Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This study investigates one of the central aspects of a Kenyan woman’s identity, namely the notion of sexuality, which unfortunately also underlies numerous socio-economic and developmental challenges currently confronting Kenyan women. The research shows that in Kenya, patriarchal ideologies are used to control the sexuality of women in the name of ‘our culture’. Thus, it is and has been difficult for many Kenyan women to live with dignity as beings equally created in the image and likeness of God. The study, therefore, sought to identify, expose, criticize, destabilize and to deconstruct patriarchal ideologies that deny Kenyan women the right to live with dignity. Patriarchal ideologies that have been used to mute the voices of Kenyan women on matters of sex and sexuality are challenged by introducing the voices of Kenyan women. The latter is done with reference to poetry that reflects the voices and experiences of Kenyan women as a means of expressing who they really are in the midst of a society that silences them. It is shown that, by means of poetry, the full power and energy of these women may be mobilized. Moreover, the voices and experiences of Kenyan women offer a contextual re-reading of the Song of Songs for their dignity. The study presents the female voice in the Song of Songs (a text from a male pen) as responding in a new way to the patriarchal Old Testament society on matters of sex and sexuality. In the process, a twofold strategy is proposed with which negative perceptions of the sexuality of women in the worldview of Kenya may be addressed: First, this study proposes that it is important to purposefully steer conversations regarding issues of sex and sexuality. The latter is done in the conviction that this is one way of creating a platform for addressing other gender-based injustices that deny Kenyan women the right to live with dignity. Second, by focusing on Kenyan poetry, as well as on the female voice in the Song of Songs, there is a possibility of reconstructing positive aspects of the sexuality of Kenyan women, which may allow them to live with dignity. To achieve the aim of this study, to re-read the Song of Songs for the dignity of Kenyan women, an African Women’s Theological approach is used within the broader context of feminist and womanist approaches to the Song. Through an African Women’s approach to the Song of Songs, the study asks how the female voice that spoke boldly in the patriarchal setting of the Old Testament can also be liberating in the Kenyan patriarchal setting. The female voice in Song of Songs presents issues of sex and sexuality in a new way. As such, it is proposed that the latter voice, read through the hermeneutical lens of Kenyan women’s poetry or poetry on Kenyan women, has the potential to inform and therefore to transform the patriarchal setting of the Kenyan society. It is only if Kenyan women are empowered to negotiate safe sex and to express their sexuality on their own terms and conditions, that this will be fully realized. / AFRIKKANSE OPSOMMING: Hierdie studie ondersoek een van die sentrale aspekte van ’n Keniaanse vrou se identiteit, naamlik die idee van seksualiteit, wat ongelukkig ook onderliggend is aan talle sosio-ekonomiese en ontwikkelingsuitdagings wat Keniaanse vroue tans konfronteer. Die navorsing toon in Kenia word patriargale ideologieë gebruik om die seksualiteit van vroue te beheer in die naam van ‘ons kultuur’. Dit is dus moeilik vir baie Keniaanse vroue om met waardigheid te leef as gelyk-geskape na die beeld en gelykenis van God. Hierdie studie poog om patriargale ideologieë wat Keniaanse vrouens die reg om met waardigheid te leef ontneem te identifiseer, te kritiseer, te destabiliseer en te dekonstrueer. Die studie daag patriargale ideologieë uit wat gebruik is en word om die stemme van Keniaanse vrouens oor seks en seksualiteit stil te maak. Dit word spesifiek gedoen deur die stemme en ervarings van Keniaanse vrouens in poësie te gebruik (soms in die gedigte van manlike digters!) as uitdrukking van hulle lewens te midde van ”’n patriargale samelewing. Dit word getoon hoedat hiedie gedigte die krag en energie van hierdie vroue kan mobiliseer. Meer nog, die stemme van Keniaanse vrouens bied die geleentheid tot ’n kontekstuele herlees van Hooglied met die oog op die erkening en beskerming van hulle waardigheid. Die vroulike stem in Hooglied word verstaan as ’n nuwe reaksie op die Ou Testamentiese samelewing met betrekking tot kwessies soos seks en seksualiteit. In die proses word daar met ’n tweeledige strategie voorendag gekom waarmee die negatiewe opvattings oor die seksualiteit van vroue in die wêreldbeeld van Keniaanse mans aangespreek kan word. Eerstens word die noodsaak voorgestel van ’n doelbewuste rigtinggewing aan gesprekke oor seks en seksualiteit. Dit word gedoen vanuit die oortuiging dat dit een manier is om ’n platform te skep waar gelsagsgebasseerde ongeregtighede wat Keniaanse vroue die reg op ’n menswaardige lewe ontsê aangespreek kan word. Tweedens, deur op Keniaanse poësie en die vroulike stem in Hooglied te fokus, word voorgestel dat dat posititewe aspekte van die seksualiteit van Keniaanse vroue herkonstrueer kan word, wat dan kan meewerk om hulle met waardigheid te kan laat leef. Ten einde bogenoemde doelwit van hierdie studie te bereik, word ’n Afrika-vrouebenadering toegepas in die lees van Hooglied. Dit vind plaas binne ’n breër konteks van Feministiese en sogenaamde “Womanist” benaderings tot die boek. Met ’n Afrika vroue benadering as leesstrategie, word aangedui dat en hoe die vroulike stem wat vreesloos in haar eie patriargale, Ou Testamentiese konteks spreek ook bevrydend kan funksioneer binne die Keniaanse patriargale konteks. Daar word dus getoon dat die vroulike stem in Hooglied seks en seksualiteit op ’n nuwe manier aanbied. Gevolglik stel hierdie studie voor dat die vroulike stem in Hooglied, gelees deur die hermeneutiese lens van Keniaanse gedigte oor of deur vroue, die potensiaal het om die patriargale konteks van die Keniaanse samelewing eendersyds te ontbloot en andersyds te transformeer. Dit is slegs wanneer Keniaanse vroue bemagtig word om vir veilige seks te kan onderhandel en hulle seksualiteit op hulle eie terme uit te kan druk, dat hulle menswaardigheid ten volle gerealiseer sal word.

The thesis traces emergence of chrysanthemum, a favourite symbol in Chinese poetry, and discusses its various uses within the context of the Song ci poets. The chapters of the thesis focus on precising connotations and their transformations related to the chrysanthemum as one of the most frequently appearing flower motifs in Chinese literature and specification of the literary-historical description of the Song ci and yongwu evolution process. The thesis also aims to present connotations reflecting the evolution of Song lyrics from non-serious tunes to the official poetry, shift in using the motif in shi and ci poems and the presence of Tao Yuanming's and Qu Yuan's chrysanthemum motif in Song ci. It describes the extent in which the genre of Song ci modifies the meaning of motif; how much of the traditional meaning referring to Qu Yuan and Tao Yuanming is preserved and how does the ci genre influence traditional meaning and the general cultural cognizance attached to the motif. Attention is also paid to the process in which the meaning empties itself and becomes an ornamental motif indicating occasion and season of the year and evoking certain mood. Key words: chrysanthemum, Tao Yuanming 陶淵明, Song dynasty, ci 詞 poem, yongwu 詠物, flower motif

Syftet med denna studie är att analysera de fyra senaste nordiska vinnarbidragen i Eurovision Song Contest, för att se om det föreligger återkommande mönster, normativa könsstereotyper och hur makt uttrycks i tävlingen. Genom multimodala analyser av dessa bidrag med fokus på kön och makt, kommer följande frågeställningar att besvaras: Hur ser den multimodala gestaltningen ut inom de fyra senaste nordiska vinnarbidragen i Eurovision Song Contest? Samt: Hur representeras kvinnor respektive män i de olika bidragen? Som material för analyserna har Youtube-klipp på samtliga bidrag använts, där det multimediala har analyserats genom multimodala analyser. Efter dessa analyser blir sammanfattningen att det finns återkommande mönster och könsstereotyper inom ESC, där männen ofta tilldelas makt medan kvinnor i stället är den mer försumbara. Dessa mönster och stereotyper ser vi inte givetvis vid första inblicken av ett bidrag, utan genom att göra djupare multimodala analyser. / The primary aim of this study is to examine and analyze how different media (multimedia or mixed media) in the Eurovision Song Contest work togheter when combined. The expectation is to see if there are reocurring themes and patterns in the representation of the Nordic countries in the ESC with a main focus on gender bias and authority. Four different winning entries from the Eurovision Song Contest performed by the Nordic countries have been chosen and analyzed. The thesis in this essay is that there are patterns in the representation of different countries in the ESC, and that there also may occur stereotypical gender bias. Therefore the key questions have been the following: What does the multimodal impersonation of the latest four Nordic winners in the ESC look like? And: What does the representation of men and women look like? Youtube-videos have been used as material to analyse these performances by doing multimodal analyses. This study indicates that there are occuring gender bias and stereotypes in the ESC, and also reoccuring patterns in the representation of the Nordic countries as a geographical area. We can not see this by the first glimpse, but through deeper multiodal analyses.

O trabalho que aqui se enuncia debruçou-se sobre um álbum de canção. O exame se ancorou em dois arcabouços teóricos: o da Semiótica francesa, e seus desdobramentos tensivos, e o do Círculo de Bakhtin. A hipótese que firmou este trabalho é a de que o álbum de canção enquanto compilação compõe um todo de sentido. Ao selecionar as canções e as fotografias para compô-lo, a enunciação faz com que cada elemento funcione (pensa-se nas funções de Hjelmslev, 2003) e faça o todo significar na parte. A totalidade aponta para cada parte no momento em que cada membro pulsa a totalidade. O trabalho não atentou apenas às canções, mas também lançou luz à imagem/fotografia que inaugura o encarte do álbum de canção, para o que foram bem-vindos os postulados da Semiótica Visual. Dessa totalidade de enunciados emerge o estilo. Uma vez no âmbito do estilo, o trabalho acolheu o pensamento de Bakhtin quando o teórico elucida sua teoria sobre os gêneros discursivos. Alavancou-se, de igual modo, o pensamento de Discini, no momento em que a teórica firma parceria entre a Semiótica e Bakhtin para pensar o Homen encarnado nos textos, que é o estilo. A presente pesquisa, então, examinou o álbum enquanto gênero discursivo, ao articular uma temática (aquilo de que se diz) e uma composição (na maneira em que se diz), ambas fundadoras, e fundadas, do/pelo estilo (um modo póprio e recorrente de dizer da maneira pela qual se diz). Da recorrência do dizer se depreende uma recorrência no modo de ser: o modo de se fazer presente. O estilo é o homem, segundo Buffon. O estilo é duas pessoas, de acordo com Bakhtin. Para se refletir acerca dos homens encarnados nos textos, o trabalho se radicou na noção de estrutura aberta, recuperada nos trabalhos de Discini (2015). A partir daí, concebeu-se o estilo como imanente e diferencial. Imanente se ancora na língua como estrutura, e por isso, fechada. Diferencial se inaugura na transcendência: a abertura da estrutura. O caráter imanente instaurou uma análise que se baseou no formal, de onde se referenciou a semiótica enquanto teoria e método imanentes. O teor transcendente só foi integrado a partir do formal, quando a pesquisa se beneficiou do pensamento de Bakhtin. Concebeu-se neste estudo, a partir da noção de estrutura aberta, a transcendência como imanente, para o que se convocou o conceito de signo ideológico, cunhado em Bakhtin (1992). O álbum a que se refere é o Setevidas (2014), da cantora e compositora Pitty. Da totalidade dos enunciados de Pitty, emergiu seu estilo como modo recorrente de dizer, que remete a seu modo de ser. Esse modo de ser é sua imagem discursiva: seu éthos. Dos rastros do enunciado à enunciação. Do actante do enunciado ao ator da enunciação. Do ator ao enunciatário. O estilo é Pitty. O estilo é Pitty e seu enunciatário. O estilo é Pitty e o mundo percebido. O trabalho examinou da imanência à transcendência, pela aparência, no âmbito de uma estilística discursiva. / The research here presented dealt with a music album. The analysis was based on two different theoretical fields: the French Semiotics and its tensive unfoldings, and the Bakhtin Circle. The hypothesis formulated for this research is that the music album, as a compilation, is trespassed by a meaningful unit. In selecting the songs and the pictures in order to design it, the enunciation makes that each element functions (according to Hjelmslev, 2003) and makes the whole signify in its part. The totality points out to each part at the same time that each member connects to the totality. The research did not only pay attention to the songs, but also highlighted the picture featured in the album, to which were handful the statements of the visual semiotics. From this totality of enunciates emerges style. Once in the aim of style, the research made use of the Bakthinian theory about discursive genres. Equally important, the thought of Discini, at the moment in which the theoretician makes a link between Semiotics and Bakhtinian studies to think the Men incarnated in the texts, which means style. The current research, thus, examined the album as a discursive genre, while articulating a theme (that what is said about) and a composition (the way is said what is said), both founding and founded by and through style (a unique and recurring way of saying the way it is said). From the recurrence of the saying one can apprehend a recurrence in the way of being: the way of making oneself present. Style is the man, according to Buffon. Style is two people, according to Bakhtin. In order to reflect about the men incarnated in the texts, this work was based on the concept of an open structure, recovered in the written work of Discini (2015). From there, we conceptualized style as immanent and differential. Immanent is present in the language as a structure, therefore, closed. Differential is created in the transcendence: the opening of the structure. The immanent characteristic made the analysis become more concerned with the formal, from which Semiotics was referred to as immanent theory and method. The transcendental tone was only possible through the formal, when the research benefited from the Bakhtinian thought. It was conceived in this study, from the notion of open structure, the transcendence as immanent, to what was recalled the concept of ideological sign, coined in Bakhtin (1992). The album to which the research refers is called Setevidas (2014), by the singer and composer Pitty. Out of the totality of the enunciates by Pitty, emerged her style as a recurring way of saying, which reiterates her way of being. Such a way of being is her discursive image: her éthos. From the sources of the enunciate to the moment of the enunciation. From the actor to the interlocutor. The style is Pitty. The style is Pitty plus its interlocutor. The style is also Pitty and the world perceived. The research was made with its analysis going from the immanence to transcendence, through appearance, on a discursive stylistic bias.

5 ABSTRACT Romani folk song is not generally known among Czech population, which is a reason why this thesis in its theoretical part tries to familiarize with its origin, describe historical development of Romani music and divide songs according to functions and close geographical areas of its occurrence, so that a comprehensive picture can be created for the readers. The following part brings analysis of five Romani dance songs, which are described musically, textually and semantically. This section is based on various songbooks and audio recordings to create as authentic a version of a song as possible. The songs are enriched of sheet music together with lyrics and harmonisation for better possibilities of their application. The thesis continues with a suggestion of eventual means of application of Romani folk songs in vocal, musical and physical education. Moreover, there are described analysed songs with Romani scatting suggestions, typical features of expression, dance steps and rhythmical moves, which are typically observed in Romani culture. The dance steps are added in a form of textual description as well as short video recordings to become easily comprehensible. The main aim of the work is to point out the vibrant and energetic character of Romani songs, to unite Roma with majority population and...

Esta dissertação procurou investigar a criação de obra original e de arranjo de canção como modelos de repertório utilizados pelos corais amadores brasileiros, com ênfase especial no meio universitário paulista, a partir de 1960. Um panorama histórico do século XX na música coral produzida no Brasil tornou-se necessário para localizar alguns dos fatores que determinaram a inserção de arranjos da canção popular urbana, ocorrida entre as décadas de 60 e 90, em especial como decorrência da atuação de alguns compositores do grupo Música Nova. Os dados recolhidos apontam os prováveis fatores que determinaram a inserção do arranjo da canção popular urbana (num momento já posterior aos arranjos de folclore) e revelam seus desdobramentos, como por exemplo, o surgimento de uma nova poética de escrita coral, o novo fazer coral, a inclusão da performance cênica, o predomínio do arranjo sobre as obras originais criadas para coro no repertório coral deste mesmo período e as alterações na interpretação e na vocalidade, que se transformaram para se adequar à nova escrita coral proposta pelos arranjadores deste período. Em alguns casos, tornou-se a grande busca artística de importantes grupos vocais brasileiros. Os resultados obtidos destacam a atuação de três arranjadores que iniciaram este processo: Levy Damiano Cozzella, Samuel Kerr e Marcos Leite. Nesta pesquisa serão também apontadas algumas das principais diferenças entre as linhas desenvolvidas por esses arranjadores e as influências que elas tiveram na atividade coral paulista e carioca no período, com desdobramentos que alcançam os dias de hoje. Procuraremos também verificar os fatores que levaram os corais a se afastarem das obras originais criadas para o coro no Brasil neste mesmo período, uma vez que o arranjo da canção popular urbana aos poucos foi se tornando uma busca artística, pedagógica e em alguns casos política, tanto dos regentes como dos coralistas. / This thesis sought to investigate the creation of original works and arrangements as models for the repertoire used by Brazilian amateur choirs, with special emphasis on the Choir of the University of São Paulo, since 1960. A historical overview of twentieth-century choral music produced in Brazil was necessary to identify some of the factors that determined the inclusion of arrangements of popular urban song, in the repertoire occurred throughout the 60s and 90s, particularly as a result of the actions of some composers of the Grupo Música Nova (New Music Group). The collected data show the likely factors that led to the prevalence of arrangements of urban folk songs (at a period that follows the trend of arrangements of folklore materials). They also, show its consequences, such as the emergence of a new poetic of choral writing, the inclusion of theatrical performances, the little interest arose by the original works for choir composed at that same period and finally, the changes in the interpretation and vocal techniques which turned to fit the new choral writing of the period. In some cases, it became the great artistic search of important Brazilian vocal groups. The results of the research show also the fundamental contribution of three arrangers who started this process: Damiano Cozzella Levy, Samuel Kerr and Marcos Leite. This research also points out some key differences between the styles developed by these arrangers and the influence they had on the choral activity in Sao Paulo and Rio de Janeiro at that period. The effects of the models that they propose reach this day. We also examined factors that led most of the choral groups, to ignore the original works created for choir in Brazil at the same period, since the arrangement of popular urban songs gradually became the prevailing artistic research, teaching method and sometimes political, tool by both conductors and singers.

O trabalho que aqui se enuncia debruçou-se sobre um álbum de canção. O exame se ancorou em dois arcabouços teóricos: o da Semiótica francesa, e seus desdobramentos tensivos, e o do Círculo de Bakhtin. A hipótese que firmou este trabalho é a de que o álbum de canção enquanto compilação compõe um todo de sentido. Ao selecionar as canções e as fotografias para compô-lo, a enunciação faz com que cada elemento funcione (pensa-se nas funções de Hjelmslev, 2003) e faça o todo significar na parte. A totalidade aponta para cada parte no momento em que cada membro pulsa a totalidade. O trabalho não atentou apenas às canções, mas também lançou luz à imagem/fotografia que inaugura o encarte do álbum de canção, para o que foram bem-vindos os postulados da Semiótica Visual. Dessa totalidade de enunciados emerge o estilo. Uma vez no âmbito do estilo, o trabalho acolheu o pensamento de Bakhtin quando o teórico elucida sua teoria sobre os gêneros discursivos. Alavancou-se, de igual modo, o pensamento de Discini, no momento em que a teórica firma parceria entre a Semiótica e Bakhtin para pensar o Homen encarnado nos textos, que é o estilo. A presente pesquisa, então, examinou o álbum enquanto gênero discursivo, ao articular uma temática (aquilo de que se diz) e uma composição (na maneira em que se diz), ambas fundadoras, e fundadas, do/pelo estilo (um modo póprio e recorrente de dizer da maneira pela qual se diz). Da recorrência do dizer se depreende uma recorrência no modo de ser: o modo de se fazer presente. O estilo é o homem, segundo Buffon. O estilo é duas pessoas, de acordo com Bakhtin. Para se refletir acerca dos homens encarnados nos textos, o trabalho se radicou na noção de estrutura aberta, recuperada nos trabalhos de Discini (2015). A partir daí, concebeu-se o estilo como imanente e diferencial. Imanente se ancora na língua como estrutura, e por isso, fechada. Diferencial se inaugura na transcendência: a abertura da estrutura. O caráter imanente instaurou uma análise que se baseou no formal, de onde se referenciou a semiótica enquanto teoria e método imanentes. O teor transcendente só foi integrado a partir do formal, quando a pesquisa se beneficiou do pensamento de Bakhtin. Concebeu-se neste estudo, a partir da noção de estrutura aberta, a transcendência como imanente, para o que se convocou o conceito de signo ideológico, cunhado em Bakhtin (1992). O álbum a que se refere é o Setevidas (2014), da cantora e compositora Pitty. Da totalidade dos enunciados de Pitty, emergiu seu estilo como modo recorrente de dizer, que remete a seu modo de ser. Esse modo de ser é sua imagem discursiva: seu éthos. Dos rastros do enunciado à enunciação. Do actante do enunciado ao ator da enunciação. Do ator ao enunciatário. O estilo é Pitty. O estilo é Pitty e seu enunciatário. O estilo é Pitty e o mundo percebido. O trabalho examinou da imanência à transcendência, pela aparência, no âmbito de uma estilística discursiva. / The research here presented dealt with a music album. The analysis was based on two different theoretical fields: the French Semiotics and its tensive unfoldings, and the Bakhtin Circle. The hypothesis formulated for this research is that the music album, as a compilation, is trespassed by a meaningful unit. In selecting the songs and the pictures in order to design it, the enunciation makes that each element functions (according to Hjelmslev, 2003) and makes the whole signify in its part. The totality points out to each part at the same time that each member connects to the totality. The research did not only pay attention to the songs, but also highlighted the picture featured in the album, to which were handful the statements of the visual semiotics. From this totality of enunciates emerges style. Once in the aim of style, the research made use of the Bakthinian theory about discursive genres. Equally important, the thought of Discini, at the moment in which the theoretician makes a link between Semiotics and Bakhtinian studies to think the Men incarnated in the texts, which means style. The current research, thus, examined the album as a discursive genre, while articulating a theme (that what is said about) and a composition (the way is said what is said), both founding and founded by and through style (a unique and recurring way of saying the way it is said). From the recurrence of the saying one can apprehend a recurrence in the way of being: the way of making oneself present. Style is the man, according to Buffon. Style is two people, according to Bakhtin. In order to reflect about the men incarnated in the texts, this work was based on the concept of an open structure, recovered in the written work of Discini (2015). From there, we conceptualized style as immanent and differential. Immanent is present in the language as a structure, therefore, closed. Differential is created in the transcendence: the opening of the structure. The immanent characteristic made the analysis become more concerned with the formal, from which Semiotics was referred to as immanent theory and method. The transcendental tone was only possible through the formal, when the research benefited from the Bakhtinian thought. It was conceived in this study, from the notion of open structure, the transcendence as immanent, to what was recalled the concept of ideological sign, coined in Bakhtin (1992). The album to which the research refers is called Setevidas (2014), by the singer and composer Pitty. Out of the totality of the enunciates by Pitty, emerged her style as a recurring way of saying, which reiterates her way of being. Such a way of being is her discursive image: her éthos. From the sources of the enunciate to the moment of the enunciation. From the actor to the interlocutor. The style is Pitty. The style is Pitty plus its interlocutor. The style is also Pitty and the world perceived. The research was made with its analysis going from the immanence to transcendence, through appearance, on a discursive stylistic bias.

Currently, a variety of methods are available to monitor anurans, and little standardization of methods exists. New methods to monitor anurans have become available over the past twenty years, including PVC pipe arrays used for tree frog capture and Automated Digital Recording Systems (ADRS) used to remotely monitor calling activity. In addition to ADRS, machine-learning computer software, automated vocalization recognition software (AVRS), has been developed to automatically detect vocalizations within digital sound recordings. The use of a combination of ADRS and AVRS shows the promise to reduce the number of people, time, and resources needed for an effective call survey program. However, little research exists that uses the described tools for wildlife monitoring, especially for anuran monitoring. In the study, there were two problems addressed relating to AVRS. The first was the poorly understood relationship between auditory survey methods and physical survey methods. I tested this problem by using current auditory monitoring methods, ADRS and the AVRS Song Scope© (v.3.1), alongside more traditional physical monitoring methods that included drift fences, a PVC pipe array, and visual encounter transects. No significant relationship between physical and auditory community population measures was found. Auditory methods were also effective in the detection of call characteristic differences between urban and rural locations, further suggesting an influence of noise pollution. The second problem addressed was the call identification errors found in auditory survey methods. I examined the influence of treatments including the ADRS location, listener group, species, and season on the error rates of the AVRS Song Scope© (v.3.1) and groups of human listeners. Computer error rates were higher than human listeners, yet less affected by the treatments. Both studies suggested that AVRS was a viable method to monitor anuran populations, but the choice of methods should be dependent upon the species of interest and the objectives of the study.

Syftet med studien är att undersöka hur Malmö stad använder sig av evenemang för en ökad attraktionskraft.  Studiens syfte och frågeställningar har besvarats genom intervjuer med Malmö stad, Malmö Turistbyrå, Tourism in Skåne och Event in Skåne. Insamlingen av empiri har utförts genom kvalitativa telefonintervjuer samt en kvalitativ mailintervju, alla dessa baserades på ett icke-sannolikhetsurval gällande urvalet av respondenter. Samtliga intervjuer har haft öppna frågor och varit semistrukturerade. Intervjufrågorna har utformats utifrån studiens frågeställningar och har anpassats efter respektive respondent. I studien har även en litteraturstudie genomförts utifrån tre rapporter med fokus på de effekter som uppstod genom Handbolls-VM 2011. Studiens teoretiska referensram utgår från förklaring av attraktionskraft, typer av evenemang, effekter av evenemang, evenemangsturism, samarbete och image. Undersökningen har strukturerats upp utefter de intervjuer och litteraturstudie som har gjorts. Gemensamma rubriker har skapats för att få en tydligare struktur och en röd tråd för att göra studien läsvänlig. Analysen har strukturerats upp utifrån studiens frågeställningar. Slutsatsen av studien är att Malmös attraktionskraft ökar genom evenemang då staden har ett bra utvecklat samarbete mellan stadens aktörer. Detta gör att staden skapar möjligheter för att arrangera fler attraktiva evenemang. Attraktionskraften ökar även genom att det finns en medvetenhet i staden när det gäller vilka positiva effekter evenemang kan bidra till, exempelvis att stärka stadens image, skapa en bättre gemenskap bland lokalbefolkningen och ett ökat besöksantal. Studien visar att både Handbolls-VM 2011 och Eurovision Song Contest 2013 har bidragit till ovanstående effekter.

Ce travail constitue une réflexion sur la chanson contestataire contemporaine aux États-Unis à travers les chansons et l’engagement politique et social de Bruce Springsteen. Nous défendons la thèse que Springsteen renouvelle le genre de la protest song en s’adaptant à l’époque contemporaine. Pour ce faire, le chanteur adopte quatre stratégies artistiques. Elles consistent à chanter sur les gens ordinaires et leur quotidien, aborder le désenchantement et le désespoir des plus exclus, composer des chansons qui remplissent une fonction cathartique en ayant recours à l’imitation et enfin à militer dans la sphère politique et sociale en soutenant des candidats lors des élections présidentielles américaines tout en offrant des dons aux organisations caritatives qui aident les plus démunis. La thèse démontre que Springsteen arrive à se hisser au sommet du classement des meilleures ventes aux États-Unis et à travers le monde grâce à ces stratégies. Elles lui ont permis de mobiliser un public et d’avoir des millions de fans. Nous proposons d’appeler les chansons engagées de Springsteen des chansons méditatives (reflective songs). La chanson méditative de Springsteen est, sans doute, l’outil culturel de contestation le plus adapté à l’époque contemporaine où il est difficile pour un artiste engagé de protester efficacement du fait de la marchandisation de l’acte même de sa contestation. Il se peut que la reflective song de Bruce Springsteen ne change pas le monde, mais elle peut en revanche permettre aux gens de croire en un monde meilleur et donc de les dissuader de se révolter. / This work is a study of contemporary protest song in the USA through the songs and social and political activism of Bruce Springsteen. It contends that Springsteen has been able to reexamine American protest songs and frame a new genre under the umbrella of rock music by adapting his music to the social and political context of contemporary America. The thesis that I defend shows that the reason behind the commercial success of Springsteen can be explained by the fact that he has adopted several artistic strategies which have brought him an audience composed of dedicated fans who admire him. I argue that Springsteen adopts four main strategies: firstly, singing about ordinary people and reporting their daily hardships; secondly, composing somber songs that deal with the despair of blue collars and marginalized Americans; thirdly, adopting mimesis (imitation) which has a cathartic effect on Springsteen’s audience; and finally, getting involved in social and political activism. The thesis contends that Springsteen is among the top selling rock singers in the USA and several other countries thanks to these four strategies. Springsteen has reinvented protest song as a genre and has become a reference in a world where everything is co-opted including the very act of rebellion. I, therefore, suggest a new term, reflective songs, to describe the songs of Bruce Springsteen when they reflect on the condition of the socially excluded instead of protesting pointlessly. Springsteen’s reflective song is undoubtedly the most relevant artistic medium to shed light on the most deprived people of contemporary America. Perhaps, the reflective song of Bruce Springsteen will not change the world, but at least it gives people a reason to hope for a better future.