<p>Vilket arbetssätt har den svenska styrkan i Afghanistan, specifikt i PRT Mazar-e-Sharif, i förhållande till arbetsmetoderna minimum force och show of force? Har det skett någon förändring i arbetssättet mellan 2006/07 och 2009/10? Vad kan en eventuell förändring bero på och kan man se någon inriktning för framtiden? Genom en jämförande fallstudie skall uppsatsen analysera hur den svenska styrkan i Afghanistan förhöll sig till arbetssätten minimum force och show of force vid två olika tidsperioder. Genom att analysera två tidsperioder kan man komma fram till om en förändring i arbetssätt skett samt undersöka anledningarna till den. Resultatet av analysen visar att under åren 2006/07 arbetade svenskarna i mångt och mycket efter metoden minimum force genom användandet av lätta fordon och små patruller. Under 2009/10 har dock en förskjutning mot arbetssättet show of force upptäckts genom införandet av tyngre fordon och fler vapensystem. Anledningarna beror på en förändrad taktik samt utökat samarbete med afghanskastyrkor vilket ökar hot- och risknivån och således ställer större krav på tyngre materiel med mer skydd och eldkraft. Framtiden visar inte på någon tillbakagång mot den brittiska metoden minimumforce.</p> / <p>Which approach does the Swedish force in Afghanistan, especially in the PRT Mazar-e-Sharif, use in relation to the methods minimum force and show of force? Has there been any change in approach between 2006/07 and 2009/10? What are the motives for an eventual change and can you see some indications in the future?Through a comparative case study the essay will analyze how the Swedish forces in Afghanistan worked in relation to the two approaches minimum force and show of force at two different time periods. By analyzing two time periods an eventual change in approach can be obtained and motives for it can be investigated. The results of the analysis show that during the years 2006/07 Swedish forces, in many aspects, used the method minimum force through the use of light vehicles and small patrols. During 2009/10, however, a shift in approach towards show of force is detected through the introduction of heavier vehicles and more weapons system. Motives for a change are believed to be in tactics and enhanced cooperation with Afghan forces, which increases the threat and risk level and thus increases the demands on heavier equipment with more protection and firepower. The future does not show any decline against the British method of minimum force.</p>

Vilket arbetssätt har den svenska styrkan i Afghanistan, specifikt i PRT Mazar-e-Sharif, i förhållande till arbetsmetoderna minimum force och show of force? Har det skett någon förändring i arbetssättet mellan 2006/07 och 2009/10? Vad kan en eventuell förändring bero på och kan man se någon inriktning för framtiden? Genom en jämförande fallstudie skall uppsatsen analysera hur den svenska styrkan i Afghanistan förhöll sig till arbetssätten minimum force och show of force vid två olika tidsperioder. Genom att analysera två tidsperioder kan man komma fram till om en förändring i arbetssätt skett samt undersöka anledningarna till den. Resultatet av analysen visar att under åren 2006/07 arbetade svenskarna i mångt och mycket efter metoden minimum force genom användandet av lätta fordon och små patruller. Under 2009/10 har dock en förskjutning mot arbetssättet show of force upptäckts genom införandet av tyngre fordon och fler vapensystem. Anledningarna beror på en förändrad taktik samt utökat samarbete med afghanskastyrkor vilket ökar hot- och risknivån och således ställer större krav på tyngre materiel med mer skydd och eldkraft. Framtiden visar inte på någon tillbakagång mot den brittiska metoden minimumforce. / Which approach does the Swedish force in Afghanistan, especially in the PRT Mazar-e-Sharif, use in relation to the methods minimum force and show of force? Has there been any change in approach between 2006/07 and 2009/10? What are the motives for an eventual change and can you see some indications in the future?Through a comparative case study the essay will analyze how the Swedish forces in Afghanistan worked in relation to the two approaches minimum force and show of force at two different time periods. By analyzing two time periods an eventual change in approach can be obtained and motives for it can be investigated. The results of the analysis show that during the years 2006/07 Swedish forces, in many aspects, used the method minimum force through the use of light vehicles and small patrols. During 2009/10, however, a shift in approach towards show of force is detected through the introduction of heavier vehicles and more weapons system. Motives for a change are believed to be in tactics and enhanced cooperation with Afghan forces, which increases the threat and risk level and thus increases the demands on heavier equipment with more protection and firepower. The future does not show any decline against the British method of minimum force.

Since TV became the most influential medium globally, the media content followed and as a result, a variety of programmes became international. When it came to entertainment, reality game show Survivor became a pioneer in crossing national borders when the programme’s format was licensed and sold worldwide. The ability of a single reality TV show format to appeal to different nations is remarkable and noteworthy, which consequently makes it an interesting field of research. Therefore, this essay focuses on analysing the narrative structures of the Survivor format productions in Sweden, the USA and Russia in pursuance of revealing representations and reproductions of the nations. It answers the questions about the narrative structures of the programmes, as well as about their common construction, and describes how the national identities are portrayed in a transnational reality game show format. In order to make the study extensive but at the same time significant, a structural narrative analysis with a comparative approach was chosen as a method. The selection was based on the importance of analysing the content of narratives in order to comprehend their illustrations of reality and, among other things, national identities. Mainly referring to a theory of nations as “imagined communities” and a theory about “banal nationalism”, the essay presents an analysis of the narrative structures. These structures, in their turn, expose the nation-specific elements that represent and reproduce the idea of nation. It is argued that national expressions are in general based on traditions and rituals of the nations. These representations are frequently unnoticed in everyday life; however they become noteworthy in the context of reality TV game shows such as Survivor.

Made available in DSpace on 2016-08-03T12:31:21Z (GMT). No. of bitstreams: 1 Brunopg1_30.pdf: 123865 bytes, checksum: aaa147915d7281dcf847ddf83dca9ef7 (MD5) Previous issue date: 2011-04-04 / O presente estudo tem como objetivo definir teoricamente o conceito de game show interativo, tendo por referência o novo ambiente de TV digital no Brasil. Para tanto, o método empregado para desenvolver esta pesquisa foi o qualitativo, sendo utilizadas as técnicas de pesquisa bibliográfica, análise documental e pesquisa exploratória. O ponto de partida para tal estudo foi a criação e desenvolvimento do gênero nos Estados Unidos da América local onde teve seu auge, seu declínio e seu ressurgimento quando entra em funcionamento a TV por assinatura. O formato é exportado para vários países, inclusive o Brasil, e dele vislumbram-se várias possibilidades de reformulação a partir do uso das novas tecnologias. Há um novo panorama de construção de conteúdos que foi aberto com as possibilidades da TV digital interativa e este estudo visa apontar o game show como potencial formato para uso exploratório das possibilidades de interatividade.

O objetivo deste trabalho é refletir sobre o que acontecerá com a televisão no ambiente das plataformas digitais. Cientes de que o digital trouxe a era da convergência entre mídias, nós, além de analisar a TV digital, iremos refletir sobre como o conteúdo televisivo se propaga por todas plataformas. Partimos em nossa análise de definições de televisão e de digital, e constatamos que o digital não ameaça de extinção as mídias anteriores; pelo contrário, é uma tecnologia que as potencializa. Nossa hipótese é que o mesmo acontecerá em relação à televisão: em vez de tornar a televisão obsoleta, a tecnologia digital contribuirá para que ela efetive todas as suas potencialidades. Nosso trabalho se esforça em quebrar alguns mitos que contaminam o debate sobre televisão na era digital. Defendemos a especificidade da televisão e mostramos que mesmo no ambiente digital ela vai manter e potencializar suas características. / The objective of the present study is to reflect on the future of television in the environment of digital platforms. We are aware that digital technology has brought upon us the era of media convergence. In this context we analyze digital TV and reflect on how television content is spread throughout all platforms. In our analysis we have used the definitions of television and digital as a starting point to realize that digital does not threaten the previous media; on the contrary, it\'s a technology which supports the previous ones. Our hypothesis is that television will have the same fate: instead of making television obsolete, digital technology will contribute to the development of its full potential. Our study is an effort to break the myths that the debate over television in the digital era commonly entail. We defend the specificity of television and establish that even in the digital environment it should and can retain its original characteristics.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-22T14:55:51Z No. of bitstreams: 1 kriciahelenabarreto.pdf: 999212 bytes, checksum: 40cfbe9783d1f6e43607cb07c8402efe (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-22T17:38:32Z (GMT) No. of bitstreams: 1 kriciahelenabarreto.pdf: 999212 bytes, checksum: 40cfbe9783d1f6e43607cb07c8402efe (MD5) / Made available in DSpace on 2017-05-22T17:38:32Z (GMT). No. of bitstreams: 1 kriciahelenabarreto.pdf: 999212 bytes, checksum: 40cfbe9783d1f6e43607cb07c8402efe (MD5) Previous issue date: 2012 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / O presente trabalho busca investigar como o envolvimento, a solidariedade e o vínculo entre os participantes de um dado evento comunicativo são sustentados através do uso do humor na interação. À luz de uma perspectiva interacional da linguagem (Couper-Kuhlen & Selting, 2001; Silveira, 2007), a partir da qual as expressões linguísticas são entendidas como coconstruídas pelos interlocutores, emergentes do uso, situadas, sensíveis ao contexto e adaptáveis às exigências interacionais (Duranti & Goodwin, 1992), analisou-se uma entrevista realizada no talk show “Programa do Jô”, comandado pelo humorista e apresentador Jô Soares, exibido pela Rede Globo. A produção do discurso humorístico foi entendida como uma co-construção conjunta (Clark, 1996) realizada de forma coordenada pelos interlocutores, tomando como base o modelo de geração do humor desenvolvido por Beeman (2000). Através das estratégias de envolvimento propostas por Tannen (1989), verificou-se que a natureza co-constitutiva do humor o faz funcionar, por si só, como uma macroestratégia de envolvimento, ajudando a estabelecer e desenvolver as relações interpessoais entre os participantes de uma dada interação, considerando-se as metas comunicativas de todos os seus membros. / The present work aims to investigate how involvement, solidarity and connection among participants of a given communicative encounter are sustained through the interactive use of humor. Building upon an interactional view of language (Couper-Kuhlen & Selting, 2001; Silveira, 2007) through which linguistic expressions are seen as co-constructed by interactants, emergent from use, situated, context-bound and adaptable to interactional demands (Duranti & Goodwin, 1992), we analyzed an interview which took place in a Brazilian talk show called “Programa do Jô”, hosted by the comedian and presenter Jô Soares, aired by Rede Globo. Building upon Beeman‟s (2000) model of humor production, the production of humorous discourse was understood here as a joint co-construction (Clark, 1996) developed in coordination by interactants. Through the involvement strategies proposed by Tannen (1989), it was found that the co-constitutive nature of humor enables it to work as a macro-strategy for involvement, helping establish and develop interpersonal relations among participants of a given interaction, taking into account the communicative aims of all of its members.

This Master's Thesis draws attention to established methods and procedures in the fashion design industry that are to be compared in the context of global changes and market opportunities. Special attention is given to the concept of fashion shows as the ongoing principal marketing instrument for fashion presentation. We analyze the individual elements of fashion show production, followed by the description of the theoretical mechanism of an on-line virtual fashion show. A part of the thesis is also dedicated to a general overview of the field of fashion design and a definition of the individual parts of fashion show as a market instrument in the context of the historical development of the field.In conclusion we show new opportunities in the sphere of fashion marketing, with respect to the changes in consumers' behavior in the second half of 20th century and the expected future changes in the first half of 21st century.

This thesis is concerned with the question of gender identification in drag culture. The research, upon which this work is based, focuses on Czech drag queens that participate in drag (travesti) show in an LGBTQ+ enterprise in Prague. In my research, I have attempted to grasp the motivation of my informants to do drag, their connection to queer culture and the ways in which they create their own aesthetic on stage. With the help of these topics, I approach the problem of their gender identification, both in and out of drag. On the basis of the collected fieldwork material and relevant literature, I problematize gender identification among my informants. On the basis of such identification, I furthermore attempt to demonstrate limitations and shortcomings of the heteronormative framework of gender performativity, gender performance and gender identification in general. Keywords: travesty show, drag, queer, homosexuality, performativity, performance, heteronormativity, gender subversion

The diploma thesis deals with political satire in the Show Jana Krause at the time of selected elections in the Czech Republic in the years 2010-2019. Altogether six sub-periods in which the chosen elections were held were examined, which means that the general sample of episodes of the Show Jana Krause is formed from six smaller samples. The aim of the work was to find out what form political satire had in the show in the monitored period, how often it appeared in it and which political actors were most often its target. The research method was a quantitative content analysis with the help of which the work seeks answers to the following four research questions. RQ1: How much space was devoted to political satire in the Show Jana Krause? RQ2: What elements of political satire does the Show Jana Krause use? RQ3: What politicians, or which political subjects were most often satirically portrayed on the show? RQ4: What topics did political satire on the Show Jana Krause focus on the most? The thesis consists of four chapters. The first chapter theoretically defines key concepts and outlines the history of political satire. The second chapter deals in more detail with the genre of television political satire and its development, especially with a focus on the Czech environment. The intention of the...

[pt] A produção e consumo de seriados ficcionais, especialmente nos Estados Unidos, têm crescido, resultando no surgimento da cultura das séries (SILVA, 2014) e da seriefilia (JOST, 2018). Esse aumento é impulsionado pela complexidade da estrutura narrativa (MITTEL, 2006), o contexto atual tecnológico que permite que as produções sejam assistidas em vários suportes e ambientes e pelo surgimento de grupos especializados (MUNGIOLI, 2017). Enquanto os dramas médicos têm ganhado popularidade (MEIMARIDIS, 2017), a representação dos bastidores jornalísticos não recebe o mesmo destaque. O presente trabalho discute a representação do jornalismo nas séries The Newsroom (2012, Aaron Sorkin) e The Morning Show (2019, Mimi Leder) verificando a verossimilhança por meio de estudos teóricos e cenas cotejadas com quatro entrevistas com profissionais. O objetivo é compreender a construção da prática jornalística nessas narrativas, considerando o papel fundamental do jornalismo como mediador entre eventos que ocorrem no mundo e na sociedade. / [en] The production and consumption of fictional series, especially in the United States, have seen a surge, leading to the emergence of the series culture (SILVA, 2014) and seriaphilia (JOST, 2018). This increase is driven by the complexity of narrative structure (MITTEL, 2006), the current technological context that allows productions to be watched on various platforms and in different settings, and the involvement of specialized groups (MUNGIOLI, 2017). While medical dramas have gained popularity (MEIMARIDIS, 2017), the representation of journalism behind the scenes doesn t receive the same prominence. This paper discusses the portrayal of journalism in the series The Newsroom (2012, Aaron Sorkin) and The Morning Show (2019, Mimi Leder), assessing its realism through theoretical studies and scenes compared with insights from four interviews with professionals. The aim is to understand the construction of journalistic practice in these narratives, taking into account the fundamental role of journalism as a mediator between events that occur in the world and in society.