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Bakgrund: Sedan 2004 då H&M samarbetade med Karl Lagerfeld har samarbeten inom modebranschen blivit ett välkänt fenomen som idag är en marknadsföringsstrategi för varumärken i olika segment. Samarbeten genererar ofta positiva aspekter för de inblandade parterna men det finns även risk för nackdelar om samarbetet inte utförs på rätt sätt. Därutöver har modebranschen utvecklats de senaste åren och effekterna av samarbeten inom modebranschen har påverkat denna utveckling i viss utsträckning. Syfte: Studiens syfte är att få en ökad förståelse för hur olika företags lågprisvarumärken och lyxvarumärken inom modebranschen påverkas av ett samarbete i form av en gemensam kollektion. Studien vill även skapa en uppdaterad förståelse för vilka synergieffekter som kan uppstå av dessa samarbeten, hur dessa samarbeten influeras av dagens modebransch, samt hur framtidsutsikten ser ut. Metod: Studien utgår ifrån en kvalitativ forskningsmetod där empiri har samlats genom semistrukturerade intervjuer med sju experter som har kunskaper inom de ämnesområden som berör studien. Empirin har analyserats med hjälp av tidigare studier för fylla de gap som existerar för samarbeten inom modebranschen. Slutsats: Studien konstaterar att samarbeten kan påverka både lågpris- och lyxvarumärkens brand equity och att de positiva effekterna överväger de negativa. Lågprisvarumärken tenderar dock att gynnas mest av ett samarbete. Influenser från bland annat populärkultur och nya typer av konsumenter har fått ett ökat inflytande på både modebranschen och samarbeten inom den. Framtiden bedöms som osäker av experterna. Dock framställs co-branding samtidigt som en lösning på den alltmer komplicerade modemarkanden. / Background: Since 2004 when H&M collaborated with Karl Lagerfeld has co-branding become a well-known phenomenon that now serves as a marketing strategy for clothing brands in different segments. These collaborations often generate positive aspects for the partners who are involved. There are however risks if the collaborations are not executed properly. The fashion industry has evolved in the last years and the consequences of collaborations have affected it to some extent. Purpose: The purpose of this study is to research and create a developed understanding of the effects that may arise when a low-budget brand and a luxurious brand create a clothing collection together. The study also wants to examine potential synergies that a collaboration may generate, how these collaborations are influenced by todays fashion industry, as well as what the future might look like. Methodology: This study applies a qualitative research method where empirical data has been gathered through semi-structured interviews with seven experts who have knowledge about the subject areas that are relevant to the study. The empirical data has been analyzed with the help of previous studies in order to fill the knowledge gaps that exist for collaborations within the fashion industry. Conclusions: The study establishes that collaborations can indeed affect both the low-budget brand and the luxurious brand’s brand equity. It also found that the positive effects outweigh the negative. Low-budget brands however, tend to be more rewarded than luxurious brands in these collaborations. Influences from pop culture and new types of consumers have gained an increased power on both the fashion industry and the collaborations within it. The future is deemed uncertain by the experts but co-branding is however portrayed as a possible solution for the complicated fashion market that exists today.

Submitted by Raquel Carvalho de Castro Carneiro (rcarvalhodecastro@gmail.com) on 2015-07-06T17:37:12Z No. of bitstreams: 1 Dissertação Raquel de Castro Carneiro final (1).pdf: 1633624 bytes, checksum: 75dc9ad22ecaa58236027046c4aeb052 (MD5) / Approved for entry into archive by Janete de Oliveira Feitosa (janete.feitosa@fgv.br) on 2015-08-28T16:34:28Z (GMT) No. of bitstreams: 1 Dissertação Raquel de Castro Carneiro final (1).pdf: 1633624 bytes, checksum: 75dc9ad22ecaa58236027046c4aeb052 (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2015-09-02T13:25:10Z (GMT) No. of bitstreams: 1 Dissertação Raquel de Castro Carneiro final (1).pdf: 1633624 bytes, checksum: 75dc9ad22ecaa58236027046c4aeb052 (MD5) / Made available in DSpace on 2015-09-02T13:25:25Z (GMT). No. of bitstreams: 1 Dissertação Raquel de Castro Carneiro final (1).pdf: 1633624 bytes, checksum: 75dc9ad22ecaa58236027046c4aeb052 (MD5) Previous issue date: 2014-12-23 / With this research , we try to identify the profile of the contemporary professional from what is portrayed in the business media publications , here called pop-management , according to the work of Wood Jr. and Paula (2002) . The research considers the content analysis of the main business magazines published in Brazil, from 2011 to 2014, and discusses their results considering the role of the individual in the organization and the concept of competence . It concludes with a reflection on the main characteristics required of workers in the XXI century. / Com esta pesquisa, busca-se identificar qual o perfil do profissional demandado pelas organizações contemporâneas, a partir do retratado nas publicações da mídia de negócios, aqui chamada de pop-management, de acordo com o trabalho de Wood Jr e Paula (2002). A pesquisa compreende a análise de conteúdo das principais revistas de negócio publicadas no Brasil, entre 2011 e 2014, procurando discutir seus resultados sob a luz das referências do indivíduo na organização e o conceito de competência. Conclui-se com uma reflexão sobre as principais características exigidas dos trabalhadores no Séc. XXI .

This work focuses on the social practice of recollection, the so-called standardization in public sphere and possibilities to grasp this subject in history teaching. The aim is to describe this practice and at the same time, to define effective methods of its thematization in school environment. In the first part, I am concerned with the concepts of memory from Maurice Halbwachs to Alison Landsberg and I emphasize my preference for the concept of media memory as the basis for my further researches. Furthermore, I analyse models of historical education in Anglo-American environment on the one hand and German environment on the other hand. I analyse the strong and weak points of these models based on the concept of "historical thinking" and "historical consciousness". In the second part, I analyse the resemblance of memoir characters to the so-called standardization in movie presentations and their perception by users of the movie site www.csfd.cz. The objective of this analysis was to point out to the fact how we communicate about movies and which values are associated with watching movies. I linked the analysis of movie images and their perception to the idea of dominant cultural formations of the Czech society in Michael Kennedy's mind. I have analysed four movies, which, in my opinion, represent...

For 2010 the European Union has a goal to increase the share of renewable energyware to 12%. For 2020 the goal is 20%. One of visions to reach this is to raise the share of solid biofuels. Politicans all over ideologycal spectrum collectively propagate, that farming and waste management sector industry has developed ways to produce solid recovered fuels with reliable qualities, which are used successfully regarding economic and environmental aspects. One of prerequisites to reach this will be to achieve the standardization of solid biofuels. This leads to a need for flexible market, which is attainable only by common understanding concerning terminology, sampling and test methods. European energetically non-intensive industries and settlements are looking for ecologically friendly alternative fuels in order to save fossil fuels. And by doing so, enforce the development of fitting technical norms to facilitate the meeting of offer and demand for the product. Pressed biofuels like pellets are today playing the key role for the small house market as well as for large scale coal substitution in local power plants. The thesis is a part of scientific contemplation MSM 06/2/4a solved by professors S.Kužel and L.Kolář and is trying to answer the question: ``Is combustion of solid biofuels ecologically friendly?{\crqq}

Orientador: Silvio César Camargo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T07:07:27Z (GMT). No. of bitstreams: 1 Lima_CamilaTeixeira_M.pdf: 6770171 bytes, checksum: 94c456c1b121180785ca943dcc093355 (MD5) Previous issue date: 2014 / Resumo: Nesta pesquisa estive preocupada em refletir sobre uma questão de grande interesse para os estudos sociológicos da cultura: a investigação de uma manifestação da cultura popular. Busquei entender qual o lugar reservado para a experiência tradicional nesta cultura, mais especificamente, nos almanaques, cordéis e xilogravuras produzidas por José Costa Leite (JCL). A problemática formulada pelo teórico crítico Walter Benjamin para pensar as transformações da experiência (Erfahrung) e consolidação de uma forma privada de relação com mundo, que o autor chamou de vivência (Erlebnis), me pareceu um caminho interessante para analisar a produção popular de Costa Leite. Como materialista histórico, Benjamin analisa os fenômenos articulados ao contexto histórico em que eles se configuram. A metodologia empregada nesta pesquisa foi análoga à empregada pelo interlocutor teórico em questão, para que a investigação sobre a presença ou ausência da experiência tradicional na produção de Costa Leite possa ser entendida como desaparecimento ou não da experiência no mundo moderno e não como expressão de um outro fenômeno qualquer. A metodologia empregada nesta pesquisa, portanto, é o materialismo histórico. Como a minha hipótese inicial era a de que a produção de Costa Leite ainda era capaz de comunicar experiência foi necessário fazer o mesmo caminho que Benjamin realizou para elaborar o seu diagnóstico, ou seja, foi necessário pensar em que medida o contexto de produção de Costa Leite difere daquele em que Benjamin afirmou a morte da Erfahrung para que a produção de JCL possa não só ser considerada como uma forma de transmissão de saberes que também caminha na contramão do conhecimento especializado (e massificado), mas que se configure como uma possibilidade de comunicar Erfahrung / Abstract: In this research I've been dedicated on thinking about a question of great interest to the sociological studies on culture: the investigation of popular culture manifestation. I have intended to understand the locus reserved to the traditional experience in this culture, specifically in almanaques, cordéis e xilogravuras produced by José Costa Leite (JCL). The problematics formulated by critical theorist Walter Benjamin to think about the transformations of experience (Erfahrung) and the consolidation of a private form of relationship with the world, which the author called experience (Erlebnis), seemed to me a interesting path to analyse the popular production of Costa Leite. As a historical matherialist, Benajmin analyses the phenomena articulated to the historical context in which they configurate themselves. The methodology followed on this research was similar to the one folowwed by the theorectical interlocutor, Walter Benjamin, so that the investigation about the presence (or absence) of the traditional experience in the production of Costa Leite could be understood as disappearance (or not) of the experience in modern world, not as the expression of another phenomena. Therefore, the methodology followed in this research is the historical matherialism. As the initial hypothesis was that the production of Costa Leite was capable of communicate experience, it was necessary to follow the same path that Benjamin made to elaborate his diagnosis, in other words, this research had to think about at what extent the context of production of Costa Leite differs from that from which Benjamin postulated the death of Erfahrung, so that the production of Costa Leite could be viewed as a form of transmission of knowledge that also go in against hand of specialized and massified knowledge and translate as a possibility of communicate Erfahrung / Mestrado / Sociologia / Mestra em Sociologia

Submitted by Rafael Lourenço (rafaels.lourenco@gmail.com) on 2012-09-13T07:04:58Z No. of bitstreams: 1 Dissertação Rafael Lourenço 12set.pdf: 843251 bytes, checksum: 16d494e82903582393e1f3ea9d8ec883 (MD5) / Rejected by Suzinei Teles Garcia Garcia (suzinei.garcia@fgv.br), reason: Bom dia Rafael, A ficha catalográfica falta o número do CDU entrar em contato com a biblioteca 3799-7732. Att. Suzi 3799-7876 on 2012-09-13T12:54:48Z (GMT) / Submitted by Rafael Lourenço (rafaels.lourenco@gmail.com) on 2012-09-25T23:42:24Z No. of bitstreams: 1 Dissertação Rafael Lourenço 20set.pdf: 901113 bytes, checksum: 36d426f7545a6b616f0823bae6fb59c2 (MD5) / Approved for entry into archive by Suzinei Teles Garcia Garcia (suzinei.garcia@fgv.br) on 2012-09-26T13:08:15Z (GMT) No. of bitstreams: 1 Dissertação Rafael Lourenço 20set.pdf: 901113 bytes, checksum: 36d426f7545a6b616f0823bae6fb59c2 (MD5) / Made available in DSpace on 2012-09-26T13:16:30Z (GMT). No. of bitstreams: 1 Dissertação Rafael Lourenço 20set.pdf: 901113 bytes, checksum: 36d426f7545a6b616f0823bae6fb59c2 (MD5) Previous issue date: 2012-08-14 / O objetivo do presente trabalho é explorar os mecanismos que a Análise de Redes Sociais pode descrever dentro do contexto da produção criativa. Para tal, são apresentados os conceitos correlatos de buracos estruturais, poder de corretagem e centralidade. A hipótese da pesquisa é de que, sob a ótica de uma estrutura de relacionamentos, indivíduos posicionados ao centro da rede tem maior possibilidade de sintetizar elementos presentes no grupo e a partir disso desenvolver potencial criativo maior. Enquanto estudo de caso, foi construída a rede de compositores da Bossa Nova no período de 1958 a 1964 e então foi testada a relação entre a centralidade dos indivíduos desse grupo e a aparição de canções de sua autoria em uma listagem de canções representativas do período. Foi encontrado forte indício estatístico de correlação positiva, resultado que sugere que também na criação musical o ferramental de redes pode auxiliar a compreender comportamentos humanos. / The aim of this paper is to study the ways in which mechanisms of Social Networks Analysis can describe the context of creative production. To this end, the concepts related to structural holes, centrality and power of brokerage are presented. The research hypothesis is that, from the perspective of a structure of relationships, individuals placed in the center of the network are more likely to concentrate elements which are common to the group, being therefore able to build greater creative potential. For this paper, as a case study, the network of "Bossa Nova" composers in the period 1958 to 1964 was created in order to assess the relationship between the centrality of individuals in this group and the appearance of their own songs in a list of representative songs of the period. The results indicate strong statistical evidence of positive correlation, a result which also suggests that social network analytical tools can be also helpful to understand human behavior.

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Dès l’apparition du Pop art autour de 1962, l’iconographie de l’illustration et de la publicité indique l’émergence d’une véritable esthétique graphique. La rencontre du Pop art et du dessin se révèle particulièrement intéressante car suivre les productions réalisées dans cette discipline éminemment manuelle permet de réexaminer les différentes positions des artistes vis-à-vis de la culture de masse et d’aborder des questions tant matérielles qu’iconographiques. Partant du constat que les formations artistiques sont à l’origine du va-et-vient entre options manuelles et mécaniques dans l’économie du Pop art, le propos débute par l’examen des conditions d’émergence du dessin. L’examen des relations entre dessin et culture de masse ne saurait être complet sans évoquer la réponse d’artistes qui s’engagent dans la recherche d’un dialogue avec un public croissant (par des stratégies de classe, l’iconographie de logos de produits, la prise en compte des possibilités de l’estampe etc.). Non seulement l’œuvre naît du parcours de la main, mais le dessin pop dépasse le seul processus créateur pour exister dans un corpus d’œuvres autonomes, qui s’écarte de tout schéma finaliste. Cette présence souligne ce que peuvent avoir de critique l’image et l’action du corps. De même que Claes Oldenburg et David Hockney opposent une tension manuelle aux expressions mécanisées dans la société – et là réside le double sens de la notion d’engagement autant physique que politique dans le dessin pop –, le réinvestissement du corps sous la forme du portrait et du nu affirme sa solidarité avec les combats pour la libération sexuelle à l’aube des années soixante-dix. / By 1962 with the beginning of Pop art, the iconography of illustration and advertising points the development of an art founded on graphics. Interestingly, the relations between Pop art and drawing allow to follow how the handmade practices reassess the artists’ positions towards mass culture and deal with material issues (such as manual involvement) and the meaning of iconography (counter-culture, return of the figure). Starting from the point that artistic pop economy of art owes its back and forth mouvement between manual and mechanical options to its protagonists’ artistic education, this dissertation opens with the study of drawing’s emergence in a pedagogical context. The study of the relations between drawing and mass culture wouldn’t be fully led without assessing the answer of the artists who involve in the claim for a bigger audience (with a class strategy, an iconography full of mass products and the possibilities of prints). Moreover, not only the graphic works stem from the hand, but pop drawing overwhelms the solely issue of creation processes to exist in an autonomous corpus of works, which doesn’t fall into the finalist schema. This presence points how critical may be the body, through drawing, as an image and as an action. Similary to Claes Oldenburg and David Hockney who oppose a manual tension to the social mechanized expressions – and there lay the double sense of the very notion of involvement which is to be understood in Pop art in the same time on a physical and a political level – the reinvolvement of the body by way of portrait or nude shows its solidarity with the fights in the wake of the sixties, fight for sexual liberation, or women rights.