Global ETD Search

851	Посадочные страницы как инструмент продвижения книжных изданий : магистерская диссертация / Landing pages as a tool for promoting books Рыбинцев, В. А., Rybintsev, V. A. January 2019 (has links) В диссертации изучаются структурно-содержательные, визуально-функциональные и рекламно-маркетинговые составляющие посадочных страниц. На основе анализа и систематизации информации о посадочных страницах автор разработал посадочную страницу книжного издания. Новизна ВКР заключается в определении критериев создания максимально конверсионной посадочной страницы и формулировке рекомендаций по методике разработки посадочных страниц для продвижения в сети Интернет издательской продукции. Работа состоит из двух частей, содержит 83 страницы, 3 таблицы, 31 рисунок. В списке литературы содержится 50 библиографических единиц и 12 электронных источников. / The master's thesis studies structurally-meaningful, visual-functional and advertising-marketing components of landing pages. On the basis of the analysis and systematization of information about the landing pages, the author developed the landing page of the book publication. The novelty of the master's thesis lies in determining the criteria for creating the most conversion landing page and formulating recommendations on the methodology for developing landing pages for promoting publishing products on the Internet. The work consists of two parts, contains 83 pages, 3 tables, 31 images. The bibliography contains 50 bibliographic units and 12 electronic sources. ПОСАДОЧНЫЕ СТРАНИЦЫ ИНФОРМАЦИОННЫЙ САЙТ ВЕБ-ДИЗАЙН ЛЕНДИНГИ ТАРГЕТИНГ ИНТЕРНЕТ-МАРКЕТИНГ МАРКЕТИНГ ИЗДАТЕЛЬСКОЕ ДЕЛО КНИЖНЫЕ ИЗДАНИЯ ШРИФТОВОЕ ОФОРМЛЕНИЕ ВОРОНКА ПРОДАЖ MASTER'S THESIS LANDING PAGES INFORMATIONAL SITE TARGET AUDIENCE SEGMENTATION WEB DESIGN LANDING PAGES TARGETING INTERNET MARKETING MARKETING PUBLISHING BOOK PUBLICATIONS FONT DESIGN LANDING PAGE DESIGNERS SALES FUNNEL
852	Discovering Zimbabwean Digital Literature : An Exploratory Study of the Typologies and Properties of Online Audiences of Ephemeral Literature / An Investigation Into Digital Ephemeral Literature in Southern Africa Dube, Earl January 2023 (has links) Cathrine Phiri's novel ‘Never Mine’ on Facebook, highlights the liberating potential of online literary engagement, particularly for female readers, amid creative restrictions in Zimbabwe. Utilising both the Afrocentric and Communicative Figuration concepts, the study examines how digital ephemeral literature fosters connection and conversation. It delves into audience typologies, alignment with community ideals, complex social structures and cultural behaviour. Methodologically, this study takes on a deductive approach and makes use of the theoretical framework that comprises the Afrocentric model and the Communicative Figuration model. African literary circles have in the past embraced the online medium, making digital literary content highly successful, despite its realised (or otherwise perceived) ephemerality. The digital landscape has not only facilitated connections between African writers and their readers but has also enriched the literary landscape through the proliferation of new literary expressions. The data, collected from Facebook interactions in the form of screenshots from user comments, replies and reactions sheds light onto this phenomenon. Grounded in a synthesis of literary studies and digital media studies, this study shows how audience members are seen to readily engage in conversations that are deemed central to African cultural and social being. Never Mine shows that there is a large audience for online ephemeral literature and that this audience is largely active and dynamic in nature, from the observed user comments and reactions. The behaviour of the African audience is therefore intricately connected to the complex interplay of cultural, digital, and political elements that are unique to the region. Thus, grasping these dynamics is essential to comprehend the distinctive trends in online engagement and information consumption within the African context. Different platforms are therefore seen to connect readers to new writing on the continent – writing that more accurately reflects their own lived realities – and in innovative ways. Zimbabwe digital literature online audience ephemeral literature community frame of relevance Afrocentricity Communicative Figuration Communication Studies Kommunikationsvetenskap Media Studies Medievetenskap General Literature Studies Litteraturvetenskap Övrig annan samhällsvetenskap Information Systems, Social aspects
853	Party to the People : Rethinking how we listen to music on our interfaces Spreitzer, Marie January 2024 (has links) This thesis explores the role of interaction design in elevating the solitary experiences of music listening by infusing them with the joy and connection typically found in the communal music setting of parties. Drawing upon historical and cultural contexts, the research investigates how music acts as a medium for social interaction and emotional expression, from its political implications in Berlin's techno scene to its power to unite people in clubs and concerts. The project began with a focus on enhancing DJ-audience interactions and evolved into exploring how these dynamic communal experiences could inform the design of solitary listening experiences on digital platforms like Spotify. The research employs a mixed methodology combining auto-ethnography, in-depth interviews, and testing to develop and refine six interfaces that embody the joy of communal music experiences. These interfaces aim to recreate the sense of togetherness and emotional engagement often lost in solitary music consumption. The findings highlight that joy is a deeply personal and context-dependent phenomenon, influenced by the nuances of social interactions and individual emotional states. This insight guides the design of interfaces that adapt to and enhance the listener's emotional landscape. The project contributes to interaction design by challenging conventional design approaches that prioritise functionality over emotional resonance, aiming to serve as inspiration for designs that value emotions as central to the interaction experience. It also proposes future research directions focusing on the ethical implications of emotionally driven design and the potential for these interfaces to foster deeper connections in an increasingly digital world. Interaction Design Music Listening Solitary Experiences Communal Music Settings Digital Platforms Emotional Engagement Social Interaction Auto-ethnography User Interface Design DJ-Audience Interaction Emotional Expression Berlin Techno Scene Concerts and Clubs Joy in Music Mixed Methodology Cultural Contexts Emotional Resonance Design Innovation User Experience (UX) Ethical Implications in Design Interaction Technologies Interaktionsteknik Human Computer Interaction Design Design Music Musik
854	Arts in action: a public arena for art: the practical, functional and social implications of art within a cultural context with specific reference to South Africa Ross, Wendy 30 November 2005 (has links) The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces. The study provides a historical context and development of new trends in public and collaborative community arts, contextualises the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of social spaces and the restoration of community esteem together with mutual and self-respect. / Art History, Visual Arts and Musicology / D. Litt. et Phil (Art History) Art activism Accessibility Alternative assessment criteria Audience participation Capacity building Collaborative public art Community arts Context of public Creative expression Ecological interventions Empowerment Interconnectedness of people and planet Local distinctiveness New genre public art Ownership Place-making Pro-active role Public art Public context Responsibility Rural context Rite specific Rocial intervention Sustainability 709.68 Public art -- South Africa Community arts projects -- South Africa Artists and community -- South Africa Environment (Art) Art and society -- South Africa Street art -- South Africa
855	Arts in action: a public arena for art: the practical, functional and social implications of art within a cultural context with specific reference to South Africa Ross, Wendy 30 November 2005 (has links) The research is based on the belief that the Earth's survival is reliant on an understanding of the interconnectedness between people and the planet. The premise that creative expression is an inherent need in human beings and a powerful agent for social change is at the core of this study. The arts permeate all aspects of life and can play a positive pro-active role in economic and social upliftment. The study therefore explored a contemporary public context in which artists intervene in society to provide practical and functional social spaces but also, with the ecological crisis of the planet, to create an awareness of the interconnectedness of life. Place-making was of specific concern and one of the aims was to examine ways of re-shaping the appearance and meaning of public spaces. An equally important issue was the role and responsibility of both the artist and the commissioning process in a social context and the relevance of individual expression as modes of addressing social concerns and as a tool of public empowerment within a new democratic South Africa that can have a genuine impact on community well-being and social inclusion. The research therefore exists in between the arts, social sciences and the ecology of place: that is, the understanding of the role of creative intervention within social spaces. The study provides a historical context and development of new trends in public and collaborative community arts, contextualises the notion of public and argues for a repositioning of assessment criteria for the arts within a social public domain and in the interest of the people. It is based on a critical survey of international collaborative arts and its potential as a guide to alternative solutions and implementation within a South African context for creative interventions and regeneration of public spaces and empowerment and capacity building of its citizens. The research discusses the relevance and the position of the arts and craft industry as a means of poverty alleviation, job creation and empowerment in South Africa. Rebuilding community demands both the rejuvenation of social spaces and the restoration of community esteem together with mutual and self-respect. / Art History, Visual Arts and Musicology / D. Litt. et Phil (Art History) Art activism Accessibility Alternative assessment criteria Audience participation Capacity building Collaborative public art Community arts Context of public Creative expression Ecological interventions Empowerment Interconnectedness of people and planet Local distinctiveness New genre public art Ownership Place-making Pro-active role Public art Public context Responsibility Rural context Rite specific Rocial intervention Sustainability 709.68 Public art -- South Africa Community arts projects -- South Africa Artists and community -- South Africa Environment (Art) Art and society -- South Africa Street art -- South Africa
856	La télévision, média de masse ou média individuel ? De la télévision traditionnelle à la e-télévision / Is television a mass media or an individual media? From traditional TV to e-television Martin, Valérie 16 December 2015 (has links) La télévision traditionnelle, « voix de la France » est un média de masse. Avec un taux d’équipement des foyers de plus de 98%, un taux d’écoute de plus de 3h50 par jour, un chiffre d’affaires publicitaires de plus de 4 Mrd EUR , et des « contenus rendez-vous » assurant des audiences record, cette télévision trône dans le salon et réunit la famille. Jusque dans les années 1980, elle reste placée sous le contrôle du pouvoir politique.Sous la Présidence de François Mitterrand, la télévision se libéralise. De nouvelles chaînes privées et commerciales financées par l’audience et la publicité apparaissent, tandis que le secteur public reste principalement financé par la redevance audiovisuelle. Dans les années 90, l’arrivée du câble et du satellite, puis de la TNT en 2005, permettent l’accroissement considérable du nombre de nouvelles chaînes et des offres de télévision (abonnements au câble, au satellite, et à Canal + en 1984). Le numérique révolutionne le secteur de la télévision, les technologies et les usages. Le nombre de chaînes continue de s’accroître de façon exponentielle. On voit se développer la production de contenus générés par les consommateurs (UGC), et l’interactivité est favorisée grâce aux réseaux sociaux. L’évolution des équipements changent les habitudes de consommation du petit écran, notamment pour les plus jeunes. L’ordinateur, la tablette, le Smartphone et la télévision connectée permettent de visionner « la télévision comme je veux, où je veux, quand je veux. ». Ainsi la télévision traditionnelle considérée comme un média de masse, tend à s’individualiser, et s’adapte aux goûts et aux envies de chacun. L’écosystème jusqu’à présent hexagonal est littéralement en train d’exploser pour faire face à l’internationalisation des contenus et à des acteurs audiovisuels majoritairement nord-américains. La réglementation devenue obsolète peine à trouver un nouveau cadre juridique à l’échelle française et européenne. Face à l’offre mondialisée, et les nouveaux usages de consommation notamment les usages délinéarisés (télévision de rattrapage, et Vidéo à la demande), la télévision continue néanmoins à fédérer le public autour de grands évènements d’actualité (évènements sportifs, politiques, journal télévisé du 20h…). Les profondes mutations et les changements rapides qui s’opèrent actuellement laissent planer une grande incertitude sur l’avenir de la télévision traditionnelle et faute de pouvoir s’adapter, celle-ci pourrait à plus ou moins long terme disparaitre… / Traditional TV, "Voice of France" is a mass medium. With a home ownership rate of over 98%, a viewing rate of l more than 3.50 hours, advertising revenue of over 4 billion euros , and “contenus Rendez-vous” bringing in record audiences, television rules over the living room, bringing the family together up into the 1980s. It is, however, controlled by the ruling political powers.Under the presidency of François Mitterrand, television was liberalized with the appearance of new private and commercial channels, financed by audiences and advertising, while the public sector continued to be funded by a license fee. In the 90s, the arrival of cable and satellite, followed by TNT in 2005, allowed the amazing increase of a number of new channels and TV services (« subscriptions to cable, satellite and finally Canal + in 1984 )But this evolution continues with the arrival of digital TV, revolutionizing the industry. It increases the number of channels exponentially, expands the production of content generated by consumers, and promotes interactivity through social networks. Technological advances are changing consumer habits with regard to the small screen, especially for young people. The computer, tablet, smartphone and the connected TV let you watch "television as I want, where I want, when I want”. Traditional TV, once considered as a mass media, is now a media that is individualized and that adapts to the tastes and desires of each viewer.The current financial system in France is literally exploding to deal with the internationalization of audiovisual content and players, with most of the content produced in North America.. Obsolete regulations can no longer keep pace with consumer demand in Europe and France. Faced with global supply and new viewing habits (delinearised viewing: replayand video on demand), television still continues to unite the public around major news events (sporting events, political events, the evening news …). The important, rapid changes now occurring in TV content and distribution lead to considerable uncertainty with regard to the future of traditional television, and unless it can adapt, it could more or less disappear in the long term. Audience Atawad Câble Catch-Up Csa Contenus Convergence Délinéarisé Interactivité Internet Iptv Média de masse Média individuel Métadonnées Netflix Ordinateur Pc Pure players Ugc Réglementaire Réseaux sociaux Satellite Smartphone Tablette Télévision Télévision connectée Tnt Vod Hearing Atawad Big data Cable Catch-Up Computer Connected TV Content Convergence Csa Delinearized contents Interactivity Individual media Internet Iptv Mass media Netflix Pc Pure players Ugc Regulation Replay Satellite Smartphone Social networks Tablet Tv Tnt Vod 302.23
857	Vart fan är vi på väg? : En kvalitativ studie om den unga vuxna publikens uppfattning av frågesportprogrammen På spåret och Alla mot alla Ränkeskog, Gustaf, Jacobson, Lukas January 2020 (has links) The intent of this bachelor thesis is to specify the reasons why the young adult audience consumes the Swedish television quiz programs Alla mot alla and På spåret, which needs the programs might fulfill and the difference between the two programs. The study also reflects on the difference between similar quiz programs on commercial vs. public service television. To accomplish any results this study has completed six qualitative and semi-structured interviews. The respondents are in the age of 20 to 30 years and they all have consumed each show on a regular basis before the interviews have taken place. The young adult audience strives to obtain information, knowledge and entertainment from both of the two programs, but notices distinct differences in the use of language, humor and facts. The study also shows that the quiz programs fulfills the cognitive and emotional needs, but in different ways. The study relates to the uses and gratification theory and the genre theory. / Denna studie har analyserat hur den unga vuxna publiken ser på de svenska frågesportprogrammen På spåret och Alla mot alla, som verkar under Sveriges Television respektive Kanal 5. För att ta reda på det har sex kvalitativa forskningsintervjuer genomförts, där respondenterna i fråga är i 20 till 30 års ålder. Respondenterna har tittat på respektive frågesportprogram på regelbunden basis innan intervjuerna ägt rum. Syftet med studien har varit att reda ut varför den unga vuxna publiken tar del av frågesportprogrammen, vilka behov programmen uppfyller, vilka skillnader den unga vuxna publiken upplever samt hur de ser på public service kontra kommersiell tv. Det med dessa program som utgångspunkt. Studien har förhållit sig till uses and gratifications-teorin samt genreteorin. Det som studien kan visa är att den unga vuxna publiken kollar på frågesportprogrammen för att ta del av information, underhållning och kunskap. Studien visar också att frågesportprogrammen uppfyller de emotionella och kognitiva behoven, men på varierande sätt. Den unga vuxna publiken observerar ett flertal skillnader programmen emellan. Den största skillnaden är programmens genredefinition, då svaren tyder på att Alla mot alla anses vara en game show, medan På spåret anses vara en quiz show. Studien kan också konstatera att den unga vuxna publiken upplever tydliga skillnader, exempelvis språkbruk och jargong, mellan program som verkar under public service och kommersiella bolag. Qualitative research Audience research Genre theory Uses and gratifications Information Entertainment Game show Quiz show Quiz program På spåret Alla mot alla Filip and Fredrik Public service Commercial broadcasting Discovery Networks Sveriges Television Kanal 5 Kvalitativ forskningsstudie Publikstudie Genreteori Uses and gratifications Information Underhållning Game show Quiz show Frågesportprogram På spåret Alla mot alla Filip och Fredrik Public service Kommersiellt tv-bolag Discovery Networks Sveriges Television Kanal 5 Media and Communications Medie- och kommunikationsvetenskap
858	Too foul and dishonoring to be overlooked : newspaper responses to controversial English stars in the Northeastern United States, 1820-1870 Smith, Tamara Leanne 30 September 2010 (has links) In the nineteenth century, theatre and newspapers were the dominant expressions of popular culture in the northeastern United States, and together formed a crucial discursive node in the ongoing negotiation of American national identity. Focusing on the five decades between 1820 and 1870, during which touring stars from Great Britain enjoyed their most lucrative years of popularity on United States stages, this dissertation examines three instances in which English performers entered into this nationalizing forum and became flashpoints for journalists seeking to define the nature and bounds of American citizenship and culture. In 1821, Edmund Kean’s refusal to perform in Boston caused a scandal that revealed a widespread fixation among social elites with delineating the ethnic and economic limits of citizenship in a republican nation. In 1849, an ongoing rivalry between the English tragedian William Charles Macready and his American competitor Edwin Forrest culminated in the deadly Astor Place riot. By configuring the actors as champions in a struggle between bourgeois authority and working-class populism, the New York press inserted these local events into international patterns of economic conflict and revolutionary violence. Nearly twenty years later, the arrival of the Lydia Thompson Burlesque Troupe in 1868 drew rhetoric that reflected the popular press’ growing preoccupation with gender, particularly the question of woman suffrage and the preservation of the United States’ international reputation as a powerfully masculine nation in the wake of the Civil War. Three distinct cultural currents pervade each of these case studies: the new nation’s anxieties about its former colonizer’s cultural influence, competing political and cultural ideologies within the United States, and the changing perspectives and agendas of the ascendant popular press. Exploring the points where these forces intersect, this dissertation aims to contribute to an understanding of how popular culture helped shape an emerging sense of American national identity. Ultimately, this dissertation argues that in the mid-nineteenth century northeastern United States, popular theatre, newspapers, and audiences all contributed to a single media formation in which controversial English performers became a rhetorical antipode against which “American” identity could be defined. / text Actors Acting Alabama claims Anglophobia Astor Place Riot Audience Audiences Bowery Boys Burlesque Citizenship Class Controversy Democratic Party Kean, Edmund Forrest, Edwin England Femininity Feminism Gender Great Britain Rynders, Isaiah Jewish American identity Jews United States Identity Journalism Thompson, Lydia Masculinity Media Media formations Melodrama Walsh, Mike Noah, Mordecai National Advocate National identity Nationalism New York New York Herald New York Tribune Newspapers Nineteenth century Northeastern United States Logan, Olive Performance Popular culture Popular press Mass print media Republican Party Revolution, 1848-1849 Rhetoric Scandal Shakespeare Spirit of the Times Suffrage Nativism Theatre Touring stars Whig Party Macready, William Charles Richard III (play) Merchant of Venice Shylock
859	Boiardo lettore di Dante. Comunicazione letteraria e intertestualità a Ferrara nella loro dimensione storica Cazzato, Matteo 29 May 2024 (has links) La tesi si propone di indagare l’intertestualità dantesca nell’opera volgare di Matteo Maria Boiardo. Il fenomeno è già stato oggetto di studi – indirizzati soprattutto al poema cavalleresco, e in misura minore (specie negli ultimi anni) al canzoniere lirico – che si sono mossi però nell’alveo dell’impostazione strutturalista, con una considerazione della memoria poetica da un punto di vista formalista e tipologico. Questa corrente ha consentito sviluppi importanti negli studi filologici, ma porta a vedere il fatto letterario staccato dal suo contesto di riferimento. Se questo esito in Italia è stato arginato da una forte base storicista, va detto che gli studi sulle riprese poetiche hanno però vissuto una situazione particolare. Da una parte, infatti, lo strutturalismo fra anni ’60 e ’70 ha imposto anche in Italia, attraverso una serie di importanti lavori, il suo modo di trattare la questione, senza poi che il successivo approdo semiotico incidesse in maniera significativa. Dall’altra, la reazione di chi voleva agganciare il fenomeno al dato storico ha riportato il problema all’impostazione erudita della critica delle fonti, privilegiando la raccolta dati da mettere in relazione con le informazioni sulla storia della tradizione e della circolazione. L’obbiettivo di questa tesi è fare un passo avanti, nella convinzione che per lo studio di questi fenomeni di riuso sia la circolazione manoscritta che i dati testuali e formali vadano letti in una piena prospettiva semiotica: guardare ai fenomeni di tradizione e trasmissione testuale nell’ottica dei processi ricettivi, e considerare le scelte di memoria poetica come atti comunicativi, con un valore pragmatico. La ricerca ha l’intento di giungere ad una maggior comprensione del rapporto del dotto poeta umanistico con il modello dantesco, un’interpretazione più chiara delle strategie di riuso, determinate dal particolare modo di leggere la Commedia nel contesto specifico, e perciò attraverso un preciso filtro fra quelli disponibili al tempo. Accanto all’insieme di informazioni filologiche sulle attestazioni manoscritte nelle biblioteche del tempo, l’indagine qui condotta consente – anche da un punto di vista che potremmo definire attributivo – di indicare in Benvenuto da Imola l’esegeta di riferimento per Boiardo e il suo pubblico, proprio perché l’osservazione ravvicinata dei testi e dei loro legami fa emergere questa tradizione interpretativa come la più attiva nell’elaborazione boiardesca rivolta ai lettori. Il lavoro non ha preso le mosse da un afflato teorico, teso a riconcettualizzare l’intertestualità, ma da un intento di chiarificazione sui testi e alcuni loro aspetti che non sembravano però trovare una spiegazione soddisfacente all’interno del quadro metodologico diffuso. Il lavoro, allora, ha assunto poco alla volta anche una vena metodologica sorta dall’osservazione dei fenomeni in modo nuovo. E così, accanto all’indagine storico-letteraria, e in stretta relazione con essa, è stato possibile avanzare alcune proposte ermeneutiche sui meccanismi intertestuali in base alle dinamiche della comunicazione letteraria. E nelle pagine che seguono il percorso si articola attorno a nuclei diversi ma interconnessi: da una parte la riflessione generale a carattere semiotico sui fenomeni di memoria poetica, che vengono concettualizzati grazie agli apporti di discipline come la pragmatica; segue una ricognizione storica sulle modalità di lettura e ricezione del modello dantesco – e non solo – in base alla circolazione dei testi e dei loro apparati esegetici; si arriva poi al nucleo del lavoro con l’affondo diretto su opere e paratesti esegetici con le loro relazioni, che si instaurano all’interno del laboratorio d’autore e poi da lì arrivano al pubblico.

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