The thesis mainly studies social-historical co(n)texts to understand the polemic in Revelation against the so-called ‘Jews’ and a self-professed prophetess named ‘Jezebel’ (Rev 2-3). The enquiry centres on two areas: (1) the underlying issues to the polemic against the abovenamed contenders, and (2) a reading of a polemical technique in the text against prophetess ‘Jezebel’ through a specific web of associations involving two ‘Jezebels’ and a great harlot. Preliminary studies provide the framework for the main enquiry. ‘Historical anchorage’ is attained in the echoes/allusions of the beast from the sea-abyss to emperor Titus (Ch. 2) and the ‘Satanic trio’ and their cult (Rev 13) to the Flavian dynasty and cult (Ch. 3). A real crisis for Christians is seen late in Domitian’s time involving pressure from the Flavian provincial temple, widespread false accusations of άθεότηζ άσέβεια or maiestas and pressures from Domitian’s rigorous exaction of the Jewish tax. These matters are seen to implicate both Jewish and Gentile Christians (Ch. 4). The figure of the beasts, the social pressure from the imperial cult, and the vulnerability of Christians reflected in these preliminary studies contribute to a fuller understanding of the anti-Judaistic polemic. There are reasons to think that the anti-Judaistic polemic in Rev 2:9-10 and 3:9 is not aimed at the Jewish community per se, but acts to discourage Christians from feigning affiliation with the synagogue to escape social pressure from the imperial cult. There is a growing importance of the imperial cult towards the end of the first century C.E. in Asia Minor, and a judaizing tendency among some Christians there late first century and beyond. Importantly, Rev 14:9- 11 reflects the author’s major concern about (1) participation in the imperial cult and (2) Christian ‘judaizing’ behaviour (the mark of beast as tefillin worn by outsiders to Rabbinic Judaism). Under the author’s creative hand, the beast from the land/false prophet becomes the ‘Satanic’ source of pressure to these two aspects (cf. 13:11-17; Ch. 5). The second major part demonstrates a polemical technique in the text that binds the prophetess ‘Jezebel’ with an OT Queen and the Great Harlot (Rev 17-18). Social meals with drinking parties in guilds/associations and the imperial cult could have been a common context for allurements to sexual immorality and eating idol-food that ‘Jezebel’ advocates. I construct a picture of the prophetess ‘Jezebel’, who perhaps doubles as a patroness of a trade guild incorporating members from the Thyatiran church. Pagan ‘mysteries’ could have been a part of her activities (Ch. 6). I also examine the Great Harlot within the Graeco-Roman context giving attention to her depiction as tyrannical and sexually immoral queens and assimilated goddesses, such as Isis, Cybele, Aphrodite and Roma (Ch. 7). The OT Queen Jezebel is also studied within her social-historical context. She is seen to take on the image of the ‘woman at the window’ (2 Kgs 9:30), reflective of goddess Astarte or her temple servant. Her role as the ‘הבׂבג’ (great lady; 2 Kgs 10:13) and queen mother also fits that of another goddess, Asherah, whose prophets she hosts (Ch. 8). The destruction of Queen Jezebel and that of the Great Harlot contain a polemic against pagan deities they both embody. The prophetess veering into pagan grounds of idolatry is bound tightly with them and is indirectly castigated for her syncretistic practices (Ch. 9). Overall, the author’s polemic in Revelation acts to deter Christians from veering into the grounds of ‘Satan’—the imperial cult and the synagogue (as the author puts it)—and against behaviours, such as sexual license and eating food offered to idols, that would allow Christians to easily enter contexts involving pagan worship.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-05T12:39:45Z No. of bitstreams: 1 Beatriz Yumi Aoki.pdf: 16580883 bytes, checksum: 04c34bef3b0d6c35d20ab6ebfb96ef60 (MD5) / Made available in DSpace on 2018-07-05T12:39:45Z (GMT). No. of bitstreams: 1 Beatriz Yumi Aoki.pdf: 16580883 bytes, checksum: 04c34bef3b0d6c35d20ab6ebfb96ef60 (MD5) Previous issue date: 2018-04-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The theme of research is the virtual idol Hatsune Miku and her collective construction from the practices of her fans, who are responsible for most part of the production of related content (such as songs and images). This research aims to understand how the virtual idol in the Japanese pop scenario highlights the relation of the Japanese otaku to fantasy, having as our main hypothesis that, for the fan, fantasy is a form of reality and the notion of authorship is shared, suggesting an indistinction between creation, production and circulation. The methodology is based on the conceptual analysis of the constructive processes of the virtual idol, based on a literature review that describes otaku culture; on the studies of the fancelebrity relationship in the specific Japanese context and on the documentary research and analysis of the content produced concerning the object of this study. In this sense, the dissertation is structured in two main chapters: the first one analyzes the Japanese otaku culture and the context in which it is constituted, based on authors such as Barral (2000), Azuma (2009), Iwabuchi (2002), Kinsella (1998), Ōtsuka (2010), Condry (2013) and Robertson (1998); while the second aims to reflect on the constitution of the virtual idol and its forms of relationship with Japanese fans, mainly based on Conner (2016), Black (2012), Sone (2017) and Kinsella (1995). As a result, this research is expected to contribute on discussions concerning otaku culture and its understanding of fantasy, specifically in the Japanese context / O tema desta dissertação de mestrado é a ídolo virtual Hatsune Miku e a sua constituição coletiva a partir das práticas de seus fãs, responsáveis por grande parte da produção de seu conteúdo (como músicas e imagens). A pesquisa busca compreender como o ídolo virtual no cenário pop do Japão evidencia a relação do otaku japonês com a fantasia, tendo como hipótese principal que, para o fã, a fantasia é uma forma de realidade e a noção de autoria é compartilhada, sugerindo uma indistinção entre criação, produção e circulação. A metodologia baseia-se na análise conceitual dos processos construtivos do ídolo virtual, a partir da revisão bibliográfica que descreve a cultura otaku; nos estudos da relação fãcelebridade no âmbito específico japonês e na pesquisa documental e análise dos conteúdos produzidos em torno de nosso objeto de estudo. Nesse sentido, a dissertação estrutura-se em dois capítulos principais: o primeiro analisa a cultura otaku japonesa e o contexto no qual ela se constitui, tendo como fundamentação teórica autores como Barral (2000), Azuma (2009), Iwabuchi (2002), Kinsella (1998), Ōtsuka (2010), Condry (2013) e Robertson (1998); enquanto o segundo se propõe a refletir sobre a constituição do ídolo virtual e suas formas de relação com os fãs japoneses, a partir de Conner (2016), Black (2012), Sone (2017) e Kinsella (1995). Como resultado, espera-se que a pesquisa contribua nas discussões acerca da cultura otaku e de seu entendimento de fantasia, especificamente no contexto japonês

La figure de la chanteuse populaire reflète au Japon la réalité de la condition féminine dans ce pays. Alors que l'archipel a traversé, à l’instar de la France ou des États-Unis, une période marquante des mouvements féministes, qui généra une timide amélioration de la place des femmes dans la société, la majorité des Japonaises est toujours aux prises avec une norme sociale qui leur demeure ingrate et défavorable : selon le rapport du « Forum économique mondial sur les disparités entre les sexes » publié en 2017, le Japon se situerait en terme d'égalité des sexes au 114e rang sur 144 pays. Derrière cette réalité, c'est avec une notion du genre hypernormée et bien ancrée dans la société que les Japonaises sont contraintes de composer, quel que soit leur milieu d'origine. Dans le monde de la musique populaire japonaise, cette norme sociale régissant les représentations féminines se répercute sur la posture de bien des chanteuses, soit dans l'immaturité naïve renvoyant à la vulnérabilité, soit dans une certaine magnanimité fondée sur la maternité, ces deux attitudes n'étant pas nécessairement incompatibles. Là où nombre de leurs homologues d’autres styles musicaux intériorisent ce carcan social, certaines idoles féminines se montrent particulièrement représentatives de ce phénomène.Depuis le 11 mars 2011, la société nipponne a vu grossir les rangs de ses artistes opposés au nucléaire, non sans alimenter la réflexion sur les rapports entre musique et politique de celles et ceux qui s’interrogent sur les postures engagées des musiciens. Il est cependant à souligner qu'en la matière, les artistes de sexe féminin attirent nettement moins l’attention publique. Malgré une large participation des femmes aux mouvements antinucléaires depuis la catastrophe de Fukushima, les chanteuses et musiciennes engagées semblent souvent être reléguées à un moindre rang par rapport à leurs confrères masculins. Cette méconnaissance de l’engagement des musiciennes et cette rupture entre la société civile et le monde musical populaire s’expliquent par — tout autant qu'ils sont liés à — la condition des femmes dans une société obstinément patriarcale. Si un tel état de choses ne soulève pas, du moins à l’heure actuelle, une opposition radicale chez les artistes, il se développe toutefois chez elles des stratégies, des arrangements qui leur assurent une place, une visibilité aux yeux de la société.Notre étude examine la situation contemporaine des artistes femmes et leur posture en tant que musiciennes engagées à travers l’analyse de leur expression artistique, en lien direct avec le contexte social et sociétal où celle-ci s'inscrit. Le cadre temporel choisi s'étend des années 1970, lorsque surgissent au Japon les mouvements de libération des femmes, à nos jours — et plus précisément à la période post-Fukushima, qui voit la participation des femmes aux mouvements sociaux du pays se faire plus saillante. Le cœur de nos recherches portera plus particulièrement sur la caractérisation des musiciennes engagées et de leurs postures dans le Japon des années 1990 à ce jour, révélant la possibilité pour les femmes japonaises, désormais, d'une pluralité de positionnement selon leur milieu social et économique d'appartenance. / The figure of the Japanese pop singer reflects the reality of women’s status in Japan. Although Japan went through a crucial feminist movement, like France or the United States, which resulted in a slight improvement in women’s situation in society, the majority of women are still struggling with social norms that remain unrewarding and unfavorable to them. According to the Global Gender Gap Report the World Economic Forum published in 2017, Japan ranks 114th out of 144 countries in terms of gender equality. In this reality, one may notice that Japanese women, whatever their social milieu, are forced to comply with the notion of hyper-normed gender that is anchored in society. In the sphere of Japanese popular music, this social norm dominating female representation has repercussions for many female singers’ positions, either in naive immaturity relating to vulnerability or in a certain magnanimity based on motherhood, two notions not necessarily incongruent. Certain female idols are particularly representative of this phenomenon, whereas their counterparts in other musical styles internalize this social straitjacket. Since March 11, 2011, artists against nuclear increase in Japanese society have fueled reflection on the relationship between music and politics by those who question the postures of politically committed musicians. It should be pointed out, though, that female artists attract quite a bit less public attention than their male counterparts. Although women significantly participate in movements against nuclear programs since the Fukushima disaster, committed female singers and musicians often seem to be relegated to a lower rank than their male colleagues. This ignorance of female musicians’ commitment and the breaking-off between civil society and the popular musical scene can be explained by—as much as it is linked to—the condition of women in a stubbornly patriarchal society. If such a state of affairs does not, in the present time, raise radical opposition among artists, it nevertheless develops in them strategies and arrangements that ensure them a place and visibility in society.Our study examines the contemporary situation of female artists and their positions as committed musicians, by analyzing their artistic expression and considering the social and societal contexts in which they are implicated. The time frame ranges from the 1970s, when women's liberation movements emerged in Japan, to today—and more specifically to the post-Fukushima period, when women's participation in the country's social movements became more prominent. The core of our research focuses particularly on the characterization of committed female musicians and their postures in Japan from the 1990s to the present, revealing the possibility for Japanese women to have positioning plurality based on their social and economic backgrounds.

<p>Syftet med denna uppsats är att försöka få en inblick i om och hur religionen bidragit till Carolas enorma framgång och hur stor betydelse religionen i detta fall har. Jag vill försöka se om det finns några kopplingar mellan framgång och framgångsteologi. Om en stark religiös tro kan bidra positivt till att man blir en övervinnare på alla områden.</p><p>Följande frågeställningar har fungerat som utgångspunkt för denna uppsats:</p><p>• Vem är detta ”fenomen”, hur ser hennes andliga liv ut?</p><p>• Är Carolas tro ett återkommande tema i karriären? Finns det några särskilda händelser genom åren som särskilt haft att göra med hennes tro?</p><p>• Hur kan man se på idolen/förebilden Carola?</p><p>• Vad kan det finnas för samband mellan stark tro och stor framgång? Finns det kopplingar mellan framgångsteologi och framgång?</p><p>En sak går att konstatera. Att från ha varit en liten flicka med stark barnatro har Carola Häggkvist kommit att bli en stor stjärna. Med eller utan Guds hjälp så har hon på något vis lyckats slå sig fram i den tuffa artistbranschen. Precis som titeln på låten hon tävlade med i Aten, ”Invincible”, oövervinnelig, för hon med sig ett budskap om att hon är just detta, i det mesta hon tar sig för. Hon verkar ha en stark drivkraft och, som jag personligen tror, måste den ha med hennes religiositet att göra. Hon verkar drivas av tanken att hon ska bli en övervinnare och detta har bidragit till hennes enorma framgångar. Det går inte att bestämma just vad som orsakat hennes framgång, kanske är det en blandning av stor talang, envishet, hoppfullhet och Guds hjälp. Det kan nog ingen annan än Carola svara på, om ens det, och tyvärr hade jag ingen möjlighet att intervjua henne. Men tro och framgång i Carolas fall hör nog väldigt väl samman. Enligt mig och det jag kommit fram till i uppsatsen finns det nästan något övernaturligt och oförklarligt som driver henne framåt. Detta är ju naturligtvis en tolkningsfråga, i denna fråga finns det nog inga rätt eller fel.</p><p>Men i frågan huruvida tro kan ha betydelse i jakten till framgång vill jag våga påstå att den kan ha väldigt stor betydelse, eftersom tron gör oss till de människor vi är.</p>

Syftet med denna uppsats är att försöka få en inblick i om och hur religionen bidragit till Carolas enorma framgång och hur stor betydelse religionen i detta fall har. Jag vill försöka se om det finns några kopplingar mellan framgång och framgångsteologi. Om en stark religiös tro kan bidra positivt till att man blir en övervinnare på alla områden. Följande frågeställningar har fungerat som utgångspunkt för denna uppsats: • Vem är detta ”fenomen”, hur ser hennes andliga liv ut? • Är Carolas tro ett återkommande tema i karriären? Finns det några särskilda händelser genom åren som särskilt haft att göra med hennes tro? • Hur kan man se på idolen/förebilden Carola? • Vad kan det finnas för samband mellan stark tro och stor framgång? Finns det kopplingar mellan framgångsteologi och framgång? En sak går att konstatera. Att från ha varit en liten flicka med stark barnatro har Carola Häggkvist kommit att bli en stor stjärna. Med eller utan Guds hjälp så har hon på något vis lyckats slå sig fram i den tuffa artistbranschen. Precis som titeln på låten hon tävlade med i Aten, ”Invincible”, oövervinnelig, för hon med sig ett budskap om att hon är just detta, i det mesta hon tar sig för. Hon verkar ha en stark drivkraft och, som jag personligen tror, måste den ha med hennes religiositet att göra. Hon verkar drivas av tanken att hon ska bli en övervinnare och detta har bidragit till hennes enorma framgångar. Det går inte att bestämma just vad som orsakat hennes framgång, kanske är det en blandning av stor talang, envishet, hoppfullhet och Guds hjälp. Det kan nog ingen annan än Carola svara på, om ens det, och tyvärr hade jag ingen möjlighet att intervjua henne. Men tro och framgång i Carolas fall hör nog väldigt väl samman. Enligt mig och det jag kommit fram till i uppsatsen finns det nästan något övernaturligt och oförklarligt som driver henne framåt. Detta är ju naturligtvis en tolkningsfråga, i denna fråga finns det nog inga rätt eller fel. Men i frågan huruvida tro kan ha betydelse i jakten till framgång vill jag våga påstå att den kan ha väldigt stor betydelse, eftersom tron gör oss till de människor vi är.

研究者曾擔任Channel [V] 選秀節目《模范棒棒堂》第一屆模范棒棒堂男孩，看到六位默默無名的平凡男孩，成為台灣新生代最具代表的男子偶像團體《棒棒堂》，他們充份運用節目對個人及團體形象塑造，在Channel [V]整體頻道資源協助下，與唱片公司、雜誌社、廣告商合作，成功整合行銷資源，塑造出獨具特色的偶像團體。 本研究透過個案研究法，藉由深度訪談，分析將整合行銷傳播應用於選秀節目《模范棒棒堂》中，形塑偶像團體《棒棒堂》，並配合節目樣本抽樣進行內容分析，佐證深度訪談的內容，增加可信度。 本研究根據研究發現，發展出以「目標市場及定位區隔」、「內部及外部溝通策略」、「傳播工具的整合」、「溝通訊息的整合、與其他企業利益關係人合作，並對外溝通訊息的整合」、「創造的綜效」等五個基本構面為主軸的偶像團體《棒棒堂》整合行銷策略模式。 / The famous boys group “Lollipop” raised from the television program Bang Bang Tang of Chanel [V] has become noted in these years. The Integrated Marketing Communication of the program successfully integrated the resources of Channel [V] such as record company, magazine publication, and advertising company to promote the unique brand image of Lollipop. The researcher of this paper was one of the members of the Bang Bang Tang program and participated in the growth of the Lollipop. The action research and case study for the “Lollipop” are provided with in-depth interviewing the direct and staffs of the Bang Bang Tang. To improve the reliability, the quantitative information such as Nielsen rating is provided to evidence the effectiveness of the cases. The findings for the success of Lollipop can be concluded with the synergy of the following strategies: the target market and market segmentation, the inside and outside communicative strategy, the Integration of communicative tools, the Integration of communicative message, the cooperation of other company and the Integration of inside and outside communicative message.

La clinique de l'enfant en situation de handicap est une clinique très complexe. Les défenses psychiques mises en place par les familles et plus particulièrement par les mères pour faire face à la souffrance engendrée par le handicap rendent les relations transférentielles très difficiles à mettre en place. Les principales observations mettent en évidence des faits cliniques qui apparaissent avec une certaine fréquence dans la plupart des familles : omniprésence de la mère autour de la prise en charge de l'enfant et disparition du père symbolique du dispositif familial. L'absence de tiers paternel quiest sensé symboliser la métaphore oedipienne, entraîne une attitude de la mère ambivalente à la suite de laquelle l'enfant devient une sorte d'objet de jouissance à l'instar du fétiche pour le pervers. Sans altérité, sans tiers, faire le deuil du diagnostic devient bien souvent impossible et cela entraîne souvent un déni du handicap accompagné de l'apparition d'un discours teinté de persécution et d'une rivalité entre les différentes personnes qui gravitent autour de l'enfant et les mères. À l'instar de l'enfant unique qui, à la naissance d'un petit frère, peut régresser psycho-affectivement (ex : il était propre, il redevient sale) la mère à la suite du traumatisme engendré par l'annonce du handicap subirait une régression psychique causée par l’effondrement de l’idéal que l'enfant en situation handicap mental produit chez la mère. Cette thèse veut démontrer que ces attitudes sont, selon nous, le fruit d'un bouleversement principalement surmoïque. Nous avons voulu aborder cette thèse sous l'angle du Surmoi car nous pensons qu'aucune clinique comme celle de l'enfant en situation de handicap ne nous confronte autant à cette notion de critique, censure et jugement pour départager le normal du pathologique.Nous avons émis l’hypothèse que suite à l'annonce du handicap, la mère normalement pacifiée par le Surmoi paternel oedipien (le Surmoi Freudien), basculerait dans un positionnement surmoïque pré-oedipien (le Surmoi Lacanien etKleinien). À travers une étude du concept de Surmoi et la mise en lien avec le féminin nous nous proposons, par le biais de cette thèse, de faire des liens entre la clinique et la théorie. Plusieurs vignettes cliniques viendront étayer nos propos et in fine, nous décrirons notre démarche clinique thérapeutique qui vise à la ré-introduction du tiers paternel symbolique et de permettre à la mère de faire le chemin inverse. / The clinical experience concerning the mentally handicapped child is a very complex one. The defences that the families, and in particular the mothers, set up in order to cope with the suffering created by the handicap make the transferential relationships really hard to establish. The principal observations highlight clinical facts that appear with a certain frequency in most of the families: the omnipresence of the mother concerning the child’s care and the symbolic father’s disappearance in the family system. The lack of the paternal third-party, who is supposed to symbolize the oedipal metaphor, generates an ambivalent attitude of the mother which leads to a situation where the child becomes an enjoyment object such as the idol for the pervert. Without otherness, without a third-party, dealing with the diagnosis is frequently impossible and leads to a denial of the handicap along with a speech tinged with persecution and rivalry between the different persons being part of the child’s and the mother’s environment. Like the only child who, on the occasion of a baby brother’s birth, can psycho-affectively regress (i.e.: he was house-trained until the baby brother’s was born), the mother, subsequently to the trauma created by the announcement of the diagnosis, would know a psychic regression caused by the collapse of the ideal, collapse which is induced by giving birth to a handicapped child. This thesis intends to demonstrate that these attitudes are, according to us, the result of a mostly superego’s distress. The approach we chose for this work is the superego’s perspective because we believe that there is no clinical experience that better illustrates this notion of criticism, censorship and judgment to decide between normal and pathologic than the one of the handicapped child.We assumed hypothetically that after the announcement of the handicap, the mother, normally pacified by the oedipal paternal superego (the superego as it was conceived by S. Freud), would all of a sudden find herself in a pre-oedipal superego’s position (the superego as it was conceived by J. Lacan and M. Klein). Through a conceptual study of the superego and the interlinking with the feminine, we suggest, by means of this thesis, to connect the clinical experience and the theory. Several clinical case vignettes will support our assumptions and, in fine, we will describe our therapeutic clinical approach which aims at re-introducing the symbolic paternal third-party and help the mother take the reverse course.

The diploma thesis deals with a comparative analysis of two singing competitions, Zpívá celá rodina and Česko hledá Superstar. The comparison is based on the analysis of the shows Zpívá celá rodina and Česko hledá Superstar. Since the analysed television singing competitions were broadcast in different eras, significant differences between the two television shows can be observed. The theoretical part deals with television entertainment, the definition of television singing contest formats, as well as the description of media audiences and television fans. The thesis includes a brief description of the TV music shows and singing competitions that were available on the domestic market. The following comparative analysis is based on comparing the two mentioned singing competitions. The thesis presents the findings that the different eras contributed significantly to the form of the television singing competitions and also had a considerable influence on the preferences of the television audience. The thesis also provides a rationale as to why the the above mentioned shows were so popular with television audiences and whether the concept of Zpívá celá rodina could still be successful today. This justification is supported by comments by music experts and personal experience of participating in the...

台灣偶像劇自2001年開始發展至今，已經成為台灣電視劇的主流，在面對高度競爭的收視市場，如何能吸引觀眾收視，行銷是重要的。而在傳播行銷過程中，如何能引起媒體報導加以宣傳、如何能有效使用行銷工具、整合行銷偶像劇，「話題」是重要的。 話題行銷就是將偶像劇產品一致性的訊息設定，建構媒體有興趣報導的題目及內容，也就是媒體話題，透過媒體的報導宣傳，形成閱聽者有興趣的話題，再加以討論、流行、傳播，形成有效傳播產品訊息的行銷。 本研究是以「命中注定我愛你」偶像劇為例，由於「命中注定我愛你」偶像劇創下了台灣偶像劇歷史的最高收視紀錄，分段收視高達13.64%；另一方面本劇亦獲得民國97年度廣播電視金鐘獎的「年度電視節目行銷獎」，本劇在播出期間引起平面媒體爭相報導，共計超過二百篇平面報導、網路熱烈討論，話題熱度高到平均天天平面媒體均加以報導，本劇在台灣偶像劇發展史中，的確具有指標性意義，故以「命中注定我愛你」偶像劇為研究個案。 本研究分別從話題行銷的「策略面」、「戰略面」、「執行面」加以分析，並且從「大眾傳媒通路」及「行銷工具通路」兩個面向，即傳媒通路應用的「報紙」、「電視」、「網路」、「雜誌」及行銷工具中的「活動」、「廣告」、「公關」、「DM」中，執行整合行銷傳播的應用研究， 在話題行銷的「策略面」及「戰略面」分析中是以「傳播模式」及「整合行銷傳播」加以研究，在話題行銷的「執行面」研究，是透過本劇的行銷團隊、產製劇組、媒體記者的實際訪談及相關資料加以整理分析，匯整訪談重點及行銷資料，找到「話題行銷」於「命中注定我愛你」偶像劇行銷的研究發現及結論。 / Since year 2001, Taiwanese idol drama has become the main trend of Taiwanese TV drama show. Marketing is very important in how to attract the audience in a highly competitive TV rating market. However, within the process of media marketing, the “talking point” is very significant because it is how we catch the media’s attention, has them advertise for us and how we can use the marketing implements effectively, and unifies the marketing strategies for the idol drama. “Hot topic marketing” is to set up a certain type of message that makes the peripheral products of the idol drama has its consistency. In this way, it constructs the topic and context that the media is interested. Through media’s reports and advertising, the topic becomes an interesting issue among the audience. When the audience talk about it, it become more popular so it is spread out and the marketing of product selling become even more effective. This research uses the idol drama “Fated to love you’ as an example as a case study. The drama show “Fated to love you” created the highest TV rating record among the Taiwanese idol drama records ever, and the sectional rating was high up to 13.64 ％. Besides, the script also won the prize of “Yearly Best Marketing TV program” in Golden Bell Awards in year 2008. During the broadcasting time, it attracted so many print media to rival for priority to report news about the show. There were over 200 written reports writing about this drama show, and it is also been discussed through the interest ardently. The popularity was so high at the time that print media almost have reports about the show daily. Therefore, the idol drama show “Fated to love you” is very indicative in the development of Taiwanese idol drama show. This research will talk about the “maneuver aspect’, “strategic aspect”, and the “executive aspect” of hot topic marketing and using them to analyze the drama show. Also, through the dimension of using “Mass Media approach” such as newspapers, television, internet, and magazines；“Marketing implements approach” such as propaganda activities, advertisement, relations, and flyers, we can execute the applied research study on integrated marketing dissemination. Within the analysis on the aspect of “maneuver” and “strategy” on buzz marketing, I put emphasis on “Communication Model system” and “Integrated Marketing Communication in particular. I found some discoveries and conclusion on hot topic marketing within the drama show “Fated to love you” through analyzing our marketing team, production group, reporters actual interviews and other related data.

Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children's animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood's dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production. While TV formats like Survivor, Millionaire, Big Brother and American Idol have become profitable and powerful franchises globally, in East Asia, the size of TV format trade is actually eclipsed by the regional trade in East Asian popular cultural commodities from martial arts novels and films, manga and romantic fiction, to popular music. These commodities have become the source of remaking local television culture into tradable cultures as local TV programmes use formatting practices to circulate within their region. The many faces of formatting in television are explored through four case studies - from Hong Kong (TVB's Heaven Sword and Dragon Sabre), Singapore (Robert Chua Productions' Everyone Wins, Peach Blossom Media's Tomato Twins) and Taipei (Comic Ritz Production's Meteor Garden). Conceptualised as Asian media productions, these TV programmes are sites for examining individual agency, the network flows of popular culture and structural changes of their respective broadcasting fields. This thesis argues that TV formatting practices can become a currency for neo-networked media producers to create a medium of cultural exchange that sets up the possibility for a common market for cultural trade in East Asia. However, the ease with which TV formatting practices and re-sale of TV programmes are copied lower barriers for competition and often this tends toward over production. Over-exposure kills many new genres of production and discourages investment in the research and development component of creating TV formats for trade. Change in East Asian television industries is also aided by media conglomeration, global access through satellite TV, the Internet and increasingly digital entertainment, media de-regulation and pro-development policies. A number of factors and conditions that accompany the rise of TV formatting in East Asia (such as the role of independents vis-a-vis big local players, the emergence of copyright issues and marketing celebrities) contribute to the innovations that result from adapting formatting practices to local contexts, and suggest how each city's television industry attempts to address the rise of tradable cultural commodities that are increasingly made for pan-Asian consumption.