This master's thesis focuses on the credibility of social media as news sources in journalistic practices in the Czech Republic. The paper is based on the sociological conceptualization of trust put forward by Niklas Luhmann and Piotr Sztompka and its modern adaptation by media scholars, e.g. Thorsten Quandt. The aim of this work has been to find out through thirteen substantive, one- on-one interviews with readers of the print and online media editions of Krkonošský deník how the credibility of news stories depend on the information sources used. The thesis includes the theoretical part that is based on the theoretical conceptualization of trust: from the main concepts and conflict topics to the journalistic practices that should ensure trustworthiness and audiences' perceptions of trustworthiness. The Methodology section describes the area of qualitative research and related procedures, which include a detailed description of the data collection method, which is a semi-structured, in-depth interview, and the characteristics of the research sample. In findings the results of the research from the data obtained through interviews conducted with respondents are interpreted. The conclusion of the thesis is dedicated to summarizing the research results.

[pt] A partir da consolidação da imprensa industrial e do fortalecimento dos regimes democráticos, em meados do século XIX, o jornalismo se estabelece como a principal fonte de informação para a população, baseado em critérios e normas reguladoras da atividade. A prática jornalística passa a ser compreendida como um sistema perito fundamental para a defesa da sociedade, dos direitos humanos e da democracia, o que se convencionou chamar de quarto poder. A hegemonia informativa do jornalismo se manteve estável durante todo o século XX, sendo o principal mecanismo de formação e mobilização da opinião pública. Na virada do século XXI, com a chegada das plataformas interativas da web 2.0, o campo jornalístico sofre mudanças. As mídias sociais online permitem a produção e circulação de narrativas paralelas de todos os tipos e finalidades com grande alcance de visualização, propagação e mobilização da audiência conectada às redes, chegando ao fim a hegemonia jornalística profissional enquanto fonte de informação e mobilização da opinião pública. No momento em que jornalistas profissionais e amadores se fundem no papel de produtores e distribuidores de conteúdo, o jornalismo, que passa a acontecer em rede, se vê diante de novos desafios. A audiência potente passa a interferir diretamente no fazer jornalístico de diversas formas, inclusive dialogando com os veículos e entre si nas plataformas de mídias sociais. Associado a este novo cenário, temos o surgimento da cultura da desinformação e de uma estratégia de desqualificação do jornalismo e de valorização das narrativas paralelas em prol de interesses políticos, especialmente em governos com viés mais autoritário. Diante deste complexo cenário, onde o jornalismo enfrenta uma crise sem precedentes, tanto na esfera econômica quanto relativa a sua reputação e a sua credibilidade perante a sociedade, que surge este estudo. Através da conversação em rede dos leitores com o jornalismo, buscamos compreender qual o imaginário da audiência conectada em relação ao jornalismo profissional contemporâneo. O corpus da pesquisa foi constituído pelas sequências discursivas (comentários) dos leitores dos jornais O Globo, Estadão e The Intercept Brasil vinculadas às matérias sobre a reforma da Previdência publicadas no período de julho a dezembro de 2019 no site de rede social Facebook. Através da análise do discurso dos comentários pudemos identificar as funções, os valores e os desvios do jornalismo presentes no imaginário dos leitores, apresentados nesta tese. Promovemos também com um diálogo das questões levantadas pela audiência com as principais teorias do jornalismo. Acreditamos que compreender a percepção da audiência se faz necessário para encontrarmos caminhos para o resgate do jornalismo enquanto sistema perito, fundamental para a sobrevivência da democracia. / [en] From the consolidation of the industrial press and the strengthening of democratic regimes, in the mid-nineteenth century, journalism establishes itself as the main source of information for the population, based on criteria and norms regulating the activity; journalistic practice is now understood as a fundamental expert system for the defense of society, human rights and democracy, which has been called the fourth power. The informative hegemony of journalism remained stable throughout the 20th century, being the main mechanism for training and mobilizing public opinion. At the turn of the 21st century, with the arrival of interactive platforms of web 2.0, the journalistic field undergoes changes. Online social media allows the production and circulation of parallel narratives of all types and purposes with wide reach of visualization, dissemination and mobilization of the audience connected to networks, coming to an end professional journalistic hegemony as a source of information and mobilization of public opinion. At a time when professional and amateur journalists merge into the role of content producers and distributors, journalism, which happens in the network, faces new challenges. The powerful audience starts to interfere directly in journalistic making in various ways, including dialoguing with the vehicles and each other on social media platforms. Associated with this new scenario, we have the emergence of the culture of disinformation and a strategy of disqualification of journalism and valorization of parallel narratives in favor of political interests, especially in governments with a more authoritarian bias. Faced with this complex scenario, where journalism faces an unprecedented crisis, both in the economic sphere and related to its reputation and credibility before society, this study emerges. Through the new dynamics of interaction of the audience with journalism, we seek to identify and understand the imaginary of the connected audience in relation to contemporary professional journalism. The corpus of the research consisted of the discursive sequences (comments) of readers of the newspapers O Globo, Estadão and The Intercept Brasil linked to the articles on pension reform published in the period from July to December 2019 on the social networking site Facebook. Through the analysis of the comments discourse, we were able to identify the functions, values and deviations of journalism present in the readers imagination, presented in this thesis. We also promote with a dialogue of the questions raised by the audience with the main theories of journalism. We believe that to understand the perception of the audience in relation to journalism is necessary to find ways to rescue journalism as an expert system, fundamental to the survival of democracy.

[pt] Esse artigo argumenta como a securitização do narcotráfico influenciou o chefe do poder executivo Wilson Witzel, como ator securitizador a construir uma política pública de segurança que não engloba todos os habitantes do estado do Rio de Janeiro e por meio dos seus atos de fala pode-se identificar quem está inserido e excluído do objeto referente a ser protegido. Os efeitos da linguagem nos discursos como uma prática social serão obtidos por meio do mapeamento de significados feitos através da análise de discurso. Portanto, ao securitizar o narcotráfico, o governador estimula a letalidade da polícia fluminense, trata seus resultados como sinônimo de eficiência para os seus apoiadores e alarga a barreira entre os cidadãos da cidade, ao excluir os moradores das favelas do objeto referente e da audiência por causa das suas características físicas e ocupação geográfica. / [en] This paper argues how the securitization of drug trafficking influenced the state governor, Wilson Witzel, as a securitizing actor to build a public security policy that does not include all inhabitants of the state of Rio de Janeiro. Through his act of speech it is possible to identify who is inserted and excluded from the referent object of protection. The effects of language in speech as a social practice will be obtained by mapping meanings made through discourse analysis. Therefore, by securitizing drug trafficking, the governor encourages the lethality of the Rio de Janeiro police, treats its results as a synonym of efficiency for its supporters and widens the barrier between the citizens of the city, by excluding the residents of the favelas from the referent object and the audience for because of their physical characteristics and geographical occupation.

Trots att mottagaren är tungt viktad genom gymnasieskolans återkommande kunskapskrav visar studier hur mottagaren tenderar att förbli otydlig eller odefinierad i skolans uppgiftsinstruktioner. Syftet med denna studie är därför att erbjuda ett kunskapsbidrag om den mottagarmedvetenhet som formas inom svenskämnet, närmare bestämt inom kursen Svenska 3. Detta görs genom att studera fyra elevers konstruktion av mottagare i lika många nedtecknade hyllningstal samt den uppgiftsinstruktion som föregick dessa.  Arbetet tar avstamp i den kritisk-konstruktiva didaktiken och under studiens inledande fas närlästes uppgiften för att sedan granskas mot styrdokumenten. I studiens andra fas analyserades elevtexterna komparativt med hjälp av Labov och Waletskys modell för muntligt berättande och interpersonella markörer rörande närhet och distans med särskilt fokus på genrespecifika särdrag för manus till tal (Nyström, 2000). Avslutningsvis så studerades uppgift och elevtexter utifrån hur de placerade sig inom skrivhjulet (Berge, Evensen & Thygesen, 2016), vilket fungerade som utgångspunkt för diskussionen.  Resultatet bekräftar bilden av att svenskämnet skapar en begränsad mottagarmedvetenhet, där skolsk kontext (Berge, 1988) befästs genom att elever ges möjlighet att kringgå de utmaningar som den explicite mottagaren kräver för att erkännas inom skrivhändelsen. Den explicite mottagaren framstår därmed som illusorisk då denne förblir odefinierad, oreflekterad och otydlig i uppgift och elevtexter. Mottagaranpassning måste sålunda tränas, talas om och reflekteras kring för att etableras om nedglidning (Hoel Løkensgard, 2001) ska motverkas och ett medvetet förhållningsätt till mottagaren ska utvecklas så eleverna, i linje med styrdokumenten, förbereds för livet efter skolan. / Research shows how school task recipients tend to be unclear or undefined in task construction, although the recipient is reoccurring in the knowledge requirements throughout upper secondary school. Therefore, this study aims to contribute to the knowledge about the audience awareness formed within the Swedish subject by studying students' construction of recipients in four tribute-speech scripts and the task construction related to them.  In the first part of the study, trusting critical constructive didactic theory, the task instruction was analysed under close reading before being challenged by the steering documents. In the second part, the students' texts were analysed, relying on Labov and Waletsky's model for oral narration for structure and comparison and interpersonal markers of style regarding closeness and distance focusing on genre-specific attributes (Nyström, 2000) for tribute-speech scripts. Finally, I studied the task construction and the text on how they positioned themselves within the Writing Wheel (Berge, Evensen & Thygesen, 2016), which acted as a starting point for the discussion chapter.The results confirm an image of a limited audience awareness within the Swedish subject where schoolastic norms (Berge, 1988) are further established, as pupils are given opportunities to circumvent audience awareness challenges through task construction and writing actions where the explicit recipient demands to be acknowledged within the writing situation.  As a result, the recipient seems elusive and stays undefined, unreflected and unclear. Audience awareness thus needs to be trained, talked about and reflected on to be leant and counteract slippage (Hoel Løkensgard, 2001) to stay in line with the steering documents' intentions and prepare the pupils for life after school.

The study aims to analyze how user-generated content contributes to the representation ofcompanies in the context of digital trends. Digital marketing has become a norm forbusinesses in all fields and is a constantly changing phenomenon. Due to the overwhelminguse of influencer-marketing, trust in influencers has decreased. This has contributed to agrowing demand for authentic and relatable material on social platforms. Because of this,user-generated content is on the rise, especially on platforms like TikTok, which has becomean arena for digital marketing. This study examines how the brand Normal is portrayedthrough user-generated content through the TikTok-trend “Run, don’t walk to”. Normal is acompany that has become successful through user-generated content and electronic Word ofMouth (eWOM) on Tiktok, especially via the TikTok-trend “Run, don’t walk to”.We have used a qualitative multimodal analysis to study how the company Normal isportrayed in the trend “Run, don’t walk to”. The analysis examines several semioticresources: linguistic, auditory, visual and gestural and the interaction of the semioticresources. To understand the trend, the way users participate and interact is also studied. Wediscovered that Normal is portrayed in a positive way through user-generated content onTikTok. This is due to users' ambitious and authentic videos that load the brand withfavorable value and attributes. Users participate and interact primarily through archivingpurposes that include liking and archiving. Users' participation in the trend manifests itself ina similar way across all videos. The result is consistent with Dallas Smythe's theory ofaudience commodity, as users do not perceive the production of videos as a burden eventhough they contribute to the free marketing of the brand Normal. Users' participation in thetrend and the calls for consumption can be seen as a transaction and payment for an entry intothe consumer society.

In the dissertation study examines the basic concepts of the market videoblogging, clarified the place of the genre of video blogs in the system of media market and the market of content creation on the Internet. The main reasons to use a blog instead of or in addition to other channels of information dissemination. Disassembled basic differences videoblogging from traditional TV categories, allowing you to compare the performance of different projects. Systematic popular genres and instruments harmful content in the United States and Russia. Presents examples of successful projects, proanalizirovany factors that influenced the success. Grouped potentially significant factors in the success of the video blog on the Russian market. In the empirical part of the study, presents descriptive characteristics of the main indicators, described a regression model that were selected to test the main hypotheses of the study and presents the results of analysis of relationships. / В диссертационном исследовании рассматриваются основные понятия рынка видеоблоггинга, уточнено место жанра видеоблогов в системе рынка СМИ и рынка создания контента в Интернете. Выделены основные причины использования видеоблога взамен или в дополнение к другим каналам распространения информации. Разобраны базовые отличия видеоблоггинга от традиционного телевидения, категории, позволяющие сравнивать эффективность различных проектов. Систематизированы популярные жанры и инструменты видеоблоггеров в США и России. Представлены примеры успешных проектов, проанализирвоаны факторы, повлиявшие на успешность. Сгруппированы потенциально значимые факторы успешности видеоблога на Российском рынке. В эмпирической части исследования, представлены описательная характеристика основных показателей, описаны модели регрессионного анализа, которые были выбраны для проверки основных гипотез исследования и представлены результаты анализа связей.

This dissertation highlights general problems of formation of visual literacy of the audience of contemporary art. The object of research is visual literacy in field of contemporary art. The subject of the research is problems of formation of visual literacy of the audience of cultural phenomenas. In the study of foreign and Russian experience in formation of visual literacy of the audience of contemporary art the author came to the conclusion that considerable role is played by comprehension of contemporary art as a specific socio-cultural phenomena, that determine necessity of the complex approach, that is based on communicative potential of contemporary art. / Данная диссертация освещает проблемы формирования визуальной грамотности зрительской аудитории современного искусства. Объектом исследования является визуальная грамотность в области современного искусства. Предметом исследования диссертации стали проблемы формирования визуальной грамотности зрительской аудитории объектов культуры.

Цель магистерской диссертации заключается в выявлении редакторской специфики создания контент-маркетинговой стратегии театральных корпоративных изданий с последующим составлением рекомендаций. Редакторский подход к созданию контент-маркетинговой стратегии театрального корпоративного издания определяет новизну исследования. Материалом для исследования послужили театральные корпоративные издания «Урал Опера Балет» и Московского театра «Новая Опера». Общий объем проанализированного материала составил более 1200 текстов разных жанров и свыше 1950 иллюстраций из 135 выпусков. В фокусе исследовательского внимания оказались заметки, интервью и фотография как визуальный жанр. В процессе исследования были проанализированы коммуникативные тактики в материалах заметки и интервью, способствующие решению задач, поставленных контент-маркетинговой стратегией. Коммуникативные тактики были разделены на четыре группы – сопоставительные, воздействующие, самопрезентации, взаимоотношений со зрителем. Общими для театральных корпоративных изданий «Урал Опера Балет» и Московского театра «Новая Опера» являются тактики заботы и участия, «проблемное поле», ожидания положительной оценки, ценностной ориентации. Таким образом, издания не только формируют позитивный образ театров и транслируют их ценности, но и открыто обозначают существующие проблемы. По результатам анализа визуального контента предложена классификация жанров фотографии театральных корпоративных изданий. Было выделено три жанра – фоторепортаж, портретное и объектное фотоизображения, которые подразделяются на поджанры. Фоторепортаж представлен сценой из спектакля, фото с репетиции, событийным фото, фотоальбомом. Портретные фотоизображения имеют следующие разновидности: актер в роли, человек за работой, репортажный, постановочный, архивный. Объектные фотоизображения разделяются на фотографии театральных декораций, костюмов, интерьеров, документов. Перечисленные визуальные жанры, за исключением постановочного фотопортрета, помогают эффективно воздействовать на аудиторию и достигать целей театральной организации. При опоре на положительный и отрицательный опыт рассмотренных СМИ театральным корпоративным изданиям был предложен перечень рекомендаций для создания текстового и визуального контента. / The purpose of the master's thesis is to identify the editorial specifics of the content-marketing strategy of the theatrical corporate publications, followed by recommendations. The editorial approach to creating the content-marketing strategy for the theatrical corporate publication determines the novelty of the research. The foundation for the research was the theatrical corporate publications of «Ural Opera Ballet» and the Moscow theater «New Opera». The total volume of the analyzed material was more than 1200 texts of different genres and more than 1950 illustrations from 135 editions. Notes, interviews and photography as a visual genre were in focus of research attention. During the process of research, the communicative tactics were analyzed by the notes and interviews. These tactics contribute to the solution of the tasks, which are set by the content-marketing strategy. Communicative tactics were divided into four groups – comparative, influencing, self-presentation, relationship with the viewer. Tactics of care and participation, «problem field», expectations of positive evaluation, value orientation are common for theater corporate publications of «Ural Opera Ballet» and the Moscow theater «New Opera». Thus, the publications not only form a positive image of theaters and transmit their values, but also openly identify existing problems. The classification of genres of photography of theatrical corporate publications is proposed based on the results of the analysis of visual content. There were highlighted three genres: photo reportage, portrait and object photo images, which were subdivided into subgenres. A photo reportage is presented by a scene from a performance, by a photo from a rehearsal, by an event photo, by a photo album. Portrait photo images have the following varieties: actor in the role, person at work, reporting, staged, archived. Object photo images are divided into photographs of theatrical scenery, costumes, interiors, documents. The listed visual genres, with the exception of a staged photo portrait, help to effectively influence on the audience and achieve the goals of the theatrical organization. The list of recommendations for the creation of text and visual content was proposed to the theater corporate publications based on the positive and negative experience of the reviewed media.

Изменение геополитической ситуации Крыма в марте 2014 года требует от органов власти формирования бренда указанной территории и правильное позиционирование бренда. Работа посвящена анализу проблем позиционирования бренда Крым в молодежной аудитории, как наиболее перспективной целевой аудитории, которая может составить основу человеческого капитала, необходимого для развития экономики Крыма в ближайшее время. В работе проведено исследование, направленное на определение актуального образа Крыма в сознании молодежи, проведен анализ текущего информационно-коммуникационного позиционирования бренда Крым органами власти и сравнительный анализ позиционирования бренда Крым органами власти и существующих представлений молодежи о Крыме. На основе полученных результатов разработана концепция позиционирования бренда Крым в молодежной аудитории, направленная на изменение отношения молодежи к Крыму, с учетом выявленных проблем позиционирования. / The change in the geopolitical situation of Crimea in March 2014 requires the authorities to form a brand of the specified territory and correctly position the brand. The work is devoted to the analysis of the problems of positioning the Crimea brand in a youth audience, as the most promising target audience, which can form the basis of human capital necessary for the development of the Crimean economy in the near future. The study conducted a study aimed at determining the current image of Crimea in the minds of young people, conducted an analysis of the current information and communication positioning of the Crimea brand by the authorities and a comparative analysis of the Crimea brand positioning by the authorities and existing youth perceptions of Crimea. Based on the results, a concept was developed for positioning the Crimea brand in a youth audience, aimed at changing the attitude of young people to Crimea, taking into account the identified positioning problems.

Диссертация посвящена анализу репрезентации культурной памяти об исторической травме как темы музейной деятельности. Выявлена взаимосвязь партиципаторного подхода в организации музейной деятельности и применения мультимедиатехнологий в современных музеях. Проанализировано выставочное пространство, репрезентирующее культурную память, представляющее собой пример тотального включения мультимедиатехнологий в экспозицию без демонстрации каких-либо артефактов. В качестве практического применения исследования на основе подготовленного теоретического материала представлен проект мультимедийной выставки «Вспомним», посвященной 75-летию Победы в Великой Отечественной войне. / The thesis is devoted to the analysis of representation of cultural memory of historical trauma as a theme of the museum work. The interrelation of the participatory approach in the organization of museum activities and the use of multimedia technologies in modern museums is revealed. The exhibition space representing cultural memory is analyzed, which is an example of the total inclusion of multimedia technologies in the exhibition without demonstrating any artifacts. As a practical application of the study, based on the prepared theoretical material, the project of the multimedia exhibition «Let's Remember», dedicated to the 75th anniversary of Victory in the Great Patriotic War, is presented.