condition report

One of the main tasks for journalism is to provide people with the information they need to be able to make independent decisions that can help them improve their lives. In order to know that the media fullfils this task it is important to study how the information is received by the audience. This thesis aims to investigate if, and if so how, a selected group of people in Dar es Salaam use news media to inform themselves on problems regarding healthcare, and how they value the information on these topics.A minor field study was carried out in Dar es Salaam in April 2014. The study was limited to Dar es Salaam, the economic capital of Tanzania, because it holds the majority of the media. Three different residential areas were chosen for the study, these were Mwananyamala, which is a low-income area, Sinza, middle–income and Mikocheni, high–income. A survey questionnaire was distributed in each area, 30 in Mwananyamala, 31 in Sinza and 30 in Mikocheni, and in every area four interviews was preformed.According to the selection group there is plenty of healthcare information in the media that is useful to the audience but it is not seen to be very varied. Most information is about malaria and HIV/AIDS, which are two of the most common diseases in Tanzania, but many call for a broader reporting on health issues. Media is however a useful source of information, according to most of the respondents, and especially radio and television has a big impact since it reaches out to a large part of the population. This is a good thing as long as the information is factual and accurate, but several of the respondents believe that this is not always the case.