In the project Finding a way home, through storytelling, David Lindberg has investigated how storytelling can affect his musical expression. The question focused on a very concrete application of storytelling in improvisation but changed relatively quickly to focus on putting his musical and personal history into focus for the first time in his musical life. Through this changed focus, he could combine this thesis with a first interrupted attempt to do the bachelor thesis at KMH seven years earlier. Lindberg refers to  lessons he learned outside the context of KMH in the years between his studies, and reflects on how his musicality has changed and developed through widely differing contexts in which he worked; from entertainment music to pop, rock and jazz, and how storytelling became an important component in defining his musical identity and the experience of having a musical home. The thesis also comment topics such as self-esteem in relation to achievement, and how one’s own music can be overlooked in working with the ambition to please others in diverse contexts, both in education and working life. Musical presentation took place through a concert in the Nathan Milstein Hall and is available to listen to here. The song material consisted solely of Lindberg’s own compositions, and the sheet music is included as an appendix.

Esta tesis parte del estudio de los veinticuatro afiches que el artista peruano Jesús Ruiz Durand (Huancavelica, 1940) (Huancavelica, 1940) diseñó entre los años 1969 y 1971 en la Dirección de Promoción y Difusión de la Reforma Agraria, DPDRA, organismo oficial creado por el gobierno militar de Juan Velasco Alvarado (1968-1975), cuya función principal era la de comunicar y difundir las acciones gubernamentales relacionadas con la reforma agraria que expropió las tierras a sus dueños y las repartió entre los campesinos peruanos bajo la consigna “¡Campesino, el patrón ya no comerá más tu pobreza!”. La investigación propone que la categoría estético-ideológica del pop achorado, establecida por el mismo Ruiz Durand en 1984 al referirse a sus afiches, y adoptada por la historiografía del arte peruana como un axioma, es parcial y da una percepción equívoca de la trascendencia de estos objetos. Por un lado, la tesis formula que hemos estudiado y pensado los afiches como un todo, cuando en realidad no lo son. Nuestra propuesta señala que esta lectura es incompleta dado que en total existen subconjuntos, muy precisos, que no necesariamente dialogan con la descripción de pop achorado. Es decir, no todos se resuelven a partir de la estética del pop art y, por el lado ideológico, tampoco todos representan al indio peruano achorado como sinónimo de desafío e insolencia. En el primer capítulo de esta investigación se propone una nueva clasificación para el conjunto de los afiches. Esta categorización asume que solo uno de los subconjuntos presentados se relaciona parcialmente con la categoría pop achorado, mientras el resto de ellos se configura a partir de otras resoluciones artísticas y temáticas. En esta nueva clasificación, aquí propuesta, se prioriza los ejes estéticos, sin que ello suponga descuidar los temáticos. Así, por ejemplo, los dos afiches relacionados con la figura de Túpac Amaru se integran conceptualmente a partir de la búsqueda de un ícono revolucionario, pero también lo hacen a partir de su resolución óptica matemática. El segundo capítulo plantea, sobre la base de esta nueva clasificación, algunos nuevos planteamientos de análisis para los afiches. Estas propuestas priorizan aspectos aparentemente técnicos como la fotografía, el diseño gráfico y el cómic. La investigación expone, a partir de estas nuevas categorías de análisis, nuevos trazados para futuras y distintas aproximaciones estéticas sobre estos nuevos tres trazados. Finalmente, el último capítulo cuestiona la eficacia de estos afiches en el plano de la recepción hacia los campesinos peruanos. La tesis en su conjunto también plantea que si bien su acercamiento oficial los validó en términos artísticos, este mismo acercamiento los convirtió, con el paso del tiempo, ya no en afiches sino en fetiches descontextualizados. La pregunta que subyace es ¿Cómo y cuándo así estos afiches dejaron de ser dispositivos de propaganda política para convertirse en obras de arte para coleccionistas y museos? Una primera respuesta tiene que ver justamente con el cliché no cuestionado de una categoría que los uniformizó como una mercancía, pero también con el fracaso del gobierno velasquista que devino en una crisis institucional en el que triunfó un modelo político y económico excluyente, encargado de construir, muchas veces a partir de mitos, la historia oficial. En suma, esta investigación propone que los afiches que el artista peruano Jesús Ruiz Durand diseñó para la reforma agraria han sobrevivido no solo porque “gustaron”, como muchos ahora repiten, sino porque justamente fueron pensados, desde el comienzo, para una reducida institución artística y política, asegurando así su perpetuidad pero a la vez descuidando así paradójicamente al otro para quienes estaban pensados, es decir, a aquel campesino peruano, aparentemente develado como actuante principal del mensaje, que luego de casi cincuenta años, a diferencia de los afiches, sigue olvidado. / Tesis

Este trabalho apresenta uma reflexão antropológica a acerca da prática musical do pop sul coreano (Kpop) em São Paulo. Na etnografia que se apresenta, descrevo e analiso como vídeos e coreografias Kpop afetam os fãs do gênero musical, construindo relações sociais no seu entorno. Apresento, para tanto, primeiro, como o Kpop é visto e ouvido por fãs em São Paulo, dando especial atenção ao videoclipe, que compartilhando características visuais e sonoras únicas, é capaz de gerar nos espectadores reações próprias ao gênero musical. Mostro ainda que esses videoclipes, junto a outras mídias que circulam na internet sobre os artistas sul coreanos, são parte da pessoalidade desses artistas e mediadores de sua capacidade de afetar pessoas. É na cena Kpop de São Paulo que esses vínculos entre fãs e artistas sul coreanos se desdobram, produzindo novas relações entre pessoas, artefatos e lugares. Por fim, apresento uma etnografia da dança cover de Kpop, mostrando como esses fãs constroem em seu próprio corpo essa capacidade de agência apreendida dos ídolos Kpop. Considerando essas diferentes facetas da prática musical estudada, reflito neste trabalho sobre os modos de produzir relações sociais por meio de práticas musicais. / This research presents an anthropological reflection about Korean pop (Kpop) music practice in São Paulo. In this ethnography, I describe and analyze how music videos and choreographies affect fans of the genre, constructing social relations in its vicinity. Firstly, I present how Kpop is seen and heard by these fans in São Paulo, driving special attention on music videos. These medias share visual and sound characteristics that allow them to make Kpop fans react in a unique way. I also state that these music videos combined with other medias about South Korean artists that circulate on the internet are part of Kpop idols personhood that mediates their capacity to affect people who get in touch with them. It is in the Kpop musical scene in São Paulo that these affection ties between fans and artists take place and unfold. In the scene, new relations between persons, artefacts and places are produced. At the end, I present an ethnography of Kpop cover dance, paying attention to the way Kpop fans construct in their own body the capacity for agency apprehended from Kpop idols. Looking at different aspects of the Kpop music practice, this work reflects upon the production of social relations through music practices.

Esta investigação tem como objetivo central discutir aspectos da historiografia da música popular brasileira na segunda metade do século XX, por meio da trajetória de instituições públicas e privadas voltadas à preservação da memória e ao estímulo e defesa da música popular. O engajamento na luta contra sua descaracterização ganhou força à medida que crescia a penetração da cultura estrangeira através dos meios de comunicação. O processo de institucionalização da história da música teve início com a fundação do Museu da Imagem e do Som do Rio de Janeiro (MIS-RJ), em 1965, a partir da aquisição de um vasto arquivo organizado pelo radialista Almirante nas décadas anteriores. A partir do MIS-RJ, um grupo de especialistas no tema passou a se reunir sob a guarda de um órgão público para propor medidas de proteção e zelo com relação a memória musical. Em 1975, a Fundação Nacional de Artes (Funarte) iniciou seus trabalhos com objetivo de preservar e estimular o elemento nacional na cultura brasileira. Em seus quadros, foi criada a Divisão de Música Popular, responsável pela execução de programas de estímulo à memória da música, como o Projeto Pixinguinha e o Projeto Lúcio Rangel de Monografias. A Funarte também apoiou a criação da Associação dos Pesquisadores da MPB (APMPB), que teve papel relevante, durante a década de 70, ao reunir diversos estudiosos da música popular para refletir seus problemas e enviar proposições ao governo federal. Essa ampliação também foi realizada pela coleção História da Música Popular Brasileira, da Editora Abril, que se tornou importante referência no processo de consolidação da memória da música popular. Ao lançar fascículos que acompanhavam discos, críticas e biografias de nomes da música brasileira, a coletânea não só estimulou a música, mas também alimentou as bases de acervos dedicados ao tema. Ao refletir sobre a trajetória destas instituições, essa investigação busca compreender em sua dimensão histórica a construção de uma narrativa historiográfica que, alicerçada em instituições do Estado ou privadas, passou a ser lida como a história oficial da música popular brasileira. / The main objective of this research is the discussion of the historiography issues of Brazilia n popular music in the late 20th century, by means of the trajectory of public and private institutions focused on the memory preservation and on the stimulus and defense of popular music. The engagement in the struggle against its decharacterization gained strength as the foreign culture penetration grew through the media. The music history institutionalizing process began with the creation of the Museum of Image and Sound of Rio de Janeiro (MIS-RJ) in 1965, by the acquisition of a vast organized archive by the broadcaster Almirante in the previous decades. Since MIS-RJ, a group of experts in the theme started to meet under the protection of a public department which proposed protection actions and zeal in relation to the musica l memory. In 1975, the National Foundation of Arts (Funarte) began its works aiming to preserve and to stimulate the national element in the Brazilian culture. The Popular Music Division was created in the Funarte structure, responsible for the execution of music memory stimula t ion programs, as the Projeto Pixinguinha and the Projeto Lúcio Rangel de Monografias. Funarte also supported the creation of the MPB (Brazilian Popular Music) Researchers Association which had an important role at the 1970s, gathering several popular music experts to reflect their own problems and send proposals to the federal government. This expansion was also made by the collection História da Música Popular Brasileira, edited by Abril, which became reference in the popular music memory consolidation. Launching issues including discs, criticisms and biography of Brazilian music musicians, the collection not only stimulated the music, but also fed the basis of collections dedicated to the theme. Reflecting over this trajectory, this investigation aims to understand the construction of an historiographic narrative concerning its historical dimension that based in the private or state institutions started to be read as the official history of Brazilian popular music.

Purpose: To examine whether there is an interest in a public showroom for Swedish consumers and fashion e-retailers and how it could benefit them. Design/methodology/approach: Qualitative interviews with two Swedish fashion e-retailers were conducted in order to understand if there was an interest in a public showroom amongst the chosen companies. A survey with 200 participants was carried out with students from the Swedish School of Textiles, to get an understanding of their e-shopping behavior. Findings: It was found that there is an interest in implementing a public showroom. According to the survey results, a majority were in favor of trying on a product before purchasing it. The fashion e-retailers that were interviewed thought that it would be of interest if it would function more as a temporary pop-up solution. Practical implications: The findings are of relevance for fashion e-retailers that are potentially interested in an additional marketing and communication channel for their internal brands. Originality/value: As there was no research regarding Swedish fashion e-retailers attitude towards a public showroom, this thesis contributes with new findings to the academics. Furthermore, it can be used as a guideline to fashion e-retailers in the event of opening of a public showroom. / Program: Master Programme in Fashion Management

Avsikten med vår uppsats är att bringa förståelse kring hur modevarumärken använder sig av nytänkande marknadsföring vid förmedling av sitt budskap, med fokus på: sociala mediekanaler, varumärkesambassadörer och Pop up stores. Vår huvudfråga är; Hur använder sig modeföretag av innovativ marknadsföring för att kommunicera sitt varumärkesbudskap? Innovativ marknadsföring är vårt egna begrepp vilket vi definierar som marknadsaktiviteter med syfte att skapa uppmärksamhet kring ett varumärke med fokus på kreativitet och nytänkande snarare än med pengar. Den empiriska undersökningen består av intervjuer med respondenter från Jumperfabriken, Svenska Moderådet, Dragster Kommunikation och Hope. Vår teoretiska referensram berör teorier gällande varumärkets tre nivåer, märkets författare, deltagande och absorbering, dold marknadsföring, pullmarknadsföring samt diffusionsteorier. Varumärkets tre nivåer skildrar kärna, stil och tema. Där kärnan motsvarar varumärkets själ, stil beskrivs som den kultur varumärket gestaltar och tema handlar om hur detta kommuniceras till marknaden. Märkets författare kategoriseras som märkesinnehavare, konsumenter, populärkultur och andra viktiga intressenter. Samtliga aktörer är skapare av märkets mening. Kundens grad av deltagande samt typ av anknytning/relation till omgivningen kopplas i uppsatsen till olika typer av marknadsföringsaktiviteter. Kunden kan vara enbart mentalt närvarande, fysiskt närvarande eller bli medproducent till händelsen och på så sätt påverka resultatet. Dold marknadsföring är ett innovativt sätt att nå ut med sitt varumärkesbudskap genom mediebruset. Ett dolt marknadsföringsbudskap kan spridas fysiskt, verbalt eller virtuellt. Det nya sättet att kommunicera kallas pullmarknadsföring och innebär att information finns tillgänglig då konsumenten vill ta del av den. Diffusion innebär spridning i och genom sociala system. Diffusionsprocessen omfattar många människors beslut kring att anamma en nyhet. Ett varumärke måste även legitimeras för att bli erkänt och en välanvänd legitimeringsmetod är att visa upp sina plagg på välkända personer. Uppsatsen visar att företag inte använder sig av innovativ marknadsföring i rent försäljningssyfte. Det huvudsakliga användningsområdet är istället att förmedla budskap och frambringa associationer. Innovativ marknadsföring används också för att skapa en relation till varumärkets konsumenter, för att de i sin tur skall sprida budskapet vidare. Denna typ av marknadsföring kan i många fall ses som synonym till dold marknadsföring. De tre delarna fysiskt, verbalt samt virtuellt är centrala och bör kombineras. Även pullmarknadsföring kan knytas samman med innovativ marknadsföring, i avseende att konsumenter är vana vid att välja vilka budskap de vill ta del av. Den innovativa marknadsföringen är upplevelsebaserad och i takt med att konsumenters medvetenhet kring reklam ökar måste aktiviteterna ständigt förnyas. Sociala medier är ett självklart inslag i företags marknadsföring. Det innovativa ligger dock i aktiviteterna, snarare än i själva kanalerna. Dessa aktiviteter kräver en reaktion för att få spridning. Ambassadörer kan ha en stor påverkan i diffusionen av ett modevarumärke. Det är dock viktigt att varumärket noggrant tänker igenom sitt val av ambassadör för att undvika oönskade associationer. En annan viktig aspekt är att ambassadörskapet bör framhållas som ett samarbete för att undvika den negativa klangen i företagssponsring. I framtiden tror våra respondenter att ambassadörskapet kommer nå nya dimensioner genom innovativa samarbeten. Vi kan i och med detta dra slutsatsen att en ambassadör inte enbart behöver vara en känd person utan kan lika väl vara en plats varumärket vill associeras med. Genom att sätta upp en Pop up store kan varumärken nå ut till medvetna konsumenter och nya marknader. Butiken uppfattas ofta som slumpmässig, men är i själva verket en strategiskt planerad marknadsföringsaktivitet. Pop up stores och andra analoga aktiviteter är i dagsläget mer sällsynta än de innovativa marknadsföringsaktiviteter som sker på internet. Vi kan därav dra slutsatsen att Pop up stores och liknande aktiviteter är här för att stanna. / Program: Butikschef, textil och mode

This dissertation traces the tensions surrounding indie music production in Santiago, Chile and Sao Paulo, Brazil. I conducted several years of ethnographic research on locally situated, yet transnationally interpolated, musical production, circulation and listening practices in Santiago and Sao Paulo. I open by detailing the expansion of the indie touring market from the global north into both cities, theorizing the enlistment of affect as a neoliberal technique for producing monetary value. The next chapter considers spaces for musical association as forms of infrastructure that both emerge from and themselves help constitute musical-social networks in Santiago. I follow by showing how the history of Brazilian individuals' engagement with particular sets of indie sounds from the global north bear upon the contemporary formation of infrastructures of social relations, musical aesthetics, and places for musical and social association. Finally, I detail how the tensions between the construction of audience, value, aesthetics and circulation arising from new production structures manifest in the politics of a new type of Brazilian institution called Fora do Eixo. Here, I inspect the logics of aesthetic valuation in building structures for music production within a complex state-private nexus of cultural funding in Brazil. As a whole, this dissertation explores the political struggles emerging as actors seek to establish new structures for participating in live shows and for playing music as both a creative practice and as an economic activity within emerging forms of communication and cultural circulation made possible by digital media. Each struggle is simultaneously interpolated by the messy articulation of transnationally-produced notions of aesthetics, authentic modes of engagement with music, and moral-ethical ways of organizing music production, circulation and remuneration as a social practice. The dissertation thus highlights the way new media and economic logics build upon and clash with historical practices of production, evaluation of aesthetics, and regimes for mediating the artistic, the economic, and the social.

Cette thèse a pour objectif de questionner la présence de la figure napoléonienne, près de deux cents ans après la disparition de Napoléon Bonaparte (1769-1821), dans la production culturelle populaire francophone (littérature, bande dessinée, jeux vidéo, publicité) de la fin du XXe siècle et du début du XXIe siècle, sous l’angle de la mythocritique.Dans une démarche diachronique, sont préalablement évoquées les représentations de l’image napoléonienne aux XIXe et XXe siècles, à travers la littérature et la culture populaires (caricatures, chansons, images d’Épinal) afin de mettre en lumière la création du mythe de Napoléon et son évolution à travers les siècles. Nous avons fait le choix de suivre une approche synchronique, tout d'abord, en privilégiant l’étude comparée de romans francophones (uchronies, pastiches…) évoquant le personnage napoléonien. Notre corpus prend aussi en compte l’imagerie contemporaine, par le biais de divers exemples de bandes dessinées et de mangas japonais utilisant la figure de Napoléon Bonaparte, depuis les années 1969 (bicentenaire de sa naissance). Nous nous sommes donnés pour tâche d’illustrer et de documenter, le plus exhaustivement possible, cette présence du mythe afin de l’analyser et de pouvoir en dégager les mythèmes et motifs postmodernes qui la nourrissent.D’autres supports que la littérature populaire sont également convoqués car ils en constituent le vecteur : en effet, nous avons souhaité intégrer à nos travaux l’analyse de publicités ; l’image et la vidéo constituant indéniablement aujourd’hui, une des sources principales des représentations collectives et des mythes de la postmodernité. Dans le but de réaliser des recherches les plus exhaustives possibles, nous avons également souhaité, dans l’ultime chapitre de notre étude, interroger la présence (ou l’absence) de la figure napoléonienne dans les programmes de l’Éducation nationale ou encore les collections et expositions des musées. A travers l’étude approfondie de ce corpus, accompagnée d’un large panorama comprenant notamment l’analyse de la présence de la figure historique de Napoléon Bonaparte dans les jeux vidéo et sa représentation sur de nombreux sites internet, il a été question de mettre au jour les mythèmes-motifs-valeurs contemporains qui émergent aujourd’hui du personnage demeurant mythe, en France, deux cents ans après sa disparition. / The aim of this thesis is to question the presence of Napoleonic figure, nearly two hundred years after the death of Napoleon Bonaparte (1769-1821), in the popular and francophone cultural production (literature, comics, video games, advertising) of the late twentieth century and early twenty-first century, in terms of mythocritique.In a diachronic approach, are previously mentioned representations of Napoleonic image in the nineteenth and twentieth centuries through literature and popular culture (cartoons, songs, images of Epinal) to highlight the creation of the myth of Napoleon and its evolution through the centuries.In a synchronic approach through, first of all, by the comparative study of French novels (uchronies, pastiches...) evoking the figure of Napoleon and then, at the heart of contemporary imagery, through various examples of comics and Japanese manga using the figure of Napoleon Bonaparte, from the years 1969 (bicentenary of his birth), we set ourselves the task of illustrating and documenting as thoroughly as possible the presence of myth in order to analyze and identify the postmodern mythemes that nourish.We are interested not only by popular literature but also other materials which constitute the vector of myth : in fact, we wanted to integrate into our work the advertising analysis; image and video undeniably constitute today a major source of collective representations and myths of postmodernity.In order to make possible the most extensive research, we also wanted in the final chapter of our study, questioning the presence (or absence) of Napoleonic figure in national Education programs or museum collections and exhibitions.Through in-depth study of this corpus, along with a wide panorama including in particular the analysis of the presence of the historical figure of Napoleon Bonaparte in video games and its representation on many websites, the matter was to expose contemporary mythemes and values emerging of the character, which is a myth today, in France, two hundred years after his death.

Orientador: Renata Coelho Marchezan / Banca: Arnaldo Cortina / Banca: Ivã Carlos Lopes / Resumo: Esta dissertação visa compreender os sistemas de significação da mídia popular contemporânea. São destacados, como corpus, textos sincréticos produzidos pela indústria cultural norteamericana: Comic books (chamados de histórias em quadrinhos - HQs - no Brasil). Como a proposta é examinar textos que apresentam o plano de expressão verbal conjugado ao plano de expressão visual (textos sincréticos), o arcabouço teórico baseia-se na teoria Semiótica francesa proposta por A. J. Greimas, uma vez que ocorrem desenvolvimentos consideráveis nos estudos semióticos de textos visuais, realizados a partir da teoria greimasiana. Percebe-se que as HQs, em sua maioria, continham temas infantis e que hoje existem várias HQs direcionadas para o público adulto. Com o objetivo de entender a estrutura e o contexto de produção das HQs produzidas para adultos destaca-se a série Sandman (que é produzida para leitores adultos) para análise. As personagens da série são figurativizações de mitos da Antigüidade Clássica. A dissertação pretende estudar a estrutura narrativa e discursiva do texto, e também a figuratividade e as categorias semi-simbólicas e tensivas no plano de expressão visual. Será discutida a intertextualidade que há entre a série Sandman e a literatura. Este trabalho também tenciona entender como os mitos da Antigüidade, com toda sua carga de significados, são projetados em simulacros passionais e reconstruídos pela indústria cultural contemporânea. A respeito dos mitos, é possível formular uma configuração semântica de natureza patêmica que instaura uma nova mitologia e influi tanto no campo cognitivo quanto no campo afetivo do leitor / Abstract: This dissertation intends to comprehend the systems of signification of the contemporary cultural industry about the point of view of greimasian semiotic theory. The objects selected, as corpus, are the syncretic texts produced for the north-american cultural industry: Comic books. The propose is to examine texts that presents the verbal plan of expression united with the visual plan of expression (syncretic texts), the theory choosed are the French semiotic propose by A. J. Greimas, because the studies about visual texts, realized for the greimasian theory, are in great development. The comic books, in great part, are characterized by infantile themes, but, nowadays, there are many comic books produced for mature readers. With the objective of to understand the structure and the production context of the comic books produced by mature readers, this work detaches, as corpus, the Sandman series (produced for mature readers), to the analysis. The characters of the series are figurative creations of myths of Classical Antiquity. The dissertation intends to study the narrative and the discursive structure of the text, and also the figurativity and the semi-symbolic categories and the tensive semiotics concepts in the visual plan of expression. Will be discussed the intertextuality between the Sandman series and the literature. This work aims to understand how the ancient myths, with all their content of meanings, are projected in passional simulacrums and reconstructed for the contemporary cultural industry. Concerning the myths, is possible to formulate a semantic configuration of passional nature that establishes a new mythology and influences in the cognition dimensions and also in the affection dimensions of the reader / Mestre

Devido à longa tradição da arte de tocar trompete e da evolução que ocorreu com o instrumento ao longo dos séculos, o trompete passou a ser utilizado como instrumento de referência na família dos metais, bem como a ocupar posição de solista em recitais e concertos. Técnicas para seu aprendizado foram criadas e aperfeiçoadas com mais rapidez e passou a ser utilizado em outros estilos musicais, particularmente no Jazz. O caminho que indicamos para a formação técnica e musical de um trompetista é o mesmo, independentemente do estilo em que pretenda atuar. Um trompetista sem formação técnica e sem cultura musical consegue tocar, mas não consegue se expressar. / Owing to the long tradition of the trumpet playing art and the instruments evolution over the centuries, trumpet has become a reference in the brass family and it has occupied a soloist position in recitals and concerts. Learning techniques have been more rapidly created and perfected, and its use has been extended to other musical styles, especially Jazz. The path we recommend to a trumpeter for acquiring their musical and technical qualification is the same, regardless of their style of choice. A trumpeter with no technical qualification and musical culture may be able to play, but they will not be able to express themselves.