Discursive markers are a set of linguistic items that work in the cognitive, expressive, social, and textual domains, with two aspects of communicative knowledge closely related to one another: the expressive and the social, which are the speaker's ability to use language to show his personal and social identities, to convey attitudes and perform actions, and to negotiate relationships between self and other (SCHIFFRIN, 2001). Interactional discourse markers arising from speech in interaction and one of its functions is to attract for itself the or to draw closer to the attention of the interlocutor, maintaining the speaker/listener interaction in the discourse process. In this perspective and in the light of the Accommodation Theory (GILES; COUPLAND; COUPLAND, 1991) and Audience Design (BELL, 1984), the aim is to analyze how the speakers adjust their linguistic behavior during the interaction and makes use of discursive strategies to control differences, to approach or to move away from their listeners, and shift the speech style to get approval from the participants in the interaction. This research analyzes the interactional discourse markers of verbal nature entendeu?, sabe? e viu? [you understand?, you know?, you see?], from the observation of the speech in the interaction of young students in the State College Atheneu Sergipense speech community, taking into account that in a school community the social universe is culturally shared among its members that, to greater or lesser extent of participation, share communicative needs, as well as lexical and semantic structures. The samples used in this study are part of the Falares Sergipanos database (FREITAG, 2013). From this proposal, we investigate: (i) the uses, the functions and the distribution of frequencies of interactional discourse markers entendeu?, sabe? e viu? [you understand?, you know?, you see?] (ii) the relation of these interactional discourse markers in the process of linguistic accommodation and, (iii) the uses of these discursive markers as traces of social identity. The corpus investigations in this study point out that the specificities of linguistic variations arise from the social relation between the speakers, the nature of the speech community and the sharing of the discursive and social context, where the speaker recognizes himself as a member of a group and adjusts his linguistic behavior, according to their goals and objectives, to express their attitudes and beliefs. / Marcadores discursivos são um conjunto de itens linguísticos que funcionam nos domínios cognitivo, expressivo, social e textual, havendo dois aspectos do conhecimento comunicativo intimamente relacionados entre si: o expressivo e o social, que são a capacidade do falante de usar a linguagem para mostrar suas identidades pessoais e sociais, transmitir atitudes, executar ações e negociar relações entre o eu e o outro (SCHIFFRIN, 2001). Marcadores discursivos interacionais emergem na fala em interação e uma de suas funções é atrair para si a, ou aproximar-se da, atenção do interlocutor, mantendo a interação falante/ouvinte no processo do discurso. Nessa perspectiva e à luz da Teoria da Acomodação (GILES; COUPLAND; COUPLAND, 1991) e Audience Design (BELL, 1984), busca-se analisar como o falante ajusta seu comportamento linguístico durante a interação e faz uso de estratégias discursivas para controlar diferenças, se aproximar ou se afastar do seu ouvinte e alternar seu estilo de fala para obter a aprovação dos participantes da interação. Esta pesquisa analisa os marcadores discursivos interacionais de natureza verbal entendeu?, sabe? e viu?, a partir da observação da fala em interação de adolescentes escolares na comunidade de fala do Colégio Estadual Atheneu Sergipense, tendo-se em conta que em uma comunidade escolar o universo social é culturalmente compartilhado entre seus membros que, em maior ou menor grau de participação, compartilham necessidades comunicativas, além de estruturas lexicais e semânticas. As amostras utilizadas nesta pesquisa integram o banco de dados Falares Sergipanos (FREITAG, 2013). A partir dessa proposta, investiga-se: (i) os usos, as funções e a distribuição de frequências dos marcadores discursivos de base interacional entendeu?, sabe? e viu?; (ii) a relação desses marcadores discursivos interacionais no processo de acomodação linguística e, (iii) os usos desses marcadores discursivos como traços de identidade social. Investigações do corpus apontam que as especificidades das variações linguísticas decorrem da relação social entre os falantes, da natureza da comunidade de fala e do compartilhamento do contexto discursivo e social, onde o falante se reconhece como membro de um grupo e ajusta seu comportamento linguístico, de acordo com suas metas e objetivos, para expressar suas atitudes e crenças.

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.

À la fin du XIXe siècle, les pionniers du théâtre populaire cherchent à s'évader du dispositif dit "à l’italienne" et à se rapprocher physiquement des spectateurs, pensant ainsi démocratiser la rencontre théâtrale. Dans cette perspective, ils utilisent des dispositifs non frontaux, bouleversant une longue tradition. La thèse, qui examine ce phénomène, rappelle que ces artistes se sont inspirés d’anciennes pratiques et ont restauré des formes antiques, élisabéthaines et médiévales, en particulier l’arène, la scène ouverte et le théâtre en rond. L’étude s’arrête sur ce dernier dispositif, observe son succès dans l’imaginaire théâtral moderne et constate sa rapide et paradoxale disparition. L’exemple privilégié est celui du Théâtre en Rond de Paris, créé par André Villiers en 1954 et animé par lui entre 1954 et 1984. Pour comprendre à la fois l’attraction et le déclin de la scène centrale contemporaine, qui n’a connu qu’un développement mineur et a quasiment disparu dans les années 1980, la prise en compte de la dimension mythologique du cercle est importante, comme l’est aussi l’utopie sphérique. La thèse apporte enfin quelques éléments de réponse quant aux raisons qui poussent certains artistes, en ce début du XXIe siècle, à choisir à nouveau ce dispositif et à en inventer des variantes. / During the late 19th century, pioneers of popular theater sought to escape the "Italian- style" stage to become closer to the spectators with the aim of democratizing theatrical entertainment. For this purpose, they used non-frontal stages, and thus radically altered a long tradition. The present thesis, which examines this phenomenon, recalls that these artists were in fact inspired by ancient popular practices and reintroduced antique and medieval forms, such as the Elizabethan open stage and the Theater in the Round, before considering the success of the latter in the modern theatrical imagination and its rapid demise. The example chosen is The Theater in the Round of Paris, created by André Villiers in1954 and managed by him until 1984. In order to understand both the attraction and decline of the contemporary Arena stage—which saw only minor developments and almost completely disappeared in the 1980s—reflection of the mythological dimensions of the circle, and the utopic ideology linked to the sphere, is imperative. Finally, this thesis proposes new ideas and elements for questioning why certain artists at the beginning of the 21st century still use some variants of this particular stage.

This thesis investigates how the contemporary museum for printmaking Grafikens Hus motivates printmaking in socially engaged art projects based outside of the conventional gallery. It explores how printmaking is practiced as a tool to achieve artistic and curatorial goals, and investigates what Grafikens Hus strives to achieve by making space for meeting places. The analysis is based on in-depth readings of three case studies and two interviews with the director of Grafikens Hus Nina Beckmann and the curator Ulrika Flink. The theoretical perspective strives from concepts relating to audiences, relations and site-specificity outlined by curators engaged in socially engaged practices. The theoretical framework has also been informed by the curator José Roca’s approach to printmaking used as a device to achieve specific conceptual goals. The thesis is structured in three chapters: the first presents Grafikens Hus’s objectives and strivings, the second explores how Grafikens Hus use printmaking to stimulate confluence, the third examines Grafikens Hus’s ambition to curate meeting places. This thesis shows that printmaking is practiced as method for participation, used as tool for collaboration, seeking to create active subjects and co-producers. Furthermore, it demonstrates how Grafikens Hus use participation to form relations with places and thus generate a third room: places recharged with value by a dialogue oriented mind-set.

This essay is based on a qualitative interview study with focus groups as a method and examines how sponsored videos from american influencers are received by their audience. Influencers are a new fenomena within the marketing business and therefore it is interesting to examine how this new marketing tactic is received by the viewers. We used two american beauty influencers with over one million subscribers on youtube as a conversation starter for the groups. We found that, after showing the videos to the participants, that the key to success for both influencer and viewer was that a relationship had to be established between viewer and influencer because if not the influencer did not come across as trustworthy since the viewer lacked the personal connection to him or her, but also they didn’t know their personalities. The women with this attitude did not, on a regular basis, follow any type of influencer in their daily life. However the women who did follow influencers regularly showed understanding in the concept and were also more likely to say that the influencers were in fact trustworthy. However, all of the women agreed that this is commercial and should always be regarded as that. They meant that as a viewer and consumer they should always be critical towards sponsored videos since there is large sums of money involved, and that means that the influencer could not be one hundred percent honest

The aim of this thesis was to analyse the reception of the Fifty Shades book trilogy and a film adaptation of its first part from the perspective of a female audience - both women who like the books and/or the film and women who do not like them. The thesis sought to describe the fundamental ways of the reception of the Fifty Shades phenomenon and to connect them to media and public discourse about the trilogy. The research questions were particularly focused on women's motivations to reading the books and/or watching the film, their approach to and evaluation of the trilogy. A part of the thesis was also a comparison of the two groups of female readers and viewers regarding the questions mentioned above and a connection of those questions with media and public discourse about Fifty Shades. During the conducted research 13 individual semistructured interviews with female readers and viewers of Fifty Shades have been done. The gained data were analysed by using the grounded theory method (particularly in vivo coding and axial coding). The outcome of the analysis is a description of two different ways of reception and interpretation of Fifty Shades which show persisting ambiguity of romantic fictions for women. The analysis also revealed an impact of media and public discourse about the trilogy on...

This master thesis deals with the phenomenon of Westernization of pop culture in mainland China on the example of the Chinese adapted version of the Talent Show China's Got Talent. (CHGT) In its theoretical part it outlines the overall globalizing and Westernizing tendencies and sets a theoretical framework of the main terminology of media studies. The research goal of the thesis was to analyze the audience reception of CHGT in China and their ideas and views on pop culture The research goal is included in the broader context of cultural imperialism theories and the specifics of talent and reality shows are elaborated. Furthermore a historical overview of the evolution of pop culture in mainland China is provided. In the practical part, the applied methodological approaches and their potential strengths and weaknesses are described. A basic thematic analysis of certain selected social media like Weibo, QQ and Baidu was conducted. The two versions of the adapted Got Talent format were compared as far as the formal features are concerned, the British version of Britain's Got Talent and the Chinese adaptation China's Got Talent. Moreover qualitative in-depth interviews with Chinese respondents in the PRC and the UK were performed. The group in the UK served as a control group for comparison and the...

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Diploma thesis "Media as an Agent of National Self-Confidence: Analysis of the Victory of the Czechoslovak Ice Hockey Players at the 1947 World Championship" deals with the reflection of the major sport event in the Czechoslovak media and how this reflection inspired the audience. The goal of this diploma thesis is to describe the dependance between the media coverage and the national self-confidence, which results from the national identity. Therefore, I focused on the chosen newspaper titles to analyze the content they produced during the 1947 Ice Hockey World Championship. I defined a hypothesis, based on observation and scholarly literature, that the media used the coverage to strengthen the national self-confidence and redefine the national identity. My second hypothesis was the idea, that this kind of coverage led to an active response among the audience. Before I started analyzing the three chosen titles (Lidova demokracie, Rude Pravo, Prace), I delivered complex structure of theoretical concepts, describing the influence media have towards the audience and also reasons why the members of the audience use media in their everyday life. I also focused on the historical and political context, as well as the media landscape that shaped the content of that time. I conducted the analysis and...

Ce travail a pour objectif d’étudier certaines représentations – écrites et imagées – des exécutions capitales en France, dans la seconde moitié du XVIe siècle et les premières décennies du XVIIe siècle. Ces exécutions sont nombreuses à une époque marquée par d’importants troubles politiques et religieux. Elles ont lieu en place publique, se veulent édifiantes et exemplaires pour les spectateurs, et affirment l’autorité du souverain, qui restaure l’ordre dans le royaume.Cette étude s’organise autour des trois figures fondamentales de la punition : le roi, le peuple et le condamné. La punition entretient toujours un lien très étroit avec l’autorité qui châtie. Nous verrons que les réflexions de Foucault autour du supplice se vérifient dans certaines sources, mais que les écrits et les images ne font pas obligatoirement de ce spectacle une affirmation de l’autorité royale, ni de la justice divine, parfois problématiques. Dans les sources écrites, les spectateurs réagissent souvent à l’exécution capitale et il arrive que les auteurs expliquent les violences populaires dans un cadre extra-judiciaire, comme une tentative de rétablir l'ordre et la justice. Le condamné, lui, est à la fois « acteur » du supplice à travers son comportement sur l’échafaud et « victime ». Ce travail, qui envisage des contextes politiques et religieux différents et compare des sources très diverses, entend montrer que la littérature et l’iconographie construisent une image complexe du spectacle de l’exécution capitale, en particulier à travers les motifs de l’ordre et du désordre qui les traversent. / Our thesis focuses on the representations – textual as well as illustrated – of capital punishments in France, during the second half of the 16th century and the first decades of the 17th century. This period, marked by significant political and religious troubles, saw a large number of public executions, aimed to be edifying and admonitory examples for the audience and to assert the sovereign’s authority to restore order in the realm. This study is centered around the three crucial characters of the punishment: the king, the public and the convicted person. The punishment is always closely linked to the authority which chastises. We’ll see that Foucault’s thoughts about capital punishment are relevant for some sources, but that the writings and the images do not necessarily present this spectacle as an assertion of royal authority, nor of divine justice, sometimes problematical. In the written sources, the audience often react to the execution and authors also attempt to re-establish justice and order during the descriptions of violent popular actions. As for the convicted, they are both “actors” of the executions, through their behaviour on the scaffold, and “victims”. Some traits appear in the convicted’s representations, considering their sex, their age, the religious beliefs of the authors and the different types of texts and images where the convicted are depicted. This study, which considers different political and religious situations and compares very diverse sources, aims to show that literature and images give a complex image of capital punishments’ spectacle, especially through the motifs of order and disorder.