A pesquisa exploratória e metodológica debruça-se sobre as relações estabelecidas entre museus e idosos e procura entender como, na prática, a museografia aborda o público idoso, como resultado da expansão de públicos, com embasamento nas políticas de inclusão sócio cultural, diretrizes e regulamentações museológicas e políticas socioculturais desenvolvidas com aumento do número de cidadãos com 60 anos e mais como grupo etário no Brasil e dentro da tendência de envelhecimento da população mundial. A museologia explora a função social por meio da comunicação e salvaguarda no processo curatorial. O processo de envelhecimento e a musealização podem ser bem-sucedidos estabelecendo relações de comunicação e interação sociocultural, proporcionando aprendizagens ao longo da vida e diálogo intercultural contemplando as necessidades de atividades da vida diária e de lazer, contemplando necessidades, vivências, interesses e motivações, como forma adaptativa para a vida destes indivíduos, agregando conhecimentos interdisciplinares de estudos sobre envelhecimento, a partir da gerontologia. O grupo designado de \"idoso\" remete para uma diversidade de categorizações culturais de indivíduos, que pode ser um trunfo ou freio, mas certamente um desafio para o relacionamento com a museografia. A pesquisa de recepção como metodologia possibilita observar uma proposição conceitual, destacando a necessidade de se conhecer os idosos como público potencial de museus (visitantes e não visitantes), explorando o contexto das instituições museológicas e apontando diversas escolhas museográficas possíveis que condicionam as propostas de relacionamento com o público, com vista ao impacto positivo nos idosos e nos museus. / The exploratory and methodological research focuses on the relations between museums and elderly, and seeks to understand how, in practice, museography covers elderly population since a result of expansion of public, with grounding in the social and cultural inclusion policies, guidelines and museological regulations and socio-cultural policies developed from the increase number of citizens aged 60 and over in Brazil, within the aging population trend. The museological communication and safeguarding can explore the social function in the curatorial process seeing that the process of aging and musealization can be successful establishing relationships and socio-cultural interaction and intercultural dialogue providing lifelong learning considering the needs of the elderly audiences, the daily life activities and leisure times,experiences, interests or motivations taking into account adaptations to the aging process and adding interdisciplinary knowledge of studies on aging from gerontology. The elderly group refers to a diversity of cultural categorizations of individuals who can be an asset or a brake to the relationship with museums in practice. Reception research is a methodology that has developed a conceptual proposal that enables understanding elderly as potential audience (visitors and non-visitors), exploring the institutional context as approaches and partnerships, and analysing museographic choices, because these are condition of practices \"in\" museums, reviewing challenges and / or opportunities enabling a museographic relationship with a view to impact on the life of both, elderly and museums.

This thesis stakes out to reframe the debates surrounding a widely criticised chapter in the cultural history of modern Greece: the receptions of the classical past under the Dictatorship of 21 April (also known as 'the dictatorship of the Colonels') during the period 1967 to 1973. Informed by the hermeneutics of classical reception studies, I aim to provide a new perspective on the dictatorship, one that focuses on the contemporaneity of its discursive and visual renderings of antiquity, but which departs from a conceptual framework that is dictated by the master narrative of the Cold War (by the polarisations between Right and Left). The project converges on the ideological discourses, educational policies and the mass spectacles of the Colonels, each of which has been designated as fraught with 'ancestoritis' or 'pseudoclassicism' in the literature. In breaking away from value judgments and notions of misappropriation, it is my intention that the project functions as an exercise in a critical levelling with the dictatorship's multifold classicisms. Concomitantly, I propose that in order to better understand the politics of reception of the Aprilians, which have often seemed impenetrable, it is necessary to branch out into more cross-disciplinary methods of enquiry than those that have been employed in the past. My own approach borrows analytical tools from theories of counter-intelligence, cultural studies, political theory, educational sociology and performance studies. With this exploratory patchwork, the present study hopes to contribute toward opening up a field on which it is possible to examine the dictatorship on its own terms, while taking into account the composite articulations of antiquity with power, upward social mobility, economic development, and entertainment and leisure culture in 1960s Greece.

This thesis – ‘Cinema on the Front Line: A History of Military Cinema Exhibition and Soldier Spectatorship during the First World War’ - provides an overview and examination of an element of British cinema history that remains largely undocumented within the disciplines of Film Studies and military history. Built upon highly original and extensive research, the thesis documents how the cinema intersected with the lives of British and dominion soldiers at practically every stage of their military career: from recruitment drives to the front line and, finally, in the convalescent hospitals and camps that attempted to rehabilitate an entire generation. By bringing this largely unknown history to light, the thesis dismantles many previously held assumptions regarding British cinema exhibition during the First World War, documenting how a significant percentage of the cinema-going public – British soldiers – still engaged with cinema entertainment outside of the commercial theatrical venue. As a study of historical exhibition, it documents the scale and orchestration of the British Expeditionary Force’s implementation of cinema entertainment on the Western front between 1914 and 1918. Significantly, it is also argued that, as a historically specific demographic, British soldiers represented an actively discerning and uniquely positioned body of wartime spectators, particularly in relation to the output of topical films and newsreels which purported to document the realities of the conflict. Accounting for this hidden history of wartime film spectatorship within extraordinary and unconventional sites of exhibition, the thesis challenges established ideas regarding the practices and concerns of film exhibitors, the behaviour and preferences of wartime audiences, and the significance and impact of the material conditions in which films were exhibited.

<p>Abstract</p><p>Purpose / Aim: The purpose of this study is to find out why people look at K-1. I wanted to investigate what it was about looking at televised martial arts, specifically K-1, that attracts peoples attention and interest, and what it needs it satisfies within the viewer.</p><p>Material / Method: This study consists of three separate parts, where I investigate and analyse the producer side of K-1, the receiver side, and the program in itself as a media text. For the producer part I performed interviews with the chairman of K-1 Sweden, the production manager at Eurosport Sweden and the Eurosport K-1 commentator. As for the receivers I interviewed six people who watch K-1 more or less regularly, in order to find out why the watch the show and what it gives them. The program text analysis I performed on two K-1 programs from Eurosport, and I based it on previous studies done of similar and other kinds of programs. After the separate analysises I discussed the different results in an overarching analysis.</p><p>Main Results: There are several main reasons for watching K-1 on TV. The reasons for watching vary between different persons, but it also vary inside one person depending on different outer and inner circumstances. The most important reasons for watching is to get excitement and as an outlet of inner needs, like cleansing of suppressed feelings of aggression and hostility. In different circumstances people watch K-1 to get pleasure and relaxation. One thing that makes it more interesting to watch is that you often identify either with individual fighters or with a “martial arts identity”. This can also hold a social function, for example in terms of watching the show together.</p>

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Abstract Purpose / Aim: The purpose of this study is to find out why people look at K-1. I wanted to investigate what it was about looking at televised martial arts, specifically K-1, that attracts peoples attention and interest, and what it needs it satisfies within the viewer. Material / Method: This study consists of three separate parts, where I investigate and analyse the producer side of K-1, the receiver side, and the program in itself as a media text. For the producer part I performed interviews with the chairman of K-1 Sweden, the production manager at Eurosport Sweden and the Eurosport K-1 commentator. As for the receivers I interviewed six people who watch K-1 more or less regularly, in order to find out why the watch the show and what it gives them. The program text analysis I performed on two K-1 programs from Eurosport, and I based it on previous studies done of similar and other kinds of programs. After the separate analysises I discussed the different results in an overarching analysis. Main Results: There are several main reasons for watching K-1 on TV. The reasons for watching vary between different persons, but it also vary inside one person depending on different outer and inner circumstances. The most important reasons for watching is to get excitement and as an outlet of inner needs, like cleansing of suppressed feelings of aggression and hostility. In different circumstances people watch K-1 to get pleasure and relaxation. One thing that makes it more interesting to watch is that you often identify either with individual fighters or with a “martial arts identity”. This can also hold a social function, for example in terms of watching the show together.

Our thesis focus on how retirees perceive Tv4s news casts of economy news where we focused on five different aspects: What is the relationship between the news cast and the viewer and how does the viewer express their understanding of the news cast and the way it is constructed? What are the viewers attitude towards the news content and how do they find the news cast useful for them personally? We choosed retirees as our target group due to their vulnerable economic position in today’s society and TV as an important medium for them due to the digital divide. The study was performed with twelve qualitative interviews and one group interview where six retirees took part. We discovered a big interest for economic news in the target group. The majority had a sympathetic view of the news cast they saw but they also expressed skepticism toward the economy segment and/or news castings. The majority expressed a lack of trust for the journalists and the experts brought in to share observations and make announcements, and the financial business overall. The majority of the interviewees spoke of a hypothetic and/or possible usefulness but no one could express how the news castings affected them personally.

This dissertation seeks to abolish the inherited cliché that the Modernist writers and artists rejected earlier art and literature, particularly that of the classical tradition. In fact, both literature and art of the early 20th century made widespread use of the inherited Greco-Roman tradition in a myriad of ways. Moreover, beginning after the First World War and maturing in the 1920s, a demonstrative Neoclassical “movement” appeared across different types of art and different nations. A neoclassical or classicizing style or form is inherently malleable, an empty signifier that can, through an artist or writer’s emphasis, point towards any number of meanings. This allowed a classical style to become widespread along with its seeming resiliency as the ordered, traditional bedrock of the West. In the 1930s, however, the fascist parties of Germany, France, and Italy began to appropriate the neoclassical as a state- or party-style because of the ease with which politics could be incorporated into a relatively vacant form. Their systematic use of the classical tradition in large part “tainted” classical subjects and styles, which allowed for the post-World War II institutionalization of the avant garde. I argue that texts which used the classical tradition could do so in four distinct manners—four types of classicism. Symbolic Classicism controls its classical material by using it only at the level of hollow icon which pregnantly gestures towards antiquity. Traditional Classicism, like an adaptation of a classical narrative particularly in drama, becomes completely dependent on its borrowings. Formal Classicism borrows an inherited, vacant form which can then be injected with Modernity. Finally, Synthetic Classicism necessitates a careful balancing of the classical material, not reducing it to symbolic meaning, but producing a novel narrative or mirroring-effect, that controls its various elements designed into a modern theme or objective. / text

In this report, I examine the reception of Djuna Barnes’s novel Nightwood (1936) from contemporary reviews in periodicals to twenty-first century online reviews. I am interested in how the novel has been situated in both historical and personal canons. I focus on how Nightwood has been read through the lenses of experimental modernism, lesbian feminism and postmodern queer theory, and how my own readings of it have changed over the years. / text

For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace's Ars poetica. The second aspect is the use of Horace's poetry as a model of word usage, tropes, rhetorical figures, and metrical schemes. Finally, the last important aspect of the reception of Horace is how his works could be imitated and his words or dicta borrowed in the composition of poetry, in which students were expected to exercise as part of the poetics course. The research draws the conclusion that Horace's legacy was of paramount importance in the manuals analyzed: on the one hand the Mohylanian poetics teachers' tendency (after Renaissance literary theorists and critics) to consider poetry within rhetorical categories rendered Horace's Ars Poetica extremely congenial to them. On the other, Horace's ideas were extrapolated from their original context and at times modified to serve a moralistic and "utilitarian" conception of poetry, which considered the latter as an instrumental science that served the ends of moral philosophy. With its metrical virtuosity and brilliant verbal craftsmanship, Horace's poetry provided an excellent model for the introduction of Christian content. The analysis of the way pagan authors (Horace first and foremost) were elaborated in a Christian key in the poetry composed by Mohylanian teachers and pupils indicates that education (and with it the assimilation of the Classics) at the KMA was not extraneous to the integration of ancient learning in Christian thinking as it took place in the different confessional schools of contemporary Western Europe. / Slavic Languages and Literatures