El texto completo de este trabajo no está disponible en el Repositorio Académico UPC por restricciones de la casa editorial donde ha sido publicado. / Condragulations, fierce, realness, werk or «Shante, you stay» are only some of the expressions from the contestants’ lexicon of RuPaul’s Drag Race (RPDR), a popular reality television show that started airing in 2009 in the USA. Through an academic lens, the study of this type of expression was anecdotally called “lavender linguistics,” during the first explorations of the sexual minorities’ ways of talking. Since then and till now, concepts related to gender, sexuality, and the works of representation have influenced both linguistics and Translation Studies, which in turn has led to critical perspectives on translation, identity transfer, acculturation and, of course, the way language works. This paper begins by briefly referring to drag queens living in Lima, Peru, and how they have changed the way they talk to each other and about themselves. As will be argued, a cultural product such as RPDR and the necessary interlingual subtitling into Spanish –commercial or fan-made– have been influencing their linguistic engagement. Further on, the concepts of camp and camp talk will be presented as they were first introduced to Translation Studies with the work of Keith Harvey during the late 1990’s. Camp representations will be then analyzed in commercial and fan-made subtitles to reveal the semiotic and pragmatic constraints resulting from cultural-specific gay identities. From this first approach, new inquiries on audiovisual translations in general and identity acculturation in particular will be proposed. / Revisión por pares

The aim of this essay is to examine why Swedish-English code-switching occurs, focusing on one person. The idiolect examined is Simon Davies, hosting the TV-show Design: Simon & Tomas where Simon Davies and his colleague Tomas Cederlund travel around Sweden helping Swedes with interior design. Season three of the show was transcribed into written data and theories were later used when analyzing the data transcribed from the TV-show. The data was analyzed from a qualitative and a quantitative aspect as well as mixed and unmixed utterances. This was done in order to see if there is a pattern in the way Davies switches as well as further understand what kind of items are switched. As this is done, the essay analyses the possible reasons for why Davies switches using the theories displayed earlier. The results show that Davies’ idiolect does not fully follow any specific pattern, however most of the words switched are nouns and the least common word class is prepositions. However, theories applied show that Davies’ switching could be a way for him to create an identity and connect with Swedes. The use of Swedish could help him seem friendlier and less like a stranger.

<p>The aim of this essay is to examine why Swedish-English code-switching occurs, focusing on one person. The <em>idiolect</em> examined is Simon Davies, hosting the TV-show <em>Design: Simon & Tomas</em> where Simon Davies and his colleague Tomas Cederlund travel around Sweden helping Swedes with interior design. Season three of the show was transcribed into written data and theories were later used when analyzing the data transcribed from the TV-show. The data was analyzed from a <em>qualitative</em> and a <em>quantitative</em> aspect as well as <em>mixed</em> and <em>unmixed</em> utterances. This was done in order to see if there is a pattern in the way Davies switches as well as further understand what kind of items are switched. As this is done, the essay analyses the possible reasons for why Davies switches using the theories displayed earlier. The results show that Davies’ idiolect does not fully follow any specific pattern, however most of the words switched are nouns and the least common word class is prepositions. However, theories applied show that Davies’ switching could be a way for him to create an identity and connect with Swedes. The use of Swedish could help him seem friendlier and less like a stranger.</p>

AbstractThe purpose of this study is to establish the representations of the main characters of Modern Family out of three themes: the representation of genders, race and LGBTQ+, based on theories within the field, such as representation and stereotypes. Earlier research shows that these three social groups often are represented stereotypically in media with more inclusivity in some aspects and less in some. Four episodes have been chosen from different years and have been analyzed from an intersectional perspective. This purpose of this research is to understand what codes have been used when creating the main characters, and it focuses on three research questions:- In what ways are the female, male, Latin and LGBTQ+ characters on Modern Family represented?- Has the representation of race, gender and LGBTQ+ changed over the nine years since Modern Family started broadcasting? If so, in what ways?- What stereotypes replicate on the different characters depending on their race, gender and LGBTQ+?To do this, descriptive text analysis and semiotics have been used to analyze each episode and for better understanding of the stereotypical traits and representation in the analysis, Richard Dyer’s definition of stereotypes and Stuart Hall’s theory of representation have been used. The results show different changes in representation regarding the three themes. In conclusion, the representation of genders has changed over the nine years, thus has the representation of the Latin race and LGBTQ+ community not changed in many significant ways.Heading: Representation of race, gender and LGBTQ+ on Modern Family. Author: Anna Sofia StoiljkovicLevel: Final Exam Project in Media and Communication Studies, 15 hp Institution: School of Arts and Communication (K3)Faculty: Faculty of Culture and Society University: Malmö University Supervisor:Examiner:Term: Spring of 2019Keywords: Media representations, tereotypes, gender, race, LGBTQ+, Modern Family.

This study aimed to examine the power relations in a TV-show called Kvartsamtalet between the host Parisa Amiri and her guests. The empiric material consisted of four programs which were guested by Ebba Busch, Jason Diakité, Anders Ygeman and Nanna Blondell. The material was analyzed with discursive psychology which is a form of discourse analysis that focuses on psychological themes in text, talk, and images. Our study aimed to analyze the talk between Amiri and her guests. The material is analyzed with theories of power by Michel Foucault, performative gender by Judith Butler, theatrical performance by Erving Goffman and intersectionality by Nina Lykke, Paulina De los Reyes and Diana Mulinari. The result of the study shows that power relations through intersectionality mostly is negotiated between identity categories such as gender and ethnicity. The interviews showed that the power relations through intersectionality are both maintained and contradicted by every individual on the show, and the negotiation also takes place in a larger societal perspective. The analysis has shown that power is created in social interaction depending on how individuals talk to each other.

This thesis defines wide phenomenon of popular culture and follows the way it is represented in current Czech press. The initial part of the thesis defines popular culture based on the main theoretical grounds. After that popular culture is put in context of the mass society media audiences and emphasize the delimitation of pop culture versus high culture. The theoretical part of the thesis is closed by chapter concerning the role of the press in the process of defining the popular culture in current society. The main focus of the empirical part lies on frame analysis across the spectrum of Czech dailies (Blesk, Lidové noviny, Mladá fronta Dnes) and weeklies (Instinkt, Kulturní týdeník A2, Reflex) that examines how the popular culture is presented to the current readership. The analysed articles were published at the time of broadcasting of the first series of the examined pop cultural event represented by a TV show "StarDance…Když hvězdy tančí". The discovered framework is interpreted in context of the theoretical concepts and subsequently it is confronted with a point of view of the current journalists (by means of semi-structured interviews), who write about popular culture on everyday basis and who in a sense represent a cultural elite themselves. The main goal is to find out (in connection...

The Gems of Jazz is a prospective TV series that features local New Orleans Jazz musicians. The purpose of the show, created and hosted by Virgile Beddok, is to look into the lives of the people who make the New Orleans Jazz scene all that it is, and has been. This paper delves into each stage of the creative and production processes that enabled the completion of this pilot episode which features master drummer Herlin Riley as a guest.

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.

The purpose of this thesis is to examine how power structures concerning gender and sexuality emerge through the use of language in the Swedish reality show Paradise Hotel. Of particular interest is the representation of heterosexual relations in the show. Because of its interest in the relationship between power, gender and sexuality, the thesis is based on theories from gender and discourse studies. The specific theories referred to are Michel Foucault’s understanding of power, stereotypes according to Stuart Hall, Yvonne Hirdman’s gender system and contract theory, Judith Butler’s heterosexual matrix and R.W. Connell’s theory of hegemonic masculinity. The empirical data consists of eight episodes of Paradise Hotel from 2014, which has been transcribed and analysed through the use of Norman Furlough’s critical discourse analysis (CDA). The results showed that Paradise Hotel portrays the male and female participants as fundamentally different and therefore they are allowed to behave in different ways. Among other things, it appeared that men have a high sex drive and they expect to get this need satisfied. The women on the other hand are discredited if they have sex with many partners. As a part of the concept of Paradise Hotel is to share rooms with a partner of the opposite sex there are certain expectations of intimacy. The male participants exercise power by claiming their partners as possessions. Neither do they respect the female boundaries regarding their bodies and sexuality. The women also participate in maintaining the patriarchal order in the show. However, some of the female participants oppose to a norm saying women should be sexually passive. For competition purposes they use their bodies and cunning in order to influence the men. Notably, while some of the discourses that emerged in the analysis reflect social power structures, others are reserved to Paradise Hotel since there are rules that only apply to the show.

Submitted by Alison Vanceto (alison-vanceto@hotmail.com) on 2017-03-08T12:32:56Z No. of bitstreams: 1 DissALCG.pdf: 4319054 bytes, checksum: 38c3a165e318a48ef3e66798fe29d3c4 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-03-22T13:32:50Z (GMT) No. of bitstreams: 1 DissALCG.pdf: 4319054 bytes, checksum: 38c3a165e318a48ef3e66798fe29d3c4 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-03-22T13:33:03Z (GMT) No. of bitstreams: 1 DissALCG.pdf: 4319054 bytes, checksum: 38c3a165e318a48ef3e66798fe29d3c4 (MD5) / Made available in DSpace on 2017-03-22T13:40:17Z (GMT). No. of bitstreams: 1 DissALCG.pdf: 4319054 bytes, checksum: 38c3a165e318a48ef3e66798fe29d3c4 (MD5) Previous issue date: 2016-02-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This research presents an analysis about the woman’s constitution in television series, specifically the series The Good Wife in dialogue with fanfiction, which are textual productions of the fans. The approach taken is the bakhtinian one in the sense that the worlds constructs are social and television is a very influential mechanism in society. Thus, issues such as dialogy, speech genres and constitution of the subject are treated, allowing the construction of a theoretical background. Think about women’s presence in society is interesting, since we are in a period in which women are increasingly inserted breaking old paradigms. But it’s also necessary to note that even with the changes, it still has a mindset that sometimes limits such insertion, so be aware enables break with these limitations. / Essa pesquisa traz uma análise acerca da constituição da mulher nos seriados televisivos, mais especificamente o seriado The Good Wife em diálogo com as fanfics, que são as produções textuais dos fãs. A abordagem que se toma é a bakhtiniana no sentido de que as construções de mundo são sociais e que a televisão é um mecanismo de grande influência na sociedade. Assim, temas como dialogia, gêneros do discurso e constituição de sujeito são tratados, permitindo a construção de um referencial teórico. Pensar as questões da presença feminina na sociedade é interessante, visto que estamos em um período em que as mulheres estão cada vez mais inseridas rompendo com antigos paradigmas. Mas também é necessário observar que mesmo com as mudanças, ainda se tem uma mentalidade que por vezes limita essa inserção, de modo que tomar consciência possibilita romper com essas limitações.