Not available / text

Romance reality programming has become a major player in the television field, with the most successful shows garnering huge ratings and massive audiences over the course of numerous seasons. But while the concept of finding love in a competitive environment on the national stage is new, romance reality TV programs seem to regenerate outdated stereotypes which work in a retrograde fashion to envisage love in traditional, pre-feminist heteronormative and patriarchal structures. Combining a background of literature on reality TV which gives insight to the manipulative tendencies of the industry; feminist scholarship on the acculturating and indoctrinating nature of classic fairy tales; and writings on the prevalence of postfeminist ideology that emphasizes self-surveillance/subjectification, the rhetoric of self-empowerment, and natural differences between the sexes, this thesis examines one of the most ubiquitous romance reality shows, The bachelor. Through the lens of nine tropes--beauty, passivity, marriage, victimization, vilification, romance rhetoric, gender roles, consumerism, and the male gaze--I analyze a full season of episodes, tallying the occurrences in each category. Using these tally numbers as general indicators and providing examples of each theme, I argue that the lessons conveyed to audiences by The bachelor and other romance reality programs bear a striking resemblance to classic fairy tales morals in which positive outcomes for heroines directly correlate to their perceived femininity, including conventionally feminine virtues like physical beauty, moral turpitude, and adherence to normative gender roles. The presence of postfeminism in the media contributes to making these outdated fairy tales themes seem congruent with female agency and empowerment by uncritically casting the failure to find love as a personal one. At the same time, men are placed in advantageous positions of authority and power, affirming the inevitability and desirability of patriarchal relationship arrangements. / text

Not available / text

How fashion is being presented today? A retrospective research into the history of the fashion shows in order to observe and examine the metamorphosis of the runway presentations of the present time. Fashion designers from the Swedish School of Textiles have participated in the thesis' interview as to express their point of view and elaborate on the issue.

Thesis (Ph. D.)--UCLA, 2008. / Vita. List of figures shows incorrect page numbers. Includes bibliographical references (leaves 670-720).

Thesis (M.A.)--Florida State University, 2005. / Advisor: Dr. William T. Lhamon, Jr., Florida State University, College of Arts and Sciences, Dept. of American and Florida Studies. Title and description from dissertation home page (viewed June 8, 2005). Document formatted into pages; contains iv, 35 pages. Includes bibliographical references.

L’enjeu de cette thèse sur Henry Fuseli est de tenter de montrer la façon dont cet artiste a conçu sa pratique de la peinture d’histoire comme un véritable spectacle. En nous appuyant notamment sur l’analyse du corpus d’œuvres shakespeariennes peintes, dessinées et gravées par l’artiste entre 1768 et 1825, nous avons essayé de mettre au jour les processus de « spectacularisation » à l’œuvre chez Fuseli. L’étude de la participation de l’artiste à la société anglaise et à ses divertissements - spectacles privés, fréquentation des théâtres publics et d’attractions plus populaires - a permis de mesurer en quoi une culture visuelle bien plus large que celle issue de la simple production théâtrale informe la production de l’artiste. Le spectacle populaire, véritable modèle caché du peintre, a nourri la réflexion de Fuseli sur la recherche de l’effet en peinture, dans sa relation avec la mémoire du spectateur. Contre l’idée commune faisant de Fuseli un peintre visionnaire, ancrant son œuvre dans sa seule imagination, cette thèse a pour ambition de montrer la nature du rapport éminemment matériel que l’artiste entretint avec les spectacles de son temps. La mise au jour du rôle des réminiscences de la scène de théâtre dans la création picturale et l’étude du transfert d’un certains nombre de « signes matériels » de la scène au tableau (tels que le cadre, les portes, le rideau…), nous ont permis de mettre en évidence l’esthétique en acte dans la peinture d’histoire de Fuseli. C’est la question de la relation que cette peinture instaure avec son spectateur qui clôt notre étude : une forme de pacte au sein duquel celui qui peint et celui qui regarde s’accordent, le temps du regard, pour croire à ce qui est donné à voir, afin d’en éprouver l’effet. / Trying to demonstrate how Henry Fuseli’s practice of history painting was truly conceived as a show is what is the challenge of this thesis. By basing ourselves mainly on the analysis of the corpus of Shakespearian paintings, drawings and engravings made by the artist between 1768 and 1825, we have tried to highlight the processes of spectacularisation (theatrical devices) within Fuseli’s work. The study of the artist’s involvement in the english society – his attendance to various entertainments such as privates shows, public theatres or even more popular scenes – enabled us to measure that the artist’s production is the result not only of the mere theater scene but accounts for a much broader visual culture. Hidden model for the painter, the popular scene nourished Fuseli’s thoughts in the search for painting effects and the induced relationship with the spectator’s memory. Despite the common belief of Fuseli being a visionary painter who’s work sets roots solely in his imagination, this thesis ambition is to show the very concrete and material links of the artist with the scenes of his time. Highlighting reminiscences of the theatre scene in the pictorial creation and the moving from the scene to the painting of a number of “material signs” (such as the frame, the doors, the curtain…) have enabled us to show the aesthetics performing within Fuseli’ history paintings. Our study ends with the relationship that these paintings generate with their spectator : a kind of pact in which for the time of a glance painter and spectator agree to believe in what is given to see so as to experi-ence its effects.

This study is a comparative examination of approaches to talk radio as a genre on three Ugandan radio stations. The aim is to draw conclusions, from observations made about these stations, about the potential of talk radio to encourage public debate around social issues and improve democratic participation despite pertinent challenges in Uganda. The study first outlines a theoretical framework, which is informed by Habermas's theory of the media as a 'public sphere'. This framework is applied to an exploration of traditions of talk radio that have emerged globally in order to assess the potential of these traditions to play a role in contributing to the establishment of such a 'public sphere'. The study then goes on to discuss the historical development of radio in Uganda and the establishment of the current broadcast landscape. The focus is on the way in which this history has been defined by a struggle around public expression, in which government has repeatedly sought ways to control media as a vehicle for public expression. It is proposed that Ugandan talk radio has the potential to play an important role in ensuring broad participation in public expression. It is against this background that the study then describes and analyses the development of the talk genre at three Ugandan radio stations (each one an example of, respectively, a commercial, community and public service station). It is explained that staff on all three stations emphasise the importance of talk radio in encouraging participation, by their audiences, in the public debate of social and political issues. It is argued that, because of limitations that exist within these stations, none of the talk show teams fully realize the potential of the genre for participation in such debate. The picture that emerges is one of unequal access, with those sections of radio audiences in positions of privilege being further empowered, while those on the margins remain excluded from public discussion. The study finally recommends ways to improve public participation on Ugandan talk radio, noting the need to review government support, the problems of organizational culture within the stations, the need for more guidelines on practical arrangements around talk show production and the question of contradictions that exist at policy level.

Ce travail est une confrontation. Une rencontre entre familles réelles et familles fictionnelles par écran interposé, afin de comprendre comment l’expérience fictionnelle interagit avec l’expérience de la vie. À cet effet, nous avons mené une enquête auprès de sept familles du Nord-Pas-de-Calais et avons choisi trois séries significatives en matière de représentations familiales, fortement plébiscitées par toutes les chaînes du groupe M6 et dont les circonstances de diffusion les réunissent à plus d’un titre : La petite maison dans la prairie (NBC, 1974-1984), Malcolm in the middle (FOX, 2000-2006) et Desperate Housewives (ABC, 2004-2012). Les résultats de l’enquête montrent que ces trois séries constituent une ressource permanente curative, qui sert de point de départ à une construction, voire une reconstruction de soi, que la nostalgie apparaît comme un moteur d’action, lequel amène à la composition singulière de situations, de décors de scène, de décoration d’intérieur, de pratiques variées et à la confection d’un patrimoine familial. Pour le dire autrement,l’expérience de la fiction rappelle constamment l’expérience de la vie et provoque, déclenche,de nouvelles expériences que souvent, les familles s’assurent de se transmettre de génération en génération. L’attachement à la fiction est un attachement à la vie personnelle et la chaîne joue un rôle sensible dans ce processus. / This work proposes to implement a confrontation between real families and fictional familiesby interposing a screen in between them in order to understand how a fictional experienceinteracts with life experience. We have interviewed seven families from the Nord-Pas-de-Calais region of France. We have chosen three shows that are integral in familyrepresentation. They enjoy great popularity on the M6 TV group’s various channels andexhibit similar airing strategies: The Little House on the Prairie (NBC, 1974-1984), Malcomin the Middle (FOX, 2000-2006) and Desperate Housewives (ABC, 2004-2012). The ideathat we offer is that these three shows establish a permanent curative resource which is thebase of the individual’s self-construction. We may also go as far as to call it a reconstructionof oneself. Nostalgia seems to inspire action which leads to the construction of situations, setdesign, interior decoration, various practices and the creation of a family heritage. In otherwords: the experience of fiction serves as a constant reminder of the experience of life whichtriggers and inspires new experiences that families often pass down from generation togeneration. The shows in this corpus play a role in the creation of one’s family-relatedidentity and memories. An attachment towards fiction equates to an attachment to personallife. The network’s part in this process is substantial.

Made available in DSpace on 2014-07-29T15:07:29Z (GMT). No. of bitstreams: 1 dissertacao michel blezins de arruda 2010.pdf: 1007834 bytes, checksum: b0392059f62479f4e9acbc753696c510 (MD5) Previous issue date: 2010-07-02 / The aim of this work is to research the presence of bacteria of genus Salmonella on carcasses of broiler chickens reared under alternative and industrial. Furthermore, to characterize aspects of marketing and carcass quality. Were collected 160 chicken carcasses available for sale in supermarkets and markets of Goiania. Of these, 80 were carcasses of chicken raised in the traditional system and the remainder in alternative system. Each carcass provided two samples, one by rinsing and another 25g of minced skin, which were enriched in broth suitable for this purpose and grown in culture media also specific and recommended for Salmonella. Through biochemical tests bacteria of interest were identified. The carcass quality was evaluated by weighing the commercial cuts breast fillet without skin, thigh + drumstick, wings and back, and related the proportions of each in the total weight of the carcass. The marketing aspects were evaluated by applying a questionnaire to traders of the alternative chicken sold in fairs with information the method of sale and production of the animal. Two samples were found positive for Salmonella in batches of alternative chicken whereas in conventional bacteria were not found in any sample. The proportions of the breasts were higher in the conventional system, 28%, while the conventional average was 20%. In the remaining parts studied the differences were smaller. Birds raised in the alternative system had the following results: thigh + drumstick remained at 31%, 14% with the wing and back to 35%. In the conventional system in the same order as the results were: 29%, 11% and 33%. It was concluded that the chicken had higher alternative rate of contamination with Salmonella, the lower breast yield and the carcasses sold in open-air markets, production has been characterized as rudimentary. / Objetivou-se neste trabalho pesquisar bactérias do gênero Salmonella em carcaças de frango de corte criados em sistema alternativo ou industrial, Além disso caracterizar aspectos de comercialização e qualidade de carcaça. Foram coletadas 160 carcaças de frangos disponíveis para venda em supermercados e feiras livres em Goiânia. Dessas carcaças 80 foram de frangos criados em sistema tradicional e o restante em sistema alternativo. De cada carcaça foram retiradas duas amostras, uma por meio de rinsagen e outra de 25g de pele picada, que foram enriquecidas em caldos próprios para esse fim e cultivados em meios de cultura igualmente específicos e recomendados para a Salmonella. Por meio de perfil bioquímico as bactérias foram identificadas. A qualidade da carcaça foi avaliada por meio dos rendimentos dos cortes comerciais, filé de peito sem pele, coxa+sobrecoxa, asas e dorso, e relacionado às proporções de cada um com o peso total da carcaça. Os Aspectos de comercialização foram avaliados por meio de um questionário preenchidos por comerciantes de frango alternativo vendidos em feiras livres com informações do modo de venda e da produção do animal. Foram encontradas duas amostras positivas para Salmonella nos lotes de frango alternativo enquanto que nos convencionais não foram encontradas a bactéria em nenhuma amostra. Os rendimentos de peitos foram superiores no sistema convencional, 28%, sendo que o convencional a média foi de 20%. Nos demais cortes estudados as diferenças foram menores. Nas aves criadas no sistema alternativo apresentaram os seguintes resultados: coxa+sobrecoxa com 31%, a asa com 14% e o dorso com 35% e no sistema convencional na mesma ordem os resultados foram: 29%, 11% e 33%. Concluiu-se que o frango alternativo apresentou maior índice de contaminação por Salmonella, menor rendimento de peito e carcaças vendidas em feiras-livres a produção foi caracterizada por ser rudimentar.