This paper is concerned with the newly reformed national English test for Chinese college students, called the College English Test (CET) Band 4 (or Level 4). By comparing the test before and after it was reformed, there will be a close examination with regard to the aspects of test reliability, construct validity, authenticity, interactiveness, impact and practicality. With an extra focus on how vocabulary and grammar are tested, the paper aims to investigate the extent to which the new system is considered useful and how effective it is in testing vocabulary and grammar.

Historic commercial centres are subject to continuous change and transformation due to the changing socio-economic and cultural structure and relations of production and consumption. Organized within a traditional structure, these spaces have survived until today with their altering meanings and different identities as well as the restructuration they went through because of the socio-economic transformation processes. Besides, they are not only shopping areas or consumption spaces but also urban areas with a traditional style of manufacture and crafts. Theoretical discussions on the conservation of historic city centres focus on issues such as integration of city centres into contemporary life with functions that do not have adverse effects on the authentic characteristics of historic streets and urban fabrics, the role of new functions, activities and structures in the historic fabric, and participation in the conservation process. Historic buildings adopt functions that are different from their original functions due to changing life styles. Having functioned in a well-organized order and shaped by the socio-cultural and economic structure of their eras, they are subject to interventions due to the functions required by the present conditions, such as the addition of a mezzanine or the establishment of a connection between spaces. As a result of these interventions, the original plan schemes and authentic characteristics of historic buildings have changed. This thesis aims at identifying the types of commercial functions that intervene into the authentic design characteristics of commercial buildings located in the historic commercial centre. To this end, the Commercial Centre of Bursa was chosen as the case and the change in the functions of the hans located in this area was examined in detail.

This thesis examines the use and promotion of shamanic themes in contemporary Canadian Inuit art, being the principle venue in which Inuit identity is presented to non-Inuit in Canada and internationally. The image of Inuit identity promoted through the arts since the mid-twentieth century is arguably the product of non-Inuit state authorities, but Inuit artists themselves are increasingly asserting their voice in their arts and crafts, thereby challenging the image of Inuit identity to non-Inuit. This project first problematizes the history of contemporary Inuit art, where the construction of Inuit identity was heavily prescribed, and then turns to the shifts occurring in Inuit art to highlight the process of identity construction and the agency of Inuit within it. In the process, this project challenges the static conceptualization of minority identities in diverse societies by both state authorities and majority populations. This dissertation contends that Inuit art and identity are fluid concepts and there must be an emphasis made to permit for their fluidity, to avoid affirming a static minority identity in a diverse society, whether in the public or state forums. Consequently, the effort to assert the authenticity of these intangible concepts is contrary to the ideals of diversity and equality promoted in Canada.

This thesis examines the use and promotion of shamanic themes in contemporary Canadian Inuit art, being the principle venue in which Inuit identity is presented to non-Inuit in Canada and internationally. The image of Inuit identity promoted through the arts since the mid-twentieth century is arguably the product of non-Inuit state authorities, but Inuit artists themselves are increasingly asserting their voice in their arts and crafts, thereby challenging the image of Inuit identity to non-Inuit. This project first problematizes the history of contemporary Inuit art, where the construction of Inuit identity was heavily prescribed, and then turns to the shifts occurring in Inuit art to highlight the process of identity construction and the agency of Inuit within it. In the process, this project challenges the static conceptualization of minority identities in diverse societies by both state authorities and majority populations. This dissertation contends that Inuit art and identity are fluid concepts and there must be an emphasis made to permit for their fluidity, to avoid affirming a static minority identity in a diverse society, whether in the public or state forums. Consequently, the effort to assert the authenticity of these intangible concepts is contrary to the ideals of diversity and equality promoted in Canada.

With the emergence of digital cameras on phones, photography has become a popular routine. For some people, it is close to a form of ritual, every moment of the present is preciously archived and possibly shared to relatives on social media. This consumption of photography contrasts radically with the one practiced 20 years ago. Analogue photography was more occasional, because it is more time-consuming and also more costly. However, we observe today a resurgence of analogue photography and more particularly among young generations. This phenomenon goes hand in hand with the popularity of transforming contemporary pictures into old-looking ones with services like Instagram. Therefore, there is a regain of popularity for old devices and old aesthetic among young generations which indicates the existence of nostalgic behaviours among these consumers. The present study aims to explore these two phenomena in order to identify patterns of consumption about nostalgic behaviour among young generations. In order to achieve this, a comparative design is adopted to evaluate the differences and similarities between analogue photography and Instagram practice. This study generates knowledge about the changes in consumption since the digitalization of photography. Indeed, Instagram and analogue photography are rooted in the need to provide alternatives to digital photography which has made photography pervasive and less personal. Instagram and analogue consumers express different attitudes to achieve this desire to create meaning. Thus, the findings reveal that Instagram consumers give value to their everyday life experience by using nostalgic effects. This is interpreted by the fact that old-looking pictures are perceived as more narrative so they have more power to tell stories. Conversely, analogue users renew old practices in order to give more meaning to their photographic experience. It allows them to be more involved in a process of creation which does not exist anymore in digital photography.

Previous research has proven that perceived Brand Authenticity functions as a differentiator, which brands can use to stand out in today’s marketplace. However, few studies have investigated whether it is possible for brands to become more profitable by utilizing their authenticity. This thesis therefore investigates the relationship between the two branding concepts Brand Authenticity and Customer-Based Brand Equity (CBBE). An explanatory survey study is made on the Swedish retail clothing industry, which measures the effect of the Brand Authenticity associations Continuity, Originality, Trustworthiness, Genuineness, Heritage, and Symbolism on the CBBE outcomes (1) consumers’ willingness to pay a price premium, (2) recommend a brand, and (3) buy a brand before other brands. The results show that while some Brand Authenticity associations increase the CBBE outcomes, others seem to give no effect and some even to undermine them. If brand managers of authentic brands wish to increase their value sales through price premiums and increase volume sales through increased purchases, they should focus on communicating Symbolism, Originality and Genuineness. If decreased marketing costs through word of mouth is the goal, brand recommendations can be achieved through communicating Trustworthiness as well. However, Continuity and Heritage should be avoided in all brand communication if increased profits is the primarily goal.

Ce petit échantillon d’une étude ethnographique, fait à partir de la méthode d’observation participante, interroge la nature de la tendance de la mode auprès de jeunes citadins au coeur d'un centre urbain francophone du Canada. Les participants identifient un « look » comme étant emblématique du Plateau, un arrondissement de Montréal qui est démographiquement divers et contenant beaucoup de commerces dynamiques. Le Plateau a été promu par les organisations de la ville de Montréal comme le point central de la mode, arts et culture. Locaux ou simples touristes voient le Plateau comme un environnement aidant à la transformation personnelle et à l’autoréalisation, particulièrement chez les locaux de 18-30 ans. Plus particulièrement, les membres appartenant à cette tranche d’âge conçoivent leurs propres interprétations de la mode et participent à un certains nombres de projets créatifs en vue de réaliser d’authentiques et véritables expressions de soi. Cependant, à cause de la commercialisation de la mode présentée pour les consommateurs du Plateau, la jeune population perçoit le courant dominant du « hipster » comme n’étant plus l’authentique représentation à leur course à l’authenticité individuelle dans un monde en perpétuel globalisation. La chercheuse a découvert l’existence d’une idéologie de l’individu restreint à ce quartier. Vu l’animosité présente parmi la population locale du Plateau pour le courant principal hipster, l’ensemble de ces données montrent qu’il y a un besoin d’une meilleure compréhension de la relation entre la commercialisation de la mode occidentale et de ces acheteurs au niveau de l’individu et au niveau local dans les espaces urbaine en perpétuel globalisation. Le contexte de la mode dans cet environnement est contraint par l’hypothèse de la valeur qu'être différent est imaginé et digne d’intérêt dans cette communauté si et seulement si quelqu’un est confiant au point de se tenir debout avec ses idéaux au milieu des autres. / This small-scale ethnographic study conducted through methods of participant-observation investigates the nature of fashionable trends among a selected urban youth populace found in a large urban center in French-speaking Canada. Participants identify one “look” as emblematic of the Plateau, a demographically diverse and commercially dynamic borough. The Plateau is promoted by its municipal organizations as a hub of Montreal’s fashion, arts and culture. Locals and tourists treat the Plateau as an environment which facilitates the performance of self-realization and transformation, particularly among locals aged 18 to 30. Members of this age set appropriate fashionable dress and participate in many creative pursuits in order to make real authentic expressions of their embodied selves. However, as commercial fashions are introduced to local consumers, the youth perceives the mainstream “hipster” look to be an inauthentic representation of their quest to be authentically individual. The researcher discovers the existence of an ideology of individuality restricted to the boundaries of the borough. Given the animosity present among the Plateau’s local population for the mainstream hipster look, collectively these findings suggest there is a need to better understand the relationship negotiated between commercial Western fashion and its consumers at the level of the individual and in the local in ever globalizing urban spaces. The context of fashion in this environment is branded by the assumption that the value of being different is imagined and worthwhile in this community only if one has the confidence to stand alone within its disunion.

The object of the research is the theme of moral values in the novels by Francis Scott Fitzgerald, John Barth and Vladimir Nabokov. The moral values as a phenomenon are shown very variously in the mentioned works. In one book it is easy to identify moral, its values and its problems and in other it is difficult to identify the moral values. The aim of the research is to analyze the theme of moral values in the novels of Francis Scott Fitzgerald The Great Gatsby, John Barth The End of the Road and Vladimir Nabokov Lolita. The comparative aspect is used while analysing the novels. / Darbo tyrimo objektas – moralinių vertybių tema Francio Scotto Fitzgeraldo, Vladimiro Nabokovo, Johno Bartho romanuose. Moralinės vertybės romanuose gali būti autoriaus vaizduojamos ir skaitytojo suvokiamos labai įvairiai. Vienoje knygoje gali būti lengva įžvelgti moralę, jos vertybes ar problemas, o kitame kūrinyje jas identifikuoti sudėtingiau.Darbo tikslas yra išanalizuoti moralinių vertybių temą Francio Scotto Fitzgeraldo, Johno Bartho ir Vladimiro Nabokovo romanuose.

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