The BBC was the laboratory for major experiments in modernism. Notions of aesthetics, audience, and form were tried out before the microphones of 200 Oxford St., London and heard around the world, often before they were in England. The format of the radio address and the instant encounter with listeners shaped both the production and politics of Anglophone modernism to an extent hitherto unacknowledged in literary studies. This dissertation focuses on how innovative programming by modernist writers, transmitted through instantaneous radio links, closed the perceived physical, cultural, and temporal distances between colony and metropole. Charting the phenomenon of writing for, about, and around broadcasting in the careers of E. M. Forster, Mulk Raj Anand, James Joyce, and C. L. R. James, the dissertation revises the traditional temporal and geographical boundaries of modernism. Contrary to the intentions of the BBC's directors, who hoped to export a monolithic English culture, empire broadcasting wreaked havoc on the imagined boundaries between center and periphery, revealing the extent to which the colonies paradoxically affected the cultural scene "at home." The Eastern Service (directed to India), where the abstract idea of a serious, cultural station was put into practice, was the laboratory for the Third Programme, England's post-war cultural channel. Yet the effects of Empire radio are hardly limited to its considerable impact on postwar British broadcasting. The intellectual demands of Indian listeners set the parameters of and bankrolled the literary work performed by modernist writers in England. Addressing authors and readers in India from a studio in London, Mulk Raj Anand embodied a crucial aspect of the Eastern Service, its treatment of English and Indian culture as mutually influential and coeval. Anand's broadcasts and 1945 novel The Big Heart (written during his BBC years) critique imperialism by positing the simultaneity of Indian and English temporality. In so doing, Anand's works offer a rejoinder to narratives of colonial belatedness pervasive both at the time and in the present. When tackling such transnational work, radio studies is uniquely positioned to provide an archive and a radical new model for modernist studies as it grapples with critiques of the western diffusionist model of culture. Literary production in and around the BBC registers radical cultural upheaval with a diagnostic power that reveals the attenuated ability of hypercanonical modernism alone to illuminate modernity's complex relays. Modernism on the BBC was not an exclusive canon of works, singular set of formal features, or even a unique posture. Instead, writers such as James, Forster, Anand, and Joyce offered complex responses to the pressures of modernity, including disruptions wrought by colonization, immigration, and war.  / English

Release of gas fission products in nuclear fuels is a practically important phenomenon based on the bubble diffusivity in crystal lattice. The bubble diffusion coefficient can be expressed through the volume and surface self-diffusion coefficients Dvol and Dsurf.

This thesis focuses on Czechoslovak radio broadcasting on BBC from September 1939 (when the separate Czech program started there) to the end of World War II in which there were participating political representatives of Czechoslovakia after partial recognition of Czechoslovak government in the exile by the British government in summer of 1940. Main theme of the thesis are the radio speeches of Jan Masaryk, the former (longtime) Czechoslovak ambassador in London and future Minister of Foreign Affairs of the exile government. He launched the Czech Programme of BBC for listeners in the Protectorate on 8th September 1939 and began to appear on the waves regularly once a week in February 1940. The thesis analyzes how he tried (in his speeches and comments) to encourage self-confidence of the nation, how he tried to nullify germanization endeavors of occupiers and quislings to reinterpret Czech historical narrative and by usage of what ideological weapons he was creating the image of small, but internally strong and mature Czechoslovak nation, morally exceeding its inherent German enemy. He used this story as a rhetorical shield against the Nazi interpretation of the Czech tribe, who returned to the womb of the modern Holy Roman Empire, where it belongs as natural part - by the words of the Nazi propaganda.

Cette œuvre représente une tentative cherchant à mettre en lumière les facteurs qui expliquent la visée des chaînes transnationales de l’information pour créer cet effet de neutralité dans la couverture éditoriale des conflits. Elle analyse également les conditions qui rendent possibles cette stratégie par les limites internes de la rédaction, ainsi que par le biais des attentes des publics. La position privilégiée de l'auteur, qui a depuis plus d'une décennie travaillé comme journaliste au sein de l'équipe éditoriale internationale d'Euronews, lui a permis de tester ses hypothèses et les constatations de l'intérieur de la chaine. Cette thèse examine les stratégies éditoriales des grands chaînes paneuropéens et mondiales d'information, en les plaçant dans la perspective de l'évolution historique de la diffusion transnationale et en analysant des évolutions actuelles dans le contexte de la mondialisation. En se concentrant en particulier sur la question de la neutralité déclarée habituellement dans les politiques éditoriales de ces chaînes, l'étude analyse les divergences dans l'interprétation de ce principe de base aussi bien par les équipes éditoriales comme par des groupes cibles des différents organismes de télédiffusion – un phénomène crucial qui créent des identités distinctes derrière la neutralité prétendue des flux d'information. Les méthodes employées dans la préparation de cette thèse intègrent l’observation participante à l’intérieur d’une chaine de nouvelles internationales de premier plan, une analyse de la perception du contenu des nouvelles par des téléspectateurs se classant parmi des camps politiques antagonistes, et une revue de la littérature et des publications périodiques russes et européennes. / This work represents an attempt to shed light onto the factors that explain the yearning of the transnational news channels to creating the impression of editorial neutrality in conflict coverage. It also demonstrates the conditionality of this guideline by the internal editorial limitations, as well as by the bias of the audience groups. The privileged position of the author, who has for more than a decade been working as a staff journalist within the international editorial team of Euronews, allowed him to test his hypotheses and findings from within. This dissertation examines the editorial strategies of the major paneuropean and global news channels, putting them in the perspective of historical evolution of transnational broadcasting and analysing the current developments in the context of the globalising world of today. Focusing in particular on the issue of commonly declared neutrality in the channels' editorial policies, the study analyses divergencies in interpreting this basic principle both by the editorial teams and by various audience groups of different broadcasters, creating distinct identities behind the supposedly neutral informational flows. The methods employed in preparing this dissertation include involved observational research of a leading international news channel, the analysis of the perception of news content by viewers ranking among confronting political camps, and reviews of topical Russian and European periodicals and literature.

Cette thèse étudie la représentation de l’Iran contemporain à travers le discours des chaînes d’information en continu arabes et occidentales. L’étude des chaînes d’information en continu est une excellente occasion d’analyser les différentes représentations de l’Autre en étudiant comment ces chaînes construisent différentes représentations des identités à travers des stéréotypes et un contraste idéologique réducteur entre «nous» et «eux». La problématique de cette recherche repose sur l'analyse comparative du discours des chaînes de télévisions transnationales (BBC, CNN et France 24, comme des chaînes occidentales et des chaînes Al-Jazeera et Al-Arabiya comme des chaînes arabes), et leurs façons de représenter, parmi les évènements du monde, l'Autre, en l'occurrence l'identité iranienne. Les médias transnationaux produisent et distribuent des nouvelles, des images et des contenus symboliques relatifs aux problèmes que les téléspectateurs auraient, principalement voire exclusivement appris auparavant (ou pas), à partir de leurs médias nationaux. L’étude de la représentation de l'Autre, est un modèle utile qui cherche à exposer d’une façon scientifique les routines du processus de représentation des médias et la dynamique sous-jacente du pouvoir des représentations télévisuelles de l'Autre. Ce qui précédait cette ère de la postmodernité était l’enfermement du regard médiatique dans les frontières des Nations ou bien des empires coloniaux. La globalisation a introduit l’Autre au cœur même du local. Les représentations stéréotypées et les images de l’Iran dans les journaux télévisés et les émissions des chaînes semblent rétablir les distances spatiales, politiques et socio-culturelles entre les pays et semblent reproduire la supériorité occidentale surtout pour les chaînes américaines. Les chaînes arabes sont axées sur une forte orientation religieuse, raciale et ethnique lors de leur couverture liée à l’Iran. L’information est influencée par le processus de cadrage. Le cadrage fait par des chaînes arabes et occidentales tend alors à refléter et à renforcer l'idéologie dominante du pays d’origine. Les résultats de l'étude soulignent que les nouvelles internationales peuvent être interprétées par une vue combinée, dans laquelle les influences de la propagande sur la couverture médiatique sont interconnectées avec le système des médias et des intérêts nationaux, et paradoxalement par l’ancrage dans le territoire local dépendant de l'idéologie dominante du pays. / This thesis examines the representation of contemporary Iran through the discourse of Arab and Western news channels. The study of news channels is an excellent opportunity to analyze the different representations of the Other by studying how these chains build different representations of identities through a reducing stereotypes and ideological contrast between "us" and "them ". The problem of this research is based on the comparative analysis of the discourse of transnational television channels (BBC, CNN, France 24, as Western channels and Al-Jazeera and Al-Arabiya as Arab channels), and ways of represent among the events of the world, the Other in this case the Iranian identity. Transnational media produce and distribute news, images and symbolic content related issues that viewers would primarily or exclusively learned before (or not) from their national media. The study of the representation of the Other, is a useful model that seeks to explain a scientific way routines process media representation and the underlying dynamics of the power of television representations of the Other. What preceded this era of postmodernity was enclosing the media look into the borders of Nations or colonial empires. Globalization has brought the Other at the heart of local. Stereotypical representations and images of Iran in the news and emissions chains seem restore spatial distances, political and socio-cultural relations between the countries and seem to reproduce Western superiority especially for U.S. channels. Arabic channels are based on a strong religious orientation, racial and ethnic in their coverage related to Iran. The information is influenced by the delineation process. Framing done by Arab and Western chains can be expected to reflect and reinforce the country of origin dominant ideology. The results of the study highlight that international news can be interpreted by a combined view, in which the influences of propaganda on media coverage are interconnected with the system of media and national interests, the territory under the dominant ideology of the country.

This thesis considers strategic change from the novel perspective of a manager practically ‘activating’ it within a complex organisation. It involved 18 months of action research and participant observation within BBC Global News, where joint processes were developed across two converging businesses. A journal was maintained of meetings and events, access was granted to internal documentation, and 12 interviews were conducted. One contribution of this thesis is a new conceptualisation of the developing elements of organisational strategic posture and related environmental events as ‘stremes’: strategic memes representing relevant subsystems, ideas, and subcultures. The posture is depicted as a construction of multiple voices, often combining, sometimes clashing, as ideas compete for legitimacy. This allows the practitioner outlook to be presented through three linked perspectives. A ‘process’ approach maps the unfolding streme system; a ‘people’ approach considers the building of consensus to legitimise stremes; and a ‘practice’ approach considers the efficacy of action research in helping to craft change. It is found that not only do the actions of people shape the streme network; the complex, interdependent network also partially shapes their actions. This research builds on previous work on strategic change, but provides new narrative insight from a practitioner’s outlook. It also created ‘practical knowledge’, since many outputs of the process were implemented within the BBC, and may have relevance elsewhere.

This thesis analyze institutional and political circumstances, which allowed and influenced the Scottich referendum of independence in september 2014. It discribes political development and situation in Scottich Parliament and Government from the creation of devolution to 2014. As a metodological tools this thesis use theories of Institutionalism, Multi - level governance and performance politics. It focuses on the pre-referendum debate as well. Main sources are official reports of departments of Her Majesty Government and White paper of Scottish Goverment for the referenda, both are combined with reports from BBC. It shows limitations and extentions of institutional influence and reach towards independence. Key words: Great Britain, Scottish Parliament, Scottish Government, SNP, Alex Salmond, referendum,BBC

As immigration turns into the scapegoat of political and social tensions all over the world and politicians that seem to be talking about migration flows communicate instead their conception of the world and where it should head, this study investigates the refugee crisis of 2015 as represented in the two global television channels RT and BBCW. Widely studied for the depiction the press gives of the refugees, for the first time the refugee crisis is analyzed as an arena where competing understandings of international relations are constructed, in a media ecology where a myriad of actors have a chance to foreground their truth and where wars are fought, and possibly won, through the weapons of values, culture and the attraction they exercise (Nye Jr. 1990, 2013). Borrowing the concept of strategic narratives from international relations (Miskimmon et al. 2013) and applying it to textual analysis, the study employs framing analysis to operationalize it and explores a sample of 144 news items (74 from RT and 70 from BBCW) broadcast in August and September 2015 to retrace the narratives of the two channels. It finds out that, although conflicting with each other, both RT’s and BBCW’s narratives are strategic and aim at constructing a past, present and future of international relations that can influence what we expect, consider acceptable or conceivable on the international theater. The channels’ narratives are about the destiny of Europe and countries, depicting a reality that still responds to old Cold War dividing lines. An analysis of the actors allowed to speak and represented as acting confirms that in RT and BBCW political elites and the nations they represent have a greater chance, compared to other actors, to define international politics and shape shared understandings of how international relations works and where it is heading.

Submitted by PPG Comunica??o Social (famecos-pg@pucrs.br) on 2018-10-01T17:57:54Z No. of bitstreams: 1 FILIPE_PEREIRA_GAMBA_DIS.pdf: 2672298 bytes, checksum: 00303c8811ceaeaf3a9cff790b1bcfd0 (MD5) / Approved for entry into archive by Sheila Dias (sheila.dias@pucrs.br) on 2018-10-03T16:37:58Z (GMT) No. of bitstreams: 1 FILIPE_PEREIRA_GAMBA_DIS.pdf: 2672298 bytes, checksum: 00303c8811ceaeaf3a9cff790b1bcfd0 (MD5) / Made available in DSpace on 2018-10-03T16:52:19Z (GMT). No. of bitstreams: 1 FILIPE_PEREIRA_GAMBA_DIS.pdf: 2672298 bytes, checksum: 00303c8811ceaeaf3a9cff790b1bcfd0 (MD5) Previous issue date: 2018-08-30 / This dissertation deals with the imbricated relationship between radio and the internet, given that technological evolution has modified the forms of communication and in this new conjecture different possibilities for the radio are extended. It starts from the premise that the current moment strengthens the media convergence and implies transformations ? not only in the concept of radio, but also in the way of making radio and in the way the content happens to be consumed. It is pointed out that this work aims to research the radio adaptation from the internet. In this scope two important transformations will occur that have occurred in different proposals: on the radios of the British Broadcasting Corporation (BBC) from the United Kingdom and Radio Gaucha from Porto Alegre. As for BBC its strategies based on the segmentation of radio content - the so-called radio on demand were mapped. In contrast R?dio Ga?cha anchors its changes in social networks. It should be noted that the model adopted by the BBC serves as a reference for a readaptation in which the radio preserves its essence: audio; in contrast, R?dio Ga?cha bases its propagation on social platforms, through the adoption of languages that go beyond audio. These are different readaptations in the form of making radio, from the internet, which exemplify the imperious adaptations of the vehicle in face of the transformations that have occurred in the last decades. / Esta disserta??o versa sobre a imbricada rela??o entre r?dio e internet, tendo em vista que a evolu??o tecnol?gica tem modificado as formas de comunica??o e, nessa nova conjuntura, ampliam-se diferentes possibilidades para o r?dio. Partimos da premissa de que o atual momento fortalece a converg?ncia midi?tica e implica transforma??es ? n?o apenas no conceito de r?dio, mas tamb?m na maneira de se fazer r?dio e na forma como o conte?do passa a ser consumido. Salientamos que este trabalho objetiva pesquisar a readapta??o do r?dio a partir da internet. Nesse escopo, ser?o observadas duas importantes transforma??es que ocorreram em propostas distintas: nas r?dios da British Broadcasting Corporation (BBC), do Reino Unido, e na R?dio Ga?cha, de Porto Alegre. No que tange ? BBC, foram mapeadas suas estrat?gias baseadas na segmenta??o de conte?do radiof?nico ? o chamado r?dio sob demanda. J?, a R?dio Ga?cha, ancora suas mudan?as nas redes sociais. Cumpre ressaltarmos que o modelo adotado pela BBC serve como refer?ncia de uma readapta??o na qual o r?dio preserva sua ess?ncia: o ?udio; em contrapartida, a R?dio Ga?cha baseia sua propaga??o nas plataformas sociais, por meio da ado??o de linguagens que v?o al?m do ?udio. Trata-se de readapta??es distintas na forma de se fazer r?dio, a partir da internet, as quais exemplificam as imperiosas adequa??es do ve?culo frente ?s transforma??es ocorridas nas ?ltimas d?cadas.

The first decade of this century marked a moment of hypervisibility for lesbians and bisexual women on British television. During this time, however, lesbian hypervisibility was coded repeatedly as hyperfemininity. When the BBC and ITV adapted Sarah Waters’s novels for television, how, I ask, did the screen versions balance the demands of pop visual culture with the novels’ complex, unconventional – and in some cases subversive – representations of lesbianism? I pursue this question with an interdisciplinary methodology drawn from queer and feminist theories, cultural and media studies, and film adaptation theory. Chapter Two looks back to Jeanette Winterson’s Oranges Are Not the Only Fruit (BBC 1990). I examine this text – the first BBC television serial to feature a lesbian protagonist – to establish a vocabulary for discussing the page-to-screen adaptation of queer identities throughout this dissertation. Chapter Three investigates Waters’s first novel Tipping the Velvet (1998) and its complex intertextual relationship with Andrew Davies’s serialized version (BBC 2002). I also examine responses to the serial in the British press, tracing the ways in which dominant cultural forces seek to domesticate non-normative instances of gender and sexuality. Chapter Four examines Waters’s novel Fingersmith (2002) in relation to Peter Ransley’s adaptation (BBC 2005) to situate adaptations of Waters’s retro-Victorian texts amid the genre of television and film adaptations of Jane Austen novels. I argue that Ransley’s serial interrogates the notion of Austen as a “conservative icon” (Cartmell 24) and queers the Austen adaptation genre itself. To conclude this study I address Davies’s television film (ITV 2008) of Waters’s second novel Affinity (1999). In this chapter I examine how the adaptation depicts the disruptive lesbian at the centre of the text. I argue in particular that by casting an actress who does not conform to dominant televisual norms of femininity, the adaptation is able to create a powerful audiovisual transgendered moment which adds to the novel’s destabilization of Victorian hierarchies of gender and class. This chapter considers, finally, how Tipping the Velvet, Fingersmith and Affinity have contributed to lesbian visibility on British television. / Thesis (Ph.D, English) -- Queen's University, 2009-05-27 11:26:42.504