Thesis--Universität Bonn, 2007. / Includes bibliographical references (p. 556-589) and index.

The topic of violence in Late Antiquity is a heavily debated subject and many scholars have focused on this issue, as evidenced by the many studies published within the last ten years. The perception of Late Antiquity as a period of widespread religious violence is mainly influenced by Christian literary sources, who document accounts of violence against temples, statuary, and people alike. Egypt, in particular, has often been used as an example to demonstrate the destructive nature of religious violence that existed in the ancient world. However, the concept of religious violence is a complicated and nuanced topic. In Egypt, the many accounts by the Christian sources were written with specific intentions and the events documented in the texts were often exaggerated. The objective of this thesis is to provide a study of statue destruction by Christians between the fourth to seventh centuries CE in Egypt, and determine whether these destructions were acts of religious violence or were carried out for another reason in order to provide a more nuanced understanding of violence in Late Antiquity. By juxtaposing accounts from literary sources and archaeological evidence, the study seeks to determine whether the literary sources are accurate in their documentation of widespread statue destruction, or whether the violent discourse present in the literary sources is the result of Christian polemical purposes.

Syftet med studien är att bidra med en ökad förståelse kring hur skivbolag arbetar medartister, vad som krävs för att nå framgång som artist samt hur man definierar framgångi denna kontext. Detta öppnar i sin tur upp för diskussion kring varför före dettaIdolmedverkande når framgång eller ej. Studiens resultat, analys samt slutsats grundarsig i genomförda semistrukturerade intervjuer med fem respondenter, varav fyra frånskivbolag samt en från Idol. Respondenterna ger sin syn på framgång, beskriver viktigaattribut hos artister, redogör för hur de arbetar och resonerar samt ger sin syn på Idol.Studiens resultat understryker vikten av att synas och höras. Något som göra genom attvara personlig och aktiv på sociala medier, vara driven och underhålla sin publik samtatt sticka ut och vara unik.

This dissertation is a three-pronged study examining American themes, celebrity, and collective identity associated with the television program American Idol. The study includes discourse analyses of the first seven seasons of the program, of the season seven official American Idol message boards, and of the 2002 and 2008 show press coverage. The American themes included a rags-to-riches narrative, archetypes, and celebrity. The discourse-formed archetypes indicate which archetypes people of varied races may inhabit, who may be sexual, and what kinds of sexuality are permitted. On the show emotional exhibitions, archetypal resonance, and talent create a seemingly authentic celebrity while discourse positioning confirms this celebrity. The show also fostered a complication-free national American collective identity through the show discourse, while the online message boards facilitated the formation of two types of collective identities: a large group of American Idol fans and smaller contestant-affiliated fan groups. Finally, the press coverage study found two overtones present in the 2002 coverage, derision and awe, which were absent in the 2008 coverage. The primary reasons for this absence may be reluctance to criticize an immensely popular show and that the American Idol success was no longer surprising by 2008. By 2008, American Idol was so ingrained within American culture that to deride it was to critique America itself. In sum, the findings were that American Idol presents an ideal version of American culture, where gender, race, and class issues are non-existent, power is shared democratically, the American national identity is fair, generous, familial, and celebrity and success are easily attainable. This idealization of contemporary American culture functions to sustain the current status quo of economic and cultural standards. / Mass Media and Communication

The Idol Mine, operated by Clinch Valley Mining Company, is located at the southern end of the Copper Ridge District in Northeastern Tennessee. It is a relatively typical carbonatehosted zinc (Mississippi valley Type) deposit. The ores occur as interfragmental fillings within carbonate breccia bodies of the Lower Ordovician Kingsport and Mascot formations. The paragenesis study reveals that sphalerite, the only zinc mineral, precipitated at the earliest stage of ore formation accompanied by minor amounts of dolomite and marcasite. A major stage of coarse white dolomite precipitation took place after sphalerite. Minor amounts of other gangue minerals including pyrite, calcite, quartz, gypsum and fluorite all postdate ore formation. Field observations complemented by macro- and micro-scale examination of polished sections and doubly-polished thin sections reveal that five alternating light and dark growth bands are distinguishable within sphalerite and are correlatable throughout the mine. Electron microprobe analyses across the growth zones of the sphalerite reveal that the dark A, C, and E bands are characterized by relatively high Cd, Cu and Pb content and the light B and D bands by relatively high Fe content. It is also noted that there are two types of host breccias, one with bleached rims and the other without. Early bleach rimmed breccias are most likely the relics of karst-related breccias and later non-bleached breccias appears to be of tectonic origin. Representative sphalerite, gangue dolomite and host dolostone breccias have been sampled and tested by mass spectrometry to determine the presence and nature of hydrocarbons. The GC/MS analyses reveal that all the samples examined contain aliphatic hydrocarbons with minor amounts of aromatic compounds. The aliphatic hydrocarbons range from C₂₁H₄₄ to C₃₃H₆₈ and are most likely of terrestrial plant origin. On the basis of new observations combined with previous data, a model involving the mixing of two distintive fluids is proposed to account for the formation of the Idol zinc mine. / Master of Science

Made available in DSpace on 2016-04-26T18:10:11Z (GMT). No. of bitstreams: 1 Beatriz Santos Samara.pdf: 435550 bytes, checksum: bc6c24f75a808774f6941f0e57d23c67 (MD5) Previous issue date: 2010-10-05 / This thesis aims at studying the reception developed during Roberto Carlos s artistic career. In order to achieve our goal, a biographical research and a field research both qualitative and quantitative were elaborated, so that the object is centered in the analysis of the process that constitutes a popular idol, its dialogue with the context of various decades, as well as the kind of communicative strategy that assured this artist permanent success and significant choice of preference. Initially, we have favored a synthetic directioning of his career in order to place the artist in the exercise of his art in contemporaneity. But because of his celebrity condition Roberto Carlos is a public personality somehow the dimension and significance of his success is well known. It is not by chance he is widely known as the King . The theoretical framework concurs on two inevitable matrices which, at the same time, justify this state of affairs and elucidate the strategic process of construction of success. As a consequence of this empiric basis, associated with the biographical research and with the analysis of the communicative process that built the idol RC, we hope we will contribute to contemporary studies on reception in development currently, especially those that concentrate on significances of wide recognition and popular response in the intricate process of communication / Essa dissertação tem por objetivo estudar a recepção desenvolvida durante a carreira artística de Roberto Carlos. Para isso, elaborou-se uma pesquisa bibliográfica e uma pesquisa de campo qualitativa e quantitativa onde o objeto está centrado na análise do processo de constituição de um ídolo popular, seu diálogo com o contexto de diversas décadas, bem como o tipo de estratégia comunicativa que lhe garantiu, efetivamente, a perenidade do sucesso e a expressiva preferência de gosto. Para situar o artista nas condições do fazer artístico na contemporaneidade, optou-se, de início, por um norteamento sintético de sua carreira, visto que, enquanto personalidade da esfera pública, de alguma forma, sabe-se da significação e da dimensão de seu sucesso. A resposta para isso se situa no designativo de Rei , amplamente a ele atribuído. A fundamentação teórica incidiu sobre duas matrizes inevitáveis que, ao mesmo tempo, justificam esse estado de coisas e elucidam o processo estratégico de construção do sucesso. Como conseqüência dessa base empírica aliada à pesquisa bibliográfica e, sobretudo, à análise do processo comunicativo que construiu o ídolo RC, esperamos contribuir para os estudos de recepção contemporâneos, em especial para aqueles que se concentram em significações de grande reconhecimento e adesão popular no intrincado processo da comunicação na atualidade

Moon-shaped idols constitute very specific and variable category of ceramic, in rare cases also of stone artefacts. Beginning of their occurrence and spreading in the middle Europe can be associated with the Middle-Danube and North-Alpine Urnfield culture. Their development consequentially continues in the Early Iron Age when they spread outside central European region down to the north east of Spain and the north of Italy. The current total number of findings is higher than estimate from 2004, which was approximately 2000 pieces. The main objective of the thesis lay in overall processing of results of the research up to now concerning the given issue. At the same time there was an attempt made about critical assessment of the artefact features and the excavation environment with regard to the potential function of the Moon-shaped idols. The excavation environment of these products is quite variable. As a rule they appear in settlements as secondary refuse, but also in the situations, which can be considered as demonstration of cult behaviour. In northeast France and south Germany, parts of Moon- shaped idols are to be found also in context of the final Bronze Age. From there the custom is spread in a modified form to the east. Such equipped graves can be noticed in the burial sites of Bylany and...

This study examines the construction of the image of K-pop female idol groups and the presentation of postfeminist discourses through a critical discourse analysis of three official documentaries of three K-pop female groups: Blackpink: Light Up the Sky (2020), Mamamoo: Where Are We Now (2022), and Twice: Seize the Light (2020). The study aims to explore how these documentaries present K-pop idols on/off stage and how the K-pop industry employs postfeminist discourses to construct femininity and female empowerment. The study addresses the following research questions: how do the three documentaries construct the image of K-pop female idol groups? In what ways do the documentaries demonstrate elements of postfeminist discourse? By looking at the concept of girl crush in K- pop culture, the study found that the three groups presented the image of girl crush in different ways and to varying degrees, with traits such as self-confidence, power, and sexuality. Blackpink’s double image of strong and powerful onstage and innocent and cute off-stage reflects both traditional and modern expectations of women. Mamamoo’s documentary highlights bold sexual expression and diverse gender representation, situating them as icons of postfeminist empowerment. Twice’s documentary emphasizes authenticity and an affective connection with their fandom. Despite these narratives of empowerment, the analysis also reveals underlying gender inequalities in the K-pop industry, where female idols have limited influence and the industry remains male-dominated. The study contributes to an understanding of K-pop culture and its gender representations, highlighting the tension between empowerment and traditional gender norms.

台灣的電視劇從民國五十八年由中國電視公司製播的【晶晶】開啟戲劇新紀元，歷經近四十年台灣電視劇，隨著時代的變遷，在順境中求變化、在逆境中求生存，從八點檔連續劇到九點半單元劇，再由本土劇到偶像劇，期間尚有類戲劇穿插其間，台灣戲劇的豐富性與類型之多變，也造就台灣文化娛樂產業持久的競爭力。 近年來，由於傳播科技日新月異，加上有線頻道的開放，媒體市場競爭更形白熱化，置入式行銷（Product Placement）也順勢成為行銷人員使用的行銷手法之一，而置入式行銷即運用戲劇節目的優勢，將商品或品牌與戲劇進行結合，企圖為商品或品牌創造更多元的曝光機會。 本研究即針對十一位涵蓋戲劇製作端、媒體代理商與廣告主三種領域、具有電視劇置入式行銷實務執行經驗的產製前端人士進行深度訪談，希望藉由前製端實際從事置入式行銷專業人士的角度，深度剖析並歸納電視劇置入式行銷的運作，並進而建構從事電視劇置入式行銷的觀念與操作建議，期望經由本研究提供各方正向的思考，更希望未來在實質上能有助於提升置入式行銷的精進。 / Since the China Television Corporation（CTV）produced the first Taiwan’s TV serial drama---“Jingjing”（晶晶）in 1969, a new era of drama began. From the prime-time soap opera, 9P.M. unit theatrical, to local serial drama, idol drama and even docudrama, TV opera in Taiwan are full of variety. Changing based on primary trends is the reason why entertainment industry in Taiwan can keep highly competitive in the past 40 years. Due to the great development of communication technology and cable TV system, media commercial market in Taiwan became more and more competitive. Now marketing staff usually adopt “Product Placement Strategy” to combine merchandise and TV opera. They want to create more and various opportunities to expose the products and brands in the shows. This research used the way of depth interview with 11 persons who have full working experiences on three dimensions: the production of TV drama, media agent and client, then concluded the opinions from these professional people. Via the view of pre-production specialists for product placement marketing field, this research analyzes and induces the way to operate a successful marketing campaign by using product placement strategy in Taiwan TV serials. The purpose of this research is providing positive suggestions to enhance the performance of placement marketing.

Since World War II, the U.S. and China have gradually developed links, especially in economic areas. The world is witnessing the two economies intertwine, and it would seem that these two nations might potentially also cooperate and collaborate in social areas as well. Accordingly, it seems desirable to determine the degree to which cross-cultural communication between these two nation-states is feasible and effective. To make this comparison, television—now almost a universal medium of communication—is employed to explore the similarities and differences between the United States and China. In terms of the United States, American Idol is a popular television show which began airing in 2002. Likewise, Super Girl was a popular Chinese television show that was broadcast for three seasons, from 2004 to 2006. Both American Idol and Super Girl are singing talent television shows. The winners of these two shows receive contracts from the national major record companies and can become top popular singers and super stars. This fantasy has attracted thousands of young singers to participate in the contests every year. This study analyzes these two similar television shows, giving full recognition to the extremely diverse cultures in which they exist. Because of the differences between American and Chinese cultures, an eclectic approach would seem initially appropriate. The eclectic approach includes a combination of four research methods: content analysis; analog criticism; cross-cultural criticism; and fantasy theme analysis. The hypothesis of this study is that the same type fantasy generates different meanings and results in these two distinct cultures. / Department of Telecommunications