[pt] O presente trabalho tem como objetivo estudar a cultura de fãs no Rio de Janeiro, suas formas de comunicação e de interação com a cidade. Este estudo também se concentra em entender de que maneira os fãs percebem seus ídolos, uma vez que estes se apresentam perante a sociedade e a mídia, muitas vezes, como seres superiores e/ou indefectíveis. O ato de ser fã é um fenômeno já bastante investigado por alguns teóricos e, por outro lado, carrega significados, por vezes, pejorativos, quando tratado pelo senso comum e por alguns contextos midiáticos. Utilizando a abordagem dos estudos subculturais em uma etnografia foi possível constatar que o impacto das divas do pop estudadas, Lady Gaga e Beyoncé, em suas respectivas fandoms, Little Monsters e Beyhive, dá-se em âmbitos não só de entretenimento, mas, acima de tudo, subjetivos. A cultura de fãs atua como criadora de grupos sociais altamente organizados no mundo digital e no mundo real, capazes de promoverem bem-estar e debates políticos e ideológicos de forma a estimular a reflexão sobre as minorias às quais pertencem e a luta contra os mais diversos tipos de discriminação sofridos pelos participantes das fandoms. / [en] This work aims to study the culture of fans in Rio de Janeiro, its forms of communication and interaction with the city. This study also focuses on understanding how fans perceive their idols, once they present themselves to society and the media, often as superior or indefectible beings. The act of being a fan is already investigated by researchers and on the other hand carries some meanings that sometimes are pejoratives while handled by the common sense and also by some mediatic contexts. By using the subculture studies approach in an etnography it was possible to verify that the impact of the studied pop divas, Lady Gaga and Beyoncé, on their respective fandoms, Little Monsters and Beyhive, takes place not only in the entertainment area, but also in a very subjective way. The fan cultures acts as the creator of highly organized social groups both in the digital and in the real world, promoting not only their well-being, but also political and ideological debates, in order to stimulate reflection on the minorities to which they belong to, and the fight against the most diverse types of discrimination suffered by participants of the fandoms.

With the rise of Hallyu, or the global export of Korean culture also commonly known as ‘The Korean Wave’, South Korea has become a big trendsetter in recent years: whether it be within fashion and K-Beauty skincare or Korean movies and drama series, to Korean popular music, also known under the umbrella term K-pop. What these categories have in common are their strong ties to visual aesthetics and K-pop is known for its very colourful and maximalist design, which is also a key characteristic to why K-pop as a phenomenon has been particularly attractive and has managed to captivate fans all over the world. In the marvelling K-pop universe, the goal is to engage all the senses for a complete and interactive sensory experience, making the visual just as important as the auditory, and this can also be applied to the physical album design. Physical K-pop albums sell better than ever despite the digital streaming services dominating our digital age. A visual analysis was conducted on selected contemporary K-pop albums together with a survey on Swedish K-pop fans, in order to discuss how packaging design of K-pop albums can influence consumer behavior. The study showed that interactive packaging design and extra album inclusions like photocards, photo books, postcards etc. makes the fans more likely to want to collect albums and merchandise, which on its own can be viewed as a collectible item. The packaging design both facilitates and encourages fans to interact with the design not only visually, but also in a tactile way, by engaging in participatory behavior such as filming unboxing videos and posting them on social media, and it can also be associated with identity making, i.e. how they identify themselves as fans in relation to their favorite artists or towards other fans. Lastly, it is interesting to discuss how K-pop design can be heavily influenced by American and Western concepts despite being marketed as a Korean phenomena and innovation; from the visual analysis it could also be concluded that contemporary design trends draw inspiration from Western concepts such as the y2k millennium bug, retro and technology.

隨著科技不斷進步，改變我們傳遞祝福的方式數位祝福形式取代傳統紙本卡片，實體卡片不再普及，手作卡片所擁有的觸覺與情感上的獨特價值也被忽略。數位與手作之間，存在某種隔閡，數位的強大虛擬化傾向與實體物件背後的情感價值似乎有著矛盾性。然而人們對數位科技的依賴不代表實體已經失去魅力，手感經濟的被提倡顯示人們對手作價值的重新看重，也顯示出兩者之間需要尋求更好的連結。 　　故本研究提出一項幫助手作立體卡片製作的行動應用服務構想「HandiCard」，擁有數位輔具在編輯和製作上的便利性，同時容許製作者融入個人巧思，又保有與紙張的實質接觸，是兼具數位科技長處與實體存在感的設計。 　　透過文獻與案探討，本研究歸納出「客製化、手作、即時性」三大影響因素，並匯整立體卡片常見結構與規則，作為HandiCard設計原型的考量。最後根據受訪者的使用意見與回饋，進行整理與討論，探討此原型未來可發展的方向。 / The advance of technology has changed the way we convey blessings. However, these digital methods also diminish the unique value of emotions and the sense of touch which brought by handmade cards. The reflections on advocating Hand-Touch Economy shows that there seems to be a contradiction between the strong tendency of digitalization and the sentimental value of physical objects. 　　Therefore, this study developed “HandiCard”, a prototype for assisting the design and production of pop-up cards by using mobile application. It provides the convenience of digital tools and focuses simultaneously on the sentimental value given by handmade products. We expect that HandiCard could seek out the possibilities of combining digital technology with handmade products, which could provide more real touch and the sense of existence in the digital era. 　　Through literature review and case study, we summed up that “customized”, “handmade”, and “real-time” are the three major factors. Also, we summarized the common structures and principles in pop-up cards as the reference for designing the prototype of HandiCard. At last, we discussed interview feedbacks from user testing to explore the possibilities of being commercialized in the future.

This study is part of the AHRC funded project “A History of Television for Women in Britain, 1947-1989”. The research is based upon the data gathered from interviews carried out with thirty geographically and generationally dispersed women about their memories of watching television in Britain between 1947 and 1989. I have used generation and gender as analytical categories, and have paid particular attention to the role of memory work in this type of historical research. This thesis aims to build upon previous work which has investigated the connection between generation and interaction with popular culture, but which has not theorised those relationships (Press, 1991; Moseley, 2002). The shifts and, indeed, continuities in the lives of different generations of British women are considered to gain a sense of the importance of generation in the production of identity. Significant differences arose between generations in terms of reflexivity and around questions of quality, value and taste as generations intersected with feminist and neoliberal cultures at different life stages. What was particularly interesting, however, was that despite the dramatic social change wrought by this post-war period, the narratives of women of different generations were surprisingly similar in terms of their everyday lives. Their memories largely centred around domestic relationships, and the women’s role as mother was often central to these. Following my investigation of the significance of motherhood to women’s production of gendered identity I consider the moments which disrupted that pattern and where women are enabled to conceive of an identity outside their familial role. Talk around pop music programming and desire had generational significance in the production of individual identities, again pointing to the importance of generation as an analytical category.

Modern societies produce large quantities of municipal solid waste (MSW), which is commonly disposed of by incineration. This has several advantages: it reduces the waste’s volume and sterilizes it while also enabling energy recovery. However, MSW incineration has some notable disadvantages, the most widely debated of which is probably the production and release of persistent organic pollutants (POP) such as polychlorinated dibenzofurans (PCDF), dibenzo-p-dioxins (PCDD), biphenyls (PCB) and naphthalenes (PCN). Of the 210 PCDF and PCDD congeners, 17 are toxic, with hormone-disrupting and carcinogenic properties. Twelve of the 209 PCB congeners and at least 2 of the 75 PCN also exhibit such properties. These POP form in the post-combustion zones of MSW incineration plants and are removed from the flue gas using filtering devices that trap them in the fly ash This thesis concerns the formation and degradation of POP in processes related to MSW incineration. The first paper describes a case study in which PCDD were forming in filters designed to remove them from flue gases, causing emission-related issues in a full-scale MSW incineration plant. It was shown that the PCDD formation was probably due to chlorophenol condensation on the filters’ surfaces. The second paper describes the validation of a cooling probe designed to prevent POP formation during high temperature (>450 °C) flue gas sampling. The results obtained also confirmed that PCDF and PCDD formation takes place at temperatures below 600 °C. In the third paper, three different fly ashes were subjected to thermal treatment under an inert atmosphere in a rotary kiln and in sealed ampoules at 400 °C. The concentrations, degrees of chlorination and congener profiles of the POP in the treated ashes and emitted gases were compared to those for the untreated ashes. The trends observed for PCDF mirrored those for PCN, while the trends for PCDD closely resembled those for PCB. The PCDF congener profiles of the kiln ash were similar regardless of the initial ash composition, suggesting that the mechanisms of PCDF formation were similar in all cases. The fourth paper describes the surface characterization of the three fly ashes studied in paper three by SEM, EDX, XPS and XRD. In addition, the thermal desorption and subsequent degradation of POP from the ashes was studied at temperatures of 300-900 °C. The composition of the gases released as the temperature increased differed between the ashes and depended on their composition. Doping experiments using isotopically labelled PCDF and PCDD suggests that PCDD desorbed at lower temperatures than PCDF. This thesis examines several problems relating to POP formation during MSW incineration, from sampling to the ultimate fate of incineration residues. The results obtained illustrate the wide range of processes that contribute to thermal POP formation and degradation during and after MSW incineration. / Förbränning av hushållssopor är en vanlig metod för att hantera ett växande avfallsproblem. Metoden har flera fördelar, såsom minskning av volym och vikt, sterilisering och energiåtervinning. Sopförbränning har dock vissa nackdelar och det mest debatterade är sannolikt utsläpp av persistenta organiska föroreningar (POPs) som polyklorerad dibensofuran (PCDF), dibenso-p-dioxin (PCDD), bifenyl (PCB) och naftalen (PCN). Det finns totalt 210 PCDF- och PCDD- kongener, med mellan ett till åtta klor på kolskelettet, varav 17 är giftiga med hormonstörande och cancerframkallande egenskaper. Även tolv av totalt 209 PCB-kongener samt minst två av totalt 75 PCN-kongener uppvisar liknande egenskaper. Dessa klorerade organiska föroreningar bildas då rökgaserna kyls ner i sopförbränningsanläggningarna och avlägsnas från rökgaserna med hjälp av filter och hamnar i flygaskan. Denna avhandling handlar om bildning och nedbrytning av POPs i sopförbränningsrelaterade processer.   Den första artikeln är en fallstudie där PCDD bildas i filtren i en fullskalig sopförbränningsanläggning. Bildningen ledde till förhöjda halter organiska föroreningar i rökgaserna, vilket ledde till ökade utsläpp. Den funna bildningsvägen för PCDD i filtren befanns sannolikt bero på kondensation av klorfenoler på filterytorna. Den andra artikeln är en valideringsstudie av en kylprob avsedd att användas vid rökgasprovtagning vid hög temperatur (> 450 °C) för att undvika bildning av POPs under provtagningen. Studien bekräftade att majoriteten av PCDF- och PCDD- bildning i rökgaser från sopförbränning sker vid temperaturer under 600 °C. I den tredje artikeln berättas om behandling av tre olika flygaskor från olika sopförbränningsanläggningar. Askorna behandlades vid 400 °C i inert atmosfär i både en roterugn och i förseglade ampuller. De resulterande koncentrationerna, kloreringsgraderna och kongenprofilerna av de organiska föroreningarna jämfördes. Likheter hittades mellan PCDF och PCN, medan PCDD och PCB betedde sig på ett annat sätt. Studien fann också att PCDF kongenprofiler i aska som behandlats i roterugnen liknade varandra, oberoende av askornas sammansättning, vilket tyder på en liknande bildningsväg. För den fjärde artikeln, genomfördes ytkarakterisering (SEM, EDX, XPS och XRD) på de tre flygaskorna från artikel tre som sedan hettades upp från 30 °C till 900 °C i vacuum. Det som frigjordes på grund av uppvärmningen samt nedbrytningsprodukter från askorna studerades med hjälp av masspektrometri och infraröd spektroskopi. Studien fann att de gaser som frigjordes när temperaturen ökade skilde mellan askorna, beroende på deras sammansättning. Studien fann också att när aska dopad med isotopmärkt PCDF och PCDD utsattes för samma behandling, frigjordes PCDD vid lägre temperatur än PCDF. Denna avhandling berör flera aspekter av problematiken kring klorerade organiska föroreningar som bildas vid sopförbränning, från provtagning till hur man ska hantera flygaskan. Avhandlingen belyser även olika typer av bildning och nedbrytning av POPs i varma processer kopplade till sopförbränning.

Depuis toujours, les œuvres d'art ont joué un rôle fondamental dans la formation des artistes, servant de modèles iconiques pour l'apprentissage et la création de nouvelles œuvres. Au cours du XXème siècle, la diffusion considérable d'œuvres d'art en rapport au progrès dans l'imprimerie et à l'essor des médias a fortement contribué au développement des pratiques liées à la citation en peinture. Chez Picasso, la citation consiste dans l'appropriation et la réinterprétation de chefs-d'œuvre qu'il retranscrit dans son style. Ainsi, en 1957, il peint quarante-quatre variations à partir des Ménines (1656) de Velazquez. Au début des années soixante, les artistes pop ont recours à la sérigraphie pour imprimer sur toile les reproductions photographiques de chefs d'œuvres. Leurs productions relèvent d'une esthétique particulière comme résultat de l'utilisation de ce procédé qu'ils chercheront à développer par la suite. Ainsi, dans les versions de la Cathédrale de Rouen (1892-1894) de Monet peintes par Lichtenstein en 1969, l'image est reconstituée par une trame de points, équivalent graphique des points d'encrage de la photographie de presse. Dans les années soixante-dix, le collectif espagnol Equipo Crónica s'empare des grands classiques de la peinture espagnole et européenne et les retranscrit par une juxtaposition d'aplats de couleurs. Influencés par ces démarches, certains artistes latino-américains ont forgé leur propre style. L'œuvre du péruvien Herman Braun-Vega, par exemple, jette des ponts entre la peinture des grands maîtres tels que Velazquez, Goya ou Picasso, et l'imaginaire visuel péruvien. A l'instar de Picasso, Fernando Botero s'approprie des œuvres des maîtres en les soumettant à son style. Dès la fin des années soixante, les arts plastiques péruviens reprennent les caractéristiques plastiques du Pop'Art international pour mettre en scène divers aspect de la culture péruvienne. Ainsi Marcel Velaochaga met en relation l'esthétique Pop avec une réflexion critique sur l'histoire du Pérou et ses propres icônes visuelles.

This study aims to explain the incentives and travel patterns for people who have consumed popculture tourism. Pop-culture refers to popular products such as video-games, comic-books, literature, film and t.v-shows. Pop-culture tourism refers to destinations and attractions based on popular culture products such as conventions, events, exhibitions, theme parks and destinations. This study takes on a qualitative approach in order to do so. The results were then analyzed through four different theories; Bourdieu’s theory on different capitals, his theory on habitus, his theory on fields and Lundberg & Lexhagen’s figure: Pop-culture Tourism: A Research Model. The results showed that the respondents social upbringing and (social) media consumption plays a central role in order for individuals to consume and partake in pop-culture tourism. Results did also show that cultural capital and social capitals was prominent for individuals who consume and partake in popculture tourism. / Denna studie har som syfte att belysa individers motiv och val att besöka pop-kultursrelaterade attraktioner och destinationer. Pop-kultur i denna uppsats syftar till populära produkter såsom tvspel, serietidningar, litteratur, film och tv-serier. Pop-kultursturism syftar till destinationer och attraktioner som är baserade på de sistnämnda vilket kan vara konventioner, event, utställningar, temaparker eller destinationer. Till denna studie har en kvalitativ ansats tillämpats för att besvara uppsatsens syfte och frågeställningar genom att utföra semi-strukturerade intervjuer. Intervjuerna analyserades sedan genom fyra olika teorier; Bourdieu’s teorier om kapital, fält och habitus samt Lundberg och Lexhagens modell “Pop-culture Tourism: A Research model”. Resultaten visade att exponering av pop-kultur i respondenternas uppväxt, sociala umgängen och (sociala) mediekonsumtion spelade en central roll i konsumtionen och deltagandet av pop-kultursturism. Resultaten visade även att kulturellt kapital (ett intresse av en viss pop-kulturell produkt) och socialt kapital (individens habitus) var betydande för individer som deltar i pop-kultursturism.

Syftet med studien är att undersöka den osignerade, kvinnliga popartistens spelplan för att konstruera sig själv som ett “personligt (pop)varumärke” via sociala medier. Med ansats i fem djupgående intervjuer har jag sökt besvara hur detta “varumärkesgörande” ser ut, samt vilka möjligheter och svårigheter diskursen för med sig. Genom att diskutera empirin mot ett brett teoretiskt spektra, som tar upp såväl identitetens påverkan av samtida medier, socialkonstruktivistiska perspektiv, traditionella- samt postmoderna perspektiv på varumärken, genussystematiker samt mediereception, har resultaten kommit utmynna i en rad dilemman. Resultaten visar att synlighet i sociala medier prioriteras före det faktiska musikskapandet; syns en inte där, kommer heller inte musiken uppmärksammas av betydande aktörer och större publiker. Således suddas skiljelinjer ut mellan den digitala- och fysiska verkligheten, vilket resulterar i möjligheten att som trenden premierar, “imitera” den konventionella kändisens “industriella” uttryck, och på samma gång svårigheten i att fokusera medieinnehållet kring denna image utan att verka “självupptagen”. Samtidigt som den konventionella kändisens digitala konstruktion kan förstås skapad i en genusbetonad diskurs som instruerar kvinnliga (pop)musiker att alltjämt exponera sitt (attraktiva) yttre, samt, för att verka tillgängliga, ständigt dela var de går och gör, kommer studiens informanter att påvisa ett motstånd till de könsstereotyper som ofta figurerar i media. Resultaten påvisar således möjligheten att också ifrågasätta och utmana en stereotyp bild av den kvinnliga popartisten, varpå den digitala verklighetens spegel har potential att också lämna reflektioner i den “fysiska verkligheten”. Studiens informanter ger inga direkta svar på hur de faktiskt parerar svårigheten i att konstruera en delvis “fejkad” “industriell” image, utan att tappa den personliga (men inte privata) integriteten men påvisar att sökandet efter en “perfekt balanserad artistpersona” är ett oändligt, och kanske ouppnåeligt projekt.

This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.

Once the boundary in global investment does no longer exist, a substantial number of multinational corporations (MNCs) seek for the lower-cost countries such as developing countries or emerging countries to be their production bases. It is undeniable to say that these recipient countries will benefit abundantly in several aspects namely: capital and technical knowledge, employment boost and economic development stimulation. However, the disadvantages that occur may not be worth the trade-off in a long run whether it is economic inflation, impact to the environment and disappearance of small-scale business. Hence, sustainable business approaches concerning every involved stakeholder is vital, some firms might view that adjusting entire activities in the value chain does increase the costs, but some realizes that aligning their practices with along Sustainable Development Goals is the only way to gain profit, and save people and the planet simultaneously.Nevertheless, there are billions of poor people at the Base of the Pyramid (BoP) who are consumers and entrepreneurs especially in the developing countries. Part of the theorizers believes that producing products and service that respond to the grassroots turns out to be new opportunities for MNCs to develop new types of businesses; bring prosperity to the firms; enhance the poor by offering them knowledge and alternative solutions, shaping their aspirations and improving the accessibility of the products. On the other hand, the other part of the theorizers argued that this method does not only harm the poor since these people are vulnerable consumers, it also has less emphasis on legal, regulatory and social mechanisms. In a nutshell, nothing can guarantee that this approach will enventually take us closer to sustainability.In our study, we have seen that there are some MNCs looking at the BoP market with different perspectives. For instance, the arrival of MNCs in term of modern trade business in Thailand caused a severe effect to traditional retail stores or ‘Mom & Pop1 stores’ in the country. Unilever is one of the MNCs that have a major engagement with local small businesses through their new business model which does not only alleviate Mom & Pop store owners to retrieve their businesses, but it also creates a win-win situation between Unilever and these owners concurrently, allowing them to be self-reliance and operate their businesses sustainability in the days to come.The purpose of this master’s thesis is to understand and assess sustainable development theory, particularly in corporate social responsibility thinking in the BoP perspective based on sufficiency economy. Qualitative research and case study of Unilever Thailand were chosen as appropriate research methods to conduct this thesis.