Background: The theater market has matured – supply now exceeds demand. Government funds are on a decrease, replaced by other means of financing. The city of Stockholm will be introducing a bonus system that will benefit independent theater groups that succeed to increase their revenue and attendance. Hence, the audience will play an even greater role, a tendency some free theater groups come to terms with by interacting with the audience to create value. Thesis statement: What factors lead to the long-term survival of the independent theater groups, allowing them to benefit from the imminent bonus system? Purpose: To analyze and evaluate the marketing strategies of the independent theater groups, in reference to their capability of long-term survival through value creation along with the audience, thereby increasing attendance and ticket revenue. Methodology: The study combines quantitative and qualitative approaches and methods. Interviews were conducted with the producers at three independent theater groups in the city of Stockholm. The questionnaire was answered by 90 members of the independent theater group audience. Areas of theory: Value creation, marketing communication and customer characteristics. Results: There is a lack of coherence between the marketing strategies of the independent theater groups and the characteristics of the audience. Hence, the independent theater groups are currently facing poor conditions for long-term survival through growth in audience and revenue. However, if the strategies are adjusted to the audience’s inclination to participate in the value creation, the conditions may improve. Conclusions: The important factors leading to long-term survival of the independent theater groups, thereby increasing audience participation and ticket revenue, are: ”Co-production of values”, ”Enabling” and ”Word of mouth”. Co-production of value must however not apply to the artistry, since the audience seems to guard artistic freedom. / Bakgrund: Teatermarknaden har mognat – utbud övergår efterfrågan. Bidragen minskar till förmån för en breddad finansiering. Ett bonussystem ska införas i Stockholms stad, vilket kommer att gynna fria teatergrupper som ökar sina intäkter och sitt publikantal. Publiken spelar således en allt viktigare roll och vissa fria teatergrupper försöker hantera detta genom att värdeskapa i interaktion med publiken. Problemformulering: Vilka faktorer är viktiga för att fria teatergrupper ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet? Syfte: Att analysera och utvärdera fria teatergruppers marknadsföringsstrategier med avseende på deras förutsättningar att överleva långsiktigt genom att värdeskapa med publiken och på så sätt öka sitt publikantal och sina biljettintäkter. Metod: Studien kombinerar kvantitativa och kvalitativa ansatser och metoder. Intervjuer har genomförts med producenterna för tre fria teatergrupper i Stockholms stad och enkätundersökningar har genomförts med totalt 90 personer i de fria teatergruppernas publik. Teoriområden: Värdeskapande, marknadskommunikation och kundegenskaper. Resultat: Studien visar att de fria teatergruppernas publik är villig att skapa värde tillsammans med teatergrupperna. Såtillvida har de fria teatergrupperna goda förutsättningar att överleva långsiktigt genom att värdeskapa med sin publik. Det råder dock brist på överensstämmelse mellan de fria teatergruppernas strategier och publikens egenskaper. För att uppnå långsiktig överlevnad genom att öka sitt publikantal och sina biljettintäkter måste de fria teatergrupperna anpassa sina strategier till publikens vilja att deltaga i värdeskapandet. Slutsats: De faktorer som är viktiga för att de fria teatergrupperna ska överleva långsiktigt och sedermera gynnas av det förestående bonussystemet är ”samproduktion av värde”, ”möjliggörande” och ”word-of-mouth”. Samproduktionen av värde bör dock inte gälla den konstnärliga verksamheten, då publiken tycks värna den konstnärliga friheten.

L'étude de ce que l'on nomme « rhétorique musicale » nous semble pouvoir offrir un éclairage spécifique sur la question de la musique et des émotions. En effet, les deux champs de réflexion en philosophie de la musique dont il est question font l'objet d'un intérêt qui se manifeste au cours de ces dernières années. Aussi, nous considérons que la rhétorique musicale et le phénomène particulier de la poétique musicale germanique sont de nature à structurer une telle étude, tant par les choix qu'ils présupposent (comme le fait que les émotions y sont un moyen destiné à produire un effet) que par ceux qu'ils délaissent. Notre recherche suivra les trois principales étapes suivantes : (a) une étude des aspects de la question antérieurs à la musica poetica (dans la Grèce antique, dans la liturgie luthérienne, dans la théorie musicale italienne) ; (b) un examen détaillé du thème des passions dans les traités de l’Allemagne baroque ; (c) un parcours concernant l’évolution de la question jusqu’aux débats actuels. / Studying “musical rhetoric” seems likely to bring some specific light about the topic of music and emotions. Both fields of research in philosophy of music involved arouse an interest, especially last years. Therefore, we regard musical rhetoric and the distinctive phenomenon of German musical poetics as able to structure such a studying, through choices they suppose (for example, the fact that emotions are means for have an effect) and choices they leave. Our investigation includes the three main following parts: (a) some study about facets of the subject prior to musica poetica (in Ancient Greece, in Lutheran liturgy, in Italian theory of music); (b) some detailed examination about the topic of passions in German baroque treatises; (c) a review regarding evolution of the subject up to current discusses..

Text in English / The purpose of this dissertation was to establish the rhetorical function of Romans 7 within the context of Romans 5-8. Chapter 1 involved a survey of the problem that led to the investigation and a discussion of a number of approaches offered as an interpretation for understanding Romans 7. Chapter 2 centred on an investigation into the nature of Paul's audience in Rome. Chapter 3 investigated the purpose of the letter as a help to understanding the rhetorical function of Romans 7. Chapter 4 dealt with the rhetorical function of Romans 7. The causa underlying Paul's rhetoric in Romans 7 was a tendency among Gentile Christians to want to return to the law. Paul set out strongly to counter this tendency because it was incompatible with their position in Christ and would foil his plans in respect of the Gentile Christians in Rome and of the Gospel to the West. / Biblical and Ancient Studies / M.A. (Biblical Studies)

The purpose of this research was to investigate the marketing communication practices of car dealerships, in order to identify what factors are considered in the selection of the marketing communication mix incorporated in the marketing communication strategy. Furthermore, identify and establish an understanding of the marketing communication mix elements used by car dealerships in their marketing communication strategies. A qualitative research approach was followed in this paper. Semi-structured, in-depth interviews were conducted with marketing personnel of various car dealerships in Gauteng, South Africa. In this paper, a qualitative content analysis was followed, and Atlas.ti version 10 computer software was used to generate themes. The study uncovered that car dealerships use various marketing communication mix elements to achieve their marketing communication objectives, such as creating dealership brand awareness, stimulating sales, and closing sales transactions. The study revealed also uncovered that internet is also used by car dealerships in executing marketing communication strategies. The study revealed the internal and external factors considered in planning and executing marketing communication strategies and campaigns. The study further discovered that these marketing communication elements are not used in isolation, but support each other in conveying marketing messages that lead to the attainment of various marketing communication objectives. The findings revealed that despite the use of radio and print media, social media types are increasingly being used by dealerships to share information with existing customers and potential customers regarding the dealerships‟ products and special offers, although the use of social media platforms varied. The study also discovered that car dealerships experience some challenges in planning and executing marketing communication strategies and campaigns. Recommendations to stakeholders in the motor industry and future research directions are provided. / Business Management / M. Com. (Business Management)

Made available in DSpace on 2016-12-08T16:19:07Z (GMT). No. of bitstreams: 1 bibliotecaDISS.pdf: 37142 bytes, checksum: 083aa1c735cca8e75432a7af14e6f682 (MD5) Previous issue date: 2010-10-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this study is to analyze a research experience involving a group of visually impaired people in an inclusion process through contemporary art, with emphasis on these students learning process. In order to achieve this purpose, data from the Oficina de Arte: reflexões contemporâneas ( Art Workshop: contemporary reflections ) were collected and analyzed. a total of eight people participated in the ten meetings of this three-month workshop. This analysis is the result of reflections that came up during the period as an undergraduate student in a university extension project with a visually impaired group of people. This project entailed some mediation in an art museum, where it was possible to verify the non-presence of this audience in such places. To carry this study, a participative research of qualitative nature was applied. Therefore, data collected from the subjects researched; an investigation of contemporary art and its materials, poetics, contexts and works accessible to the visually impaired, and a pedagogical approach were all taken into consideration. The basic tools and materials used in contemporary art were adapted and analyzed as knowledge mediators in the workshop. For the investigation of the accessibility and inclusion of this audience, the participation of sighted people was requested in the same workshop. Thus, it was possible to establish relationships in the investigation with what concerns the learning process through contemporary art. This data analysis verified the following aspects: visually impaired people are able to appreciate contemporary art through multisensory learning and artwork that requires little or no adaptation; the inclusion may take place in art classes in formal and non-formal learning, with approaches that engage both visually impaired and sighted people / O objeto deste estudo é a análise de uma experiência de pesquisa com público com deficiência visual e sua inclusão por meio da arte contemporânea, com foco nas aprendizagens realizadas pelos estudantes. Foram, para tanto, coletados e analisados dados a partir da Oficina de Arte: reflexões contemporâneas , que contou com a participação de oito pessoas, em dez encontros, em um período de três meses. O presente estudo originou-se de inquietações surgidas no período de estudante de licenciatura e no trabalho em extensão universitária em um projeto com público deficiente visual, no qual ocorreram mediações em um museu de arte, possibilitando constatar a não frequência deste público nestes espaços. Para o desenvolvimento do estudo adotou-se a pesquisa participante, de natureza qualitativa. Assim sendo, organizaram-se os dados a partir do contexto dos pesquisados; investigou-se a arte contemporânea, seus materiais, poéticas, contextos e propostas que fossem acessíveis ao público com deficiência visual; teve-se como foco uma abordagem pedagógica em Arte. Os objetos do cotidiano presente na arte contemporânea foram adaptados e analisados, como mediadores de conhecimentos na oficina. Para que a acessibilidade e inclusão deste público fossem investigadas, na oficina de coleta de dados, optou-se pela participação de pessoas videntes, também. O que permitiu, estabelecer relações, no que diz respeito as aprendizagens por meio da arte contemporânea. Na análise de dados constatou-se, entre outros resultados, que os deficientes visuais podem conhecer a arte contemporânea por meio de aprendizagens multissensoriais e obras que necessitem de pouca ou nenhuma adaptação; que a inclusão pode acontecer nas aulas de Arte no ensino formal e não formal, utilizando-se abordagens que envolvam tanto os deficientes visuais quanto os videntes

This research is about the spectatorship of Brazilian and Portuguese soap operas in Portugal. The Grounded Theory approach was employed to derive a “SOAP OPERAS SPECTATORSHIP MODEL” firmly rooted in the perspectives of 49 soap operas viewers. The resulting model reveals three groups of motives for viewing soap operas: a) mood management, b) habit, and c) social integration/ learning. Within the model, each motivation group is associated with a particular strategy and level of exposure to soap operas, as well as predominant choices about the soap opera’s national or foreign origin. With regard to Portuguese soap operas, particular attention is paid to the receptor´s social integration and learning, the latter allowing him/her to use the contents in his/her personal context: The receptor is being counseled in the taking of decisions, given the opportunity to evaluate feelings and behaviors, and to confirm or adjust attitudes, styles and behaviors. With regard to Brazilian soap operas, the motive of mood management is highlighted, though not excluding the other above mentioned groups of motives. Establishing the relationships between the concepts identified in the research, the study presents the viewers´ experiences with soap operas in Portugal. / Assistir às telenovelas brasileiras/portuguesas em Portugal é o tema investigado neste trabalho. A abordagem da “teoria fundamentada em dados” foi empregada na investigação para prover um “MODELO DA AUDIÊNCIA DAS TELENOVELAS” firmemente enraizado na perspectiva de quarenta e nove receptores entrevistados. O modelo resultante revela três grupos de motivos para a audiência: a) Gerenciamento do humor, b) hábito e c) Aprendizagem/Integração social. Cada grupo de motivos no modelo se associa a particular estratégia e intensidade de exposição às telenovelas, como também se associa as escolhas preponderantes das telenovelas por sua origem, se nacional e/ou estrangeira. Em destaque para a seleção das telenovelas portuguesas é identificado o uso dos seus conteúdos para integração social e aprendizagem/aconselhamento, este último permitindo ao receptor verificar a validade de sentimentos e comportamentos, aconselhamento para tomada de decisões, reforço/ajuste de atitudes, estilos e condutas para incremento da credibilidade e posição pessoal. Em destaque para a seleção das telenovelas brasileiras é identificado os motivos de Gerenciamento de Humor, muito embora de forma não excludente às outras categorias de motivos mencionadas. Com o estabelecimento das relações entre os conceitos surgidos na pesquisa indutiva, o estudo representa as experiências dos receptores das telenovelas em Portugal. / Lisboa

Syftet med den här uppsatsen är att introducera boktrailern som fenomen och marknadsföringsmetod. Likheter mellan boktrailern, bokomslaget och filmtrailern undersöks för att ge en bild av hur en "typisk" boktrailer ser ut och vilka funktioner den kan tänkas ha. Uppsatsen utforskar även boktrailerns möjligheter att nå ut till olika målgrupper i olika åldrar, samt pekar på svårigheter med att definiera en målgrupp. Ungdomslitteratur och fantasygenren kopplas samman med boktrailern och exempel ges på hur författare och förlag kan skapa relationer till läsare via Internet. Generella riktlinjer ges för vad som bör tänkas på för att tilltala flest potentiella läsare när en boktrailer används eller utformas. Boktrailerns förmåga att nå ut till unga, motvilliga läsare, som slutat läsa till fördel för bildbaserade berättarformer såsom filmer och datorspel, utforskas. Slutsatsen framhåller fördelarna med att marknadsföra böcker med ljud och bild. / The purpose of this paper is to introduce the book trailer as a phenomenon and method of marketing. Similarities between the book trailer, the book cover and the movie trailer are examined to show how a "typical" book trailer looks and what functions it possibly has. The paper also explores the book trailer’s prospects of reaching different audiences in different age groups. It also points to difficulties in defining an audience. Young adult literature and the fantasy genre are linked to the book trailer and examples are given on how authors and publishers can establish relationships with readers through the Internet. General guidelines are given for what should be considered to appeal to as many potential readers as possible when a book trailer is being used or designed. The book trailer's ability to reach young, reluctant readers, who have given up on reading to the benefit of image based storytelling like movies and computer games, are explored. The conclusion highlights the advantages of promoting books with audio and video.

Selon différents théoriciens (Guénoun, Lehmann, Ryngaert, etc.), la fin du vingtième siècle se caractérise par l'émergence de nouvelles formes théâtrales, marquées par la contamination des pratiques spectaculaires.<p>Hans-Thies Lehmann reprend la notion de "théâtre postdramatique" proposée par Richard Schechner pour qualifier ces formes métissées de spectacle vivant La thèse défendue est la suivante :le théâtre postdramatique trouve sa spécificité non seulement dans la transgression des codes dramatiques mais surtout dans des processus de réception spécifiques qu'il importe de définir, à l'aide d'outils notamment sémiotiques. Ces processus sont situés et construits par rapport à différents modèles interdisciplinaires. / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished

Traditionally, K-5 students' writing has had a primarily academic aim-to help students master concepts and express themselves. Even if students take a professional writing course later, they typically do not have the opportunity to practice-over the long period of time mastery requires-the non-academic writing skills they will be required to use as part of their jobs and in their civic life. Based on a limited K-5 study, Texas' McKinney Independent School District is doing a good job of preparing students at the elementary-school level in the areas of collaboration and presentation. A fair job of helping elementary-school students understand the communication situation, define audience, clarify purpose, gather and evaluate resources, and test usability. [And] a poor job of helping elementary-school students with analysis and organization. With their teachers' help, K-5 students eventually grasp the communication situation and can broadly identify their audience and purpose, but they do not appear to select words, format, communication style, or design based on that audience and purpose. Their writer-based focus affects their presentations as well, although they do present frequently. If teachers routinely incorporated audience and purpose considerations into every aspect of communication assignments (format, communication style, design), students would be better prepared for non-academic communication. Texas pre-service teachers practice the types of documents they will write on the job but do not receive training in design or style. Likewise, they practice researching, collaborating, and presenting but receive little training in those skills. If Texas K-5 teachers are to supplement the curriculum with professional writing principles, as trends suggest they should, education programs need to focus on these principles in their pre-service teacher curriculum. Professional writing principles need to become part of ingrained writing patterns because these are the skills that will best serve students after they graduate, both in their careers and civic lives. Understanding how to tailor communication for audience and purpose; how to effectively collaborate; how to select, evaluate, analyze, and organize information efficiently and productively; and how to format presentations effectively requires practice over a long period of time.

Nous pouvons appréhender le Cinéma comme un vecteur culturel capable de cristalliser les us et coutumes d’une société, ou comme un outil susceptible d’en manifester les aspirations. L’industrie cinématographique italienne demeure parmi celles qui ont su imposer dans l'imaginaire des publics des œuvres venues aussitôt enrichir le patrimoine culturel mondial. De nos jours, sa présence internationale est plus modérée, et le rayonnement de ses œuvres ne dépasse que rarement les limites nationales. Les quelques auteurs tels que Emanuele Crialese, Matteo Garrone et Paolo Sorrentino ont su gagner une visibilité désormais incontestable, leur permettant de devenir le symbole d’un cinéma italien contemporain renaissant. Les contenus de leurs filmographies sont le résultat de formes cinématographiques tout aussi riches que variées, et leur influence semble capable de modifier et de mettre à jour l’imaginaire des passionnés de culture italienne. Nos travaux veulent étudier et comprendre l’impact de leurs œuvres au sein d’un pays comme la France. À travers une étude qui se veut historique, sociologique et économique, nous analysons la représentation du réel dans l’histoire du cinéma transalpin, un idéal intellectuel qui semble intéresser particulièrement les publics français. Puis nous nous consacrons aux contenus de nos trois filmographies de référence, pour en extrapoler les données socio-politico-économiques. L’étude de l’impact de ces œuvres sur les critiques cinématographiques français conclut ces travaux, qui se penchent également sur la distribution et l’exploitation de ce cinéma, présent non seulement dans les salles de l'Hexagone, mais diffusé parallèlement au sein de nombreux festivals. / One may approach cinema as a cultural vector which can either give shape to the habits and customs of a given society or reflect its yearnings. The Italian film industry is one among those which have produced movies which entered the global cultural imaginary. Nowadays, its international presence has been reshaped and Italian films do not easily shine beyond the national frame. Artists such as Emanuele Crialese, Matteo Garrone or Paolo Sorrentino have managed to achieve an undeniable visibility, and have become the symbol of a reborn contemporary Italian cinema. The content of their filmographies are the result of film shapes that are as rich as they are diverse, and their influence seems able to alter and to update the imaginary of italian culture connoisseurs. The purpose of our work is to study and understand the impact of their masterpieces on the French audience. Through a historical, sociological and economical study, we will analyse the representation of reality in the history of Italian cinema : an intellectual ideal which seems to have been of interest especially to the French spectators. Then we will focus on the content of these three specific directors’ lifework in order to examine social, political and economical data. Finally, we will conclude by observing the impact these films have had on French experts such as film critics. This study also deals with the distribution and the running of these specific directors’ films not only in the cinemas but also when aired in various film festivals. / È possibile concepire il Cinema come un vettore culturale capace di materializzare gli usi e i costumi di una società, o suscettibile di manifestarne le aspirazioni. L'industria cinematografica italiana dimora tra quelle che hanno saputo imporre delle opere entrate istantaneamente nell'immaginario collettivo, e ciò su scala mondiale. Oggi, la sua presenza a livello internazionale è stata ridimensionata e la diffusione delle sue opere oltrepassa raramente i confini nazionali. I rari autori del calibro di Emanuele Crialese, Matteo Garrone e Paolo Sorrentino hanno saputo acquisire una visibilità oramai indiscussa, permettendo loro di diventare il simbolo d'un cinema italiano contemporaneo rinascente. I contenuti delle loro filmografie sono il risultato di forme cinematografiche tanto ricche quanto varie, e la loro influenza sembra capace di modificare e aggiornare l'immaginario degli appassionati di cultura italiana. Queste ricerche vogliono analizzare e comprendere l'impatto delle loro opere in un paese come la Francia. Attraverso degli studi storici, sociologici ed economici, queste ricerche analizzano le forme rappresentative legate al reale presenti nella storia del cinema italiano, un ideale intellettuale che sembra interessare in particolar modo i pubblici francesi. Inoltre, esse si consacrano all'estrapolazione dei dati socio-politico-economici contenuti nelle tre filmografie a cui facciamo riferimento. L'analisi dell'impatto di queste opere sui critici cinematografici francesi scelti come pubblici, concludono queste ricerche che si dedicano in egual modo alla distribuzione e alla commercializzazione di queste opere, presenti non solo in sala, ma diffuse inoltre in molti festival.