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Utbudet av tidningar är idag brett. Inom tidskriftsbranschen konkurrerar magasinen om konsumenternas uppmärksamhet i hopp om att konsumenterna ska köpa just deras tidning. En faktor som kan påverka dem att konsumera är omslagets utseende. För tidningsmakare gäller det att utforma ett attraktivt omslag vad gäller bild, färg och textpuffar. Omslagets utseendet är av stor betydelse för lösnummerförsäljningen, vilken i sin tur utgör en stor del av tidningsupplagan. Syftet med undersökningen är att undersöka utseendet på fyra modemagasins omslag. De undersökta tidningarna är Damernas Värld, Elle, Glamour och Solo. Frågeställningarna behandlar omslagens utformning, modellernas utseenden, ämnena som uppmärksammas och slutligen om det finns några likheter och skillnader mellan magasinens omslag. Undersökningen utförts genom en kvantitativ innehållsanalys, då tolv omslagsbilder av respektive magasin under åren 2006 till 2008 har analyserats. Resultatet visar att utseendet hos magasinens modeller är relativt lika. Hon är blond eller brunett, smal, har ljus hy, liten näsa, tunna eller mellantjocka läppar och är mellan 20-29 år. Det som dock skiljer sig mellan magasinen är hennes klädsel, ansiktsuttryck och huruvida hon är känd eller inte. De ämnen som oftast uppmärksammas på omslagen är mode, skönhet, kändisar, kultur, kropp och relation. Magasinen har allt från 6-10 till 21-25 ämnesrubriker på sina omslag och den största rubriken hos samtliga magasin handlar om mode. Den vanligaste färgen på omslagets text och logotyp är rosa, medan dess bakgrund oftast är färgad vit.

Indulgent and desirable, luxury both boasts and seduces. Luxury is an elaboration on the essential, manifest in forms of etiquette and exclusion. Films index both reality and fantasy. They reflect, denounce, and exaggerate, making them invaluable cultural documents. Post-World War Two, the ease of air travel, mass production of goods, and foreign influence changed the face of luxury. By examining the films To Catch a Thief (1955), La Dolce Vita (1960), and Breakfast at Tiffany’s (1961) – all three from the era of this shift in luxury – this essay excavates this change, by examining the narrative, objects, and architecture of selected scenes.

Woven within fashion and dress is the innate ability to create atmosphere and transformative experiences. Architecturally, the façade of a building acts as its skin, having responsibilities that exceed the functions of shelter and materiality. The process of dressing buildings create and shape dynamic relationships with all the elements of its surroundings. Beyond the basic need for convenience and protection, both practices operate as part of a larger world of personified and tailored objects that create ambience and space. This thesis, entitled unDressing Spectacle, explores the parallels between the fashion and architecture within the context of their own industries as well as each other’s. Themes of dress and undress are juxtaposed onto both crafts - literally and metaphorically - at three different scales: the adornment of the individual; the design object within society and the urban fabric; and the discourse between branding and the economic condition. Creating the framework for fantastic events within the urban fabric, this thesis takes the form of a Fashion & Design Event Centre upon which the discourse between user and the design object unfolds. Placed in Toronto’s vibrant west end, the building is a symbol of permanence and an icon for fashion and design. The proposed design is the manifestation of the inherent conflict within the thesis, juxtaposing fashion’s ability to seduce and manufacture desires with the complex structuring of neutral spaces to allow for a multiplicity of users and events. At the city scale, the luminous and dynamic layers of building skin attracts and lures; as users approach and ultimately enter the building, the imagery is transformed into unique atmospheric experiences. This thesis harnesses the glamour of fashion as the medium to ignite the re-imagination of architecture’s value and the interpretation of beauty and style, providing the means for experiences to transcend into a world of spectacle.

<p>Utbudet av tidningar är idag brett. Inom tidskriftsbranschen konkurrerar magasinen om konsumenternas uppmärksamhet i hopp om att konsumenterna ska köpa just deras tidning. En faktor som kan påverka dem att konsumera är omslagets utseende. För tidningsmakare gäller det att utforma ett attraktivt omslag vad gäller bild, färg och textpuffar. Omslagets utseendet är av stor betydelse för lösnummerförsäljningen, vilken i sin tur utgör en stor del av tidningsupplagan.</p><p>Syftet med undersökningen är att undersöka utseendet på fyra modemagasins omslag. De undersökta tidningarna är Damernas Värld, Elle, Glamour och Solo. Frågeställningarna behandlar omslagens utformning, modellernas utseenden, ämnena som uppmärksammas och slutligen om det finns några likheter och skillnader mellan magasinens omslag.</p><p>Undersökningen utförts genom en kvantitativ innehållsanalys, då tolv omslagsbilder av respektive magasin under åren 2006 till 2008 har analyserats. Resultatet visar att utseendet hos magasinens modeller är relativt lika. Hon är blond eller brunett, smal, har ljus hy, liten näsa, tunna eller mellantjocka läppar och är mellan 20-29 år. Det som dock skiljer sig mellan magasinen är hennes klädsel, ansiktsuttryck och huruvida hon är känd eller inte. De ämnen som oftast uppmärksammas på omslagen är mode, skönhet, kändisar, kultur, kropp och relation. Magasinen har allt från 6-10 till 21-25 ämnesrubriker på sina omslag och den största rubriken hos samtliga magasin handlar om mode. Den vanligaste färgen på omslagets text och logotyp är rosa, medan dess bakgrund oftast är färgad vit.</p>

Indulgent and desirable, luxury both boasts and seduces. Luxury is an elaboration on the essential, manifest in forms of etiquette and exclusion. Films index both reality and fantasy. They reflect, denounce, and exaggerate, making them invaluable cultural documents. Post-World War Two, the ease of air travel, mass production of goods, and foreign influence changed the face of luxury. By examining the films To Catch a Thief (1955), La Dolce Vita (1960), and Breakfast at Tiffany’s (1961) – all three from the era of this shift in luxury – this essay excavates this change, by examining the narrative, objects, and architecture of selected scenes.

Woven within fashion and dress is the innate ability to create atmosphere and transformative experiences. Architecturally, the façade of a building acts as its skin, having responsibilities that exceed the functions of shelter and materiality. The process of dressing buildings create and shape dynamic relationships with all the elements of its surroundings. Beyond the basic need for convenience and protection, both practices operate as part of a larger world of personified and tailored objects that create ambience and space. This thesis, entitled unDressing Spectacle, explores the parallels between the fashion and architecture within the context of their own industries as well as each other’s. Themes of dress and undress are juxtaposed onto both crafts - literally and metaphorically - at three different scales: the adornment of the individual; the design object within society and the urban fabric; and the discourse between branding and the economic condition. Creating the framework for fantastic events within the urban fabric, this thesis takes the form of a Fashion & Design Event Centre upon which the discourse between user and the design object unfolds. Placed in Toronto’s vibrant west end, the building is a symbol of permanence and an icon for fashion and design. The proposed design is the manifestation of the inherent conflict within the thesis, juxtaposing fashion’s ability to seduce and manufacture desires with the complex structuring of neutral spaces to allow for a multiplicity of users and events. At the city scale, the luminous and dynamic layers of building skin attracts and lures; as users approach and ultimately enter the building, the imagery is transformed into unique atmospheric experiences. This thesis harnesses the glamour of fashion as the medium to ignite the re-imagination of architecture’s value and the interpretation of beauty and style, providing the means for experiences to transcend into a world of spectacle.

Cette thèse explore les formes de précarité dans le capitalisme contemporain à partir de la mode. Par une ethnographie menée auprès des travailleurs de «l’immatériel », à Paris et à Bruxelles (stylistes, mannequins, photographes, créateurs, journalistes, maquilleurs…), j’y explore le système de la mode, en analysant les circulations globales des imaginaires, des produits et des travailleurs, aussi bien que les productions de subjectivités et les modes d’assujettissement qui sont propres à cette industrie. Les restructurations du capitalisme du demi-siècle dernier ont fait de la mode « le rêve », à savoir la projection idéale des imaginaires capitalistes, mais aussi un horizon désirable pour les subjectivités que le capitalisme même produit. La thèse montre que, dans la mode, les productions d'imaginaires et les productions matérielles sont étroitement imbriquées. En outre, l’économie de la mode repose sur une règle du jeu selon laquelle les métiers et les prestations professionnelles les plus valorisés sont les moins payés. Le prestige et le pouvoir symbolique conférés par le fait d’« être là », dans la mode, y sont indissociables d’un certain degré de domination et de précarité.En allant au-delà de l’imaginaire d’exceptionnalité médiatisé de la mode, il ressort de l’enquête que les travailleurs eux-mêmes combinent esprit entrepreneurial, incorporation des dominations et précarité. Dans la mode, la subjectivité est utilisée aussi bien pour la composante créative du travail, que pour la gestion des émotions, du corps, et des relations, comme dans de nombreux autres secteurs des productions néolibérales. / info:eu-repo/semantics/nonPublished

在全球併購浪潮興起之時,併購活動可能受市場競爭的影響,促使強強合 併,但也可能發生不理性的追隨行為。本文係研究在併購動能中宣告併購,對 主併公司的短期與長期併購績效之影響,並且進一步討論在併購案採現金交易、 主併公司為成長型公司、主併公司過去有成功併購經驗三個條件之下,對主併 公司於併購動能下宣告併購的短期與長期併購績效是否有顯著影響。 本研究之貢獻為,採過去併購績效是否顯著作為併購動能之衡量,而非單 純採用市場上所累積的併購績效之規模。另外,除了探討每個變數與併購績效 之直接關係外,亦特別著重於該變數與主併公司在併購動能中宣告併購之交乘 作用,剖析對主併公司短期及長期併購績效的影響。 而本研究發現,在併購動能當中,若主併公司為成長型公司,能夠顯著提 升其宣告併購之短期與長期績效。因此,對於併購動能下指併公司的績效表現 而言,該公司特性為關鍵因素,特別是對長期的併購績效來說。 / When merger waves occur, the M&A activities may be affected by competitive market. This may cause the win-win cooperation, but also may result in blind following. The primary purpose of this paper is to test the correlation of mergers in momentum and the short-term and long-term merger performance. Furthermore, this paper is also focus on three conditions which may influence the above-mentioned correlation, including cash payment, glamour bidders and bidders’ past successful experience of M&A. The major contribution of this paper is using the significance of past merger performance to measure the merger momentum, instead of simply using accumulated performance. Second, in addition to the direct relation between variables and merger performance, this paper also aims to emphasize the interaction of those variables, analyzing its influence to short-term and long-term performance. It is reported in this paper that, in the merger waves, glamour bidders significantly perofrm better in both short-term and long-term period. Thus, “Glamour” is a key characteristic for the bidders, which would lead to better performance in merger wave, especially long-term one.

As a word, glamour is hard to define, but is instantly recognizable. Its association with Hollywood movie stars fully emerged in the 1930s in the close-up celebrity portraits by photographers like George Hurrell. The aesthetic properties in these images that help create glamour are characterized by the Modernist style, known for sharp focus, high contrast, seductive poses, and the close-up (tight framing). My essay will explore the origins of the visual aesthetics of glamour, arguing that their roots can be found in the still life photographs of the 1910s, produced by fine art photographers such as Edward Steichen. This essay will primarily focus on the photography of Edward Steichen because he used these same techniques found in his still life portraits on Hollywood celebrities when he began working for Condé Nast’s Vanity Fair and Vogue in 1923. Steichen changed the conversation on how to photograph celebrities and his practices eventually led to the creation of glamour portrait photography. This thesis documents the ways in which Steichen established the precedent for glamour photography when he applied the close-up and Modernist style on Hollywood stars. The result of Steichen’s application was photography that provided visually identifiable and mechanically reproducible glamour.