The master thesis analyses the South Korean culture wave (known as Hallyu) in the context of globalisation and Internet development. The theoretical part defines key terms in the area of globalisation, focusing on cultural globalisation and the role of Internet. This part further explains the origins and the spread of Korean popular culture with focus on its glocalization and the role of social media and the benefits of the wave for its country. The practical part of this master thesis deals with the presence of Korean wave in the Czech Republic. Included is also own research aimed at Czech fans of Korean culture. The final part includes the research evaluation, interpretation of the findings and the results obtained.

互動性的閱讀，可追溯至13至18世紀間，發明用於計算基督教曆法和成人專業教育的立體書，它以紙材柔韌的可塑性，構成了「互動機關」與「立體模型」等形式的內容；至今，數位技術與電子載具內的硬體設備，更擴展了內容的表現範疇。紙本與數位各具優勢，紙本立體書的實體結構與材質特性提供讀者對空間性內容的認知，電子書的互動與影音則能增進讀者在動態與時間性內容的理解。諸多題材如天文學、建築學等與空間、時間相關的學科，藉由紙本和數位媒材的相互輔助，能夠更完整地傳達資訊，顯現媒材結合的重要性與發展性。然而，紙本與數位在內容、互動、閱讀方式等有許多的差異，國內市場雖可見到複合媒材的產品，但其結合常限於表層形式上之並置，尚未能將不同的媒材做有意義的結合與運用，以致無法提供讀者完善的閱讀體驗。本研究選用雪花的科學知識作為題材，將雪花具空間性的結構和時間性的變化過程，運用於結合紙本與數位媒材的立體書創作上。研究成果產出的「雪花複合媒材立體書」，能作為科學教育的教材，並提供日後複合媒材書籍研發與創作的參考。 / As technology develops, digital devices such as smartphones and tablets have become more and more popular, providing more possibilities of the forms for publishing companies to present the content. Despite the increasing growth of digital format publication, traditional printed books, because of the particular tangibility and the affections enjoyed by their readers, will not vanish. From this perspective, the integration of digital technology and printed book that exploits advantages from both sides would be worth exploring. Although there have been a few attempts in bringing these two media together in the publishing industry in Taiwan, there is still some way to go in terms of variety and quality. Through the investigation of the relationship between the materiality of different media, this project aims to explore ways of integrating tangibility and virtuality so that to create a new kind of mixed-media pop-up book that could provide new and interesting learning experience for the readers.

[EN] This work presents the study of a new set of unconventional praxis of the guitar. Fieldwork is conducted in which the outcome is a set of nearly one hundred works related to the unorthodox use of guitar. This research clarifies if these works have common characteristics that make them relatable to each other as belonging to different patterns of use, and if their production, exhibition and consumption practices respond to identifiable models. Twenty usage patterns are detected and processed; Sub-objectives find the proportion of sound artists and musicians contributing to these kind of practices. Furthermore, the research finds the frequency of use in these practices of five conventional types of guitars as starting points. Analysis is developed which finds that most frequent alterations of the common uses of the guitar are given in it's conventional performativity, followed by alterations in the timbre and to a lesser extent morphological changes in the instrument itself. The research reveals that multidisciplinary centers and art galleries are spaces that welcome artists from both the conservatory and pop music, as well as from visual arts. Classical music auditoriums, however, welcome proposals almost exclusively from classically trained composers. Furthermore, the proportion between male and female practitioners was found to be disproportional. Other results obtained in this study are the personal art projects which are related to the contents. These works have been made between 2007 and 2015, and they have been employed as part of the research methodology. / [ES] Este trabajo aborda el estudio de toda una nueva praxis a partir de la guitarra, pero utilizada de formas diferentes a sus usos convencionales, de ahí que lo hayamos denominado heterodoxias de la guitarra. Los artistas que realizan dichas prácticas son principalmente compositores con formación en música clásica, artistas sonoros y músicos de rock. Hemos englobado las alteraciones en los usos habituales en tres grupos fundamentales: alteraciones en el instrumento, alteraciones en la performatividad y alteraciones en la tímbrica. Como objetivos nos hemos propuesto esclarecer si estas obras presentan características que las hacen relacionables entre sí como pertenecientes a diversos patrones de uso y si sus prácticas de producción, exhibición y consumo responden a modelos identificables. También averiguar cuál es la distribución entre artistas sonoros y músicos, distintos espacios de presentación de los trabajos, hombres y mujeres y los cinco tipos de guitarras contemplados, desde la guitarra española hasta la eléctrica. Como estrategia metodológica, hemos realizado un trabajo de campo cuyo resultado es un conjunto de casi un centenar de obras relacionadas con el uso heterodoxo de la guitarra. Además, se ha detectado y elaborado una veintena de patrones de uso, a destacar entre otros "guitarra instalada", "guitarra preparada", "guitarra destruida" y "eros guitar". A partir de ello hemos realizado un análisis en el que hemos averiguado que las alteraciones de los usos convencionales más habituales se dan en la performatividad, seguidas de alteraciones en la tímbrica y en menor medida de alteraciones morfológicas en el propio instrumento. Como resultados de esta investigación hemos comprobado que los centros multidisciplinares y las galerías de arte son espacios que acogen a artistas procedentes tanto del conservatorio, como de la música pop, como de las artes plásticas. Y cómo los auditorios de música clásica acogen propuestas casi exclusivamente de compositores de música clásica contemporánea. La proporción entre hombres y mujeres en la creación y presentación de las obras estudiadas es similar a la que se da en los usos habituales de la guitarra, es decir, muy alejada de la paridad. Otros de los resultados obtenidos en este trabajo han sido los proyectos propios en relación a los contenidos, realizados entre 2008 y 2015, y que también nos han servido como metodología de investigación. / [CAT] Aquest treball aborda l'estudi de tota una nova praxis a partir de la guitarra, però utilitzada de formes diferents als seus usos convencionals, per aquest motiu ho hem denominat heterodòxies de la guitarra. Els artistes que realitzen aquestes pràctiques són principalment compositors amb formació en música clàssica, artistes sonors i músics de rock. Hem englobat les alteracions en els usos habituals en tres grups fonamentals: alteracions en l'instrument, alteracions en la performativitat i alteracions en la tímbrica. Com a objectius ens hem proposat esclarir si aquestes obres presenten característiques que les fan relacionables entre si com a pertanyents a diversos patrons d'ús i si les seues pràctiques de producció, exhibició i consum responen a models identificables. També esbrinar quina és la distribució entre artistes sonors i músics, diferents espais de presentació dels treballs, homes i dones i els cinc tipus de guitarres contemplats, des de la guitarra espanyola fins a l'elèctrica. Com a estratègia metodològica, hem realitzat un treball de camp el resultat del qual és un conjunt de quasi un centenar d'obres relacionades amb l'ús heterodox de la guitarra. A més, s'ha detectat i elaborat una vintena de patrons d'ús, a destacar entre altres "guitarra instal·lada", "guitarra preparada", "guitarra destruïda" i "eros guitar". A partir d'açò hem realitzat una anàlisi en el qual hem esbrinat que les alteracions dels usos convencionals més habituals es donen en la performativitat, seguides d'alteracions en la tímbrica i en menor mesura d'alteracions morfològiques en el propi instrument. Com a resultats d'aquesta recerca hem comprovat que els centres multidisciplinars i les galeries d'art són espais que acullen a artistes procedents tant del conservatori, com de la música pop, com de les arts plàstiques. I com els auditoris de música clàssica acullen propostes quasi exclusivament de compositors de música clàssica contemporània. La proporció entre homes i dones en la creació i presentació de les obres estudiades és similar a la qual es dóna en els usos habituals de la guitarra, és a dir, molt allunyada de la paritat. Altres dels resultats obtinguts en aquest treball han sigut els projectes propis en relació als continguts, realitzats entre 2008 y 2015, i que també ens han servit com a metodologia de recerca. / Ferrer Molina, JL. (2016). HETERODOXIAS DE LA GUITARRA DESDE 1960 HASTA 2015:PATRONES DE USOS Y PROYECTOS PROPIOS [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63229 / TESIS

This dissertation explores the potential of new public landscapes developed in small scale lost, or latent spaces within the urban fabric of Pretoria, in order to change the CBD into a living city that encourages urban regeneration through tactical intervention. The urban voids of Pretoria will be mapped and a site developed using a series of tactical interventions. The exploration of current pop-up trends and guerilla urbanism as a vehicle for urban renewal provides the basis for the phasing process. C13/4/48 / Dissertation ML(Prof)--University of Pretoria, 2012. / Architecture / ML(Prof) / Unrestricted

This case study research examines the impact of transmedia storytelling on the global reach of Korean-pop (K-pop) group BTS (Bangtan sonyeondan) and how narratives within the transmedia storyworld can motivate the audience to seek individual and social change. This study is inspired by the rise of BTS in the global music industry. The group came with a solid brand image, highlighting sincerity and authenticity that captivate audiences worldwide. BTS consistent messages—that intersect with sustainability issues—about the importance of loving oneself, equality, social justice, anxiety, and wellbeing are communicated through multiple platforms and travel across language and cultural barriers. To understand the context, this study uses the concepts of transmedia storytelling and audience engagement by Jenkins (2006, 2007, 2012, 2014), Gambarato (2019), Broesma (2019), and Askwith (2007), to name a few. The method used to conduct this research is the analytical and operational model of transmedia design by Gambarato et al. (2020). The findings are that transmedia storytelling —with spreadability, drillability, extractability, and immersion characteristics—is an effective communication strategy that significantly influences the global reach of the group. Further, the camaraderie between BTS and ARMY generates fan activism—an epitome of individual change due to the fondness to BTS, as the act of identification and the attitude of giving back to the intimacy that BTS members provide to the fandom.

This thesis takes a closer look at the phenomena of taste in relation to kitsch, art and luxury, analyzing a visual campaign, by the luxury brand Louis Vuitton. The visual campaign is made by Louis Vuitton to promote a collaboration with the postmodern artist Cindy Sherman. In her art Cindy Sherman is stepping away from modern aesthetics turning towards nostalgia and, anti- elitism. In a provocative act she brings in traits of kitsch and other pop cultural references to her art and exposes it to a conflicted art world. Using the well accommodated theoretical framework by sociologist Pierre Bourdieu, I seek to understand the underlying class related aspects of taste occurring in the collaboration between the two. In doing so I investigate the very use of Pierre Bourdieu’s theories it self, and I look to answer how these can help with revelation in a contemporary context. Later the use of Roland Barthes theories on modern myths, will be brought into play, when I shell decode the overall mythical story on taste, that Louis Vuitton, wishes to communicate through the campaign. It shell be concluded that Pierre Bourdieu’s theories, was very helpfull with pointing out the campaigns connection to cultural capital and different classified expressions of taste, that connects it to a growing middelclass, who wants an access to the world of luxury. In the very end I debate the question of taste looking forward, taking into consideration Bourdieu’s critics, to whom the classification of taste is a relic from the past.

La presente investigación analiza el papel de la gráfica transmedia detrás del álbum-objeto de la banda BTS y su impacto en el comportamiento del consumidor latinoamericano. Todo esto en base a la hipótesis que los consumidores fanáticos del álbum objeto de BTS en Latinoamérica adquieren este producto influenciados por la gráfica transmedia, la conceptualización detrás del diseño del mismo álbum y diversos factores externos. Para abordar esta investigación, que implica a un grupo humano y a la vez a objetos, se realiza una investigación cualitativa, que incluye trabajo de análisis visual, bibliográfico y de campo, tomando como base las diferentes variables de investigación. Como principales resultados, se identificó cuatro etapas gráficas reflejadas en las portadas de los álbumes de la serie Love Yourself de BTS, transmitiendo el proceso de crecimiento en la juventud mediante el amor propio. Este proceso, expresado a través de una línea volátil, crea el hilo conector entre el significado conceptual y visual de todo el proyecto. Se concluye que la gráfica transmedia detrás del álbum-objeto de BTS sí influye en el comportamiento del consumidor, pero este también se ve afectado por diversos factores culturales y sociales como el fenómeno Hallyu, la influencia del comportamiento colectivo de los fandoms, el poder adquisitivo del público objetivo y la conexión emocional estrecha que mantienen las fanáticas con sus ídolos. / This research analyzes the role of transmedia graphics behind the material album of the band BTS and its impact on the behavior of the Latin American youth consumer. All this based on the hypothesis that the fanatic consumers of the material album of BTS in Latin America acquires this product influenced by the transmedia graphics, the conceptualization behind the design of the album itself and various external factors. To address this research, which involves a human group and also objects, a qualitative research is being carried out, which includes visual, bibliographic and field analysis work, based on the different research variables. As main results, four graphic stages reflected in the album covers of the BTS Love Yourself series were identified, conveying the process of growth in youth through self-love. This process, expressed through a volatile line, creates the connecting thread between the conceptual and visual meaning of the entire project. It is concluded that the transmedia graphics behind the BTS material album does influence consumer behavior, but this is also affected by various cultural and social factors such as the Hallyu phenomenon, the influence of the collective behavior of fandoms, the acquisitive power of the target audience and the emotional connection fans have with their idols. / Trabajo de investigación

The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai's nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China's musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.

A trend of temporary interventions is sweeping through Western cities in the 21st century. Being anything from art on street benches or small pop-up stores to street festivals, food trucks or urban farms, these expressions have recently been given more attention by the academic world and city authorities. Such expressions are often clustered under umbrella concepts such as tactical urbanism, temporary urbanism, DIY urbanism, guerilla urbanism and pop-up urbanism. In this thesis the expressions and the way in which they are organized are called Tactical and Temporary Urbanism Initiatives (TTUI). In the Swedish municipality Nacka east of Stockholm, a small peninsula called Kvarnholmen has hosted actors with short-term commitments during the summer of 2014; a project called Under Konstruktion. Situated at the site were an art & exhibition center, a ‘magical’ garden, a food caravan, a night club and a festival. In parallel, Kvarnholmen is developing into a city district as part of a municipal aim to build almost 15000 new apartments over the next 15 years. The initiators of Under Konstruktion, Nacka municipality and the developer KUAB, have aimed to put Kvarnholmen “on the map” during the time of construction (among other intentions) and have brought in the above actors to realize this ambition. The thesis evaluates Under Konstruktion in order to answer the research question; what is the potential role and function of tactical and temporary urbanism initiatives within municipal planning and urban development processes in a Swedish context? Based on previous research and 11 interviews with project actors, it is discussed why TTUI should be implemented in municipal planning and what kind of knowledge and structures that are needed for an implementation to take place. Potential risks associated with TTUI implementation is also discussed. The evaluation shows that several ambitions have been achieved. The project was well-attended and a medial success but heavy workload and poor communication added stress and a negative touch. More involved actors and better anchoring within the municipal organization is suggested, and the cherry-picking of actors is questioned. Under Konstruktion has mainly been concerned with market strategic goals, which is not the main intention of TTUI and merely one piece of an urban development strategy. It is argued for that such a TTUI strategy in other locations in Nacka could possibly hasten gentrification processes. The thesis suggests broad TTUI implementation to recognize and adapt to global trends, basing the implementation on its advantages to rationalize land use, support creativity and diversify citizen participation processes. Such an approach have risks worth considering, for instance conflicts between actors, citizen ignorance or lack of bottom-up creativity. It would also be time-consuming, require resources and a questioning of municipal professions. Through the unique character of Under Konstruktion, Nacka has shown commitment to create vibrant districts, but not yet have TTUI become a significant part of its urban development strategy. With the current massive development in mind, implementing a short-term perspective cannot be hastened but step-by-step included to permeate the long-term strategic framework.

The thesis "Biblical motifs in Czech pop music of the 1960s and the 1970s of the twentieth century: The function and using of biblical motifs for pop music lyrics with the original biblical background and message" introduces the academic framework of the topic within the first chapter: the definition of the terms, the criteria and method for selecting the motifs and lyrics used. Then, the position of Czech pop music in the cultural and political context of the period is explained, which is a relevant part of the topic itself. Also an outline of the academic reflection of the related topic is referred to as well as the function of biblical motifs in other styles of music (rock, folk and underground music) with the emphasis on the projection of the stylistic differences into using these topics for the lyrics. The following four chapters are probes into the pop music and biblical motifs issue.They are meant as the reflection of the the inner dynamics of the genre as well: in the second and third chapters the selected biblical motifs (general motifs, prayers, biblicisms and biblical characters) are enlisted and the anylysis of their funcion and using for various lyrics is provided in comparison with their biblical message and introducing the original loci in the B ible. The fourth chapter is focused on...