The choice of content and number of technologies that audiences view television with are increasingly expanding in the post-network era, leading those who use the medium to question its definition. In the wake of the Internet, online programming and streaming technologies, the death of television is frequently forecast.  Netflix’s 2013 release of their original online production House of Cards prompted popular media and trade journals alike to declare a revolution of television that would result in a paradigm shift of current production and viewing practices. House of Cards is esteemed for its distribution method and asserted advantages over traditional television by creators and executives surrounding the show, which calls for an examination of the specific practices that are dubbed ‘innovative’, as current television production practices have been put in place for years. The aim of this thesis is to shed light on the claims surrounding the series through production and textual analysis. Second-hand sources are used to gather evidentiary claims surrounding the production, and analyzed using historical poetics analysis with Jason Mittell’s complex television definitions in order to make comparisons of particular elements of the creation, production and distribution of House of Cards. Making these areas its starting point, this inquiry provokes larger questions of the future of online television programming in general, and its role in the death of television in particular.

La Politique d'intégration des arts à l’architecture et à l'environnement des bâtiments et des sites gouvernementaux et publics, ou « Politique du 1% », s'attache à favoriser, au Québec, la création d’œuvres d'art contemporain intégrées à leur environnement. Elle comporte trois objectifs principaux : susciter une création artistique intégrée à son environnement spatial, « visibiliser » les artistes québécois et leurs œuvres tout en enrichissant le cadre de vie des citoyens, et démocratiser l’art actuel à toute la population du Québec. La bonne application du processus entrepris pour la réalisation de l’intégration d’une œuvre d’art est gérée par un comité constitué pour chaque projet, et elle se fait en fonction de critères spécifiques qui répondent à la pluralité des intérêts des acteurs en présence, notamment le public et les experts du monde artistique. L’enjeu pour l’artiste, à travers la réalisation d’une œuvre d’intégration, est alors de répondre aux attentes propres à chacun des groupes d’acteurs. La présente recherche a donc pour but de mettre au jour la façon dont les artistes font face à ces attentes, et notre interrogation porte ainsi sur le pouvoir d’action des artistes « intégrateurs » dans le cadre du processus de création et d’intégration de leur œuvre : quelle est la possibilité de faire incarner à celle-ci leurs valeurs, leur démarche intime mais aussi leur propre conception de ce qu’est une bonne intégration de l’art, tout en créant une œuvre significative. La recherche révèle ainsi qu’une adaptation de leur démarche et de leur pratique est nécessaire dans ce nouveau contexte. L’analyse du discours des artistes met aussi en évidence un spectre d’adaptabilité, qui permet de comprendre comment est possible cette adaptation compte tenu de la confrontation de valeurs telles que la liberté et l’autonomie face aux contraintes inhérentes à la Politique. / The Politique d'intégration des arts à l’architecture et à l'environnement des bâtiments et des sites gouvernementaux et publics, or “ Politique du 1%”, endeavours to promote the creation in the province of Québec of contemporary artworks integrated into their environment. It has three main objectives: to provoke the creation of artistic works integrated into their spatial environment, to make Québec based artists and their works more visible while enriching the living environment of citizens, and finally to make contemporary art more accessible to the entire population of the Québec province. The application of the process undertaken for the realization of the integration of an artwork is managed by a committee set up for each project, and is done according to specific criteria which meet the diverse interests of the actors concerned, especially the general public and the experts of the artistic world. The challenge for the artist, through the creation of an integrative work, is then to meet the expectations generated by each group of actors. This research therefore aims to reveal the means by which artists cope with such expectations and our question thus relates to the power of action of the “integrating” artists within the framework of the process of creation and of integration of their work: what is the possibility of incorporating their values, their intimate approach but also their own interpretation of what a successful integration is, while creating a meaningful piece of art. The research thus reveals that an adaptation of their approach and practice is necessary in this new context. The analysis of the artists' discourse also highlights a spectrum of adaptability, which enables to understand how this adaptation is possible given the confrontation of values such as freedom and autonomy to the constraints inherent in the policy.

This study examines how independent writers in Czechia operate at the intersection of creative processes and management of their writing ventures. With a leading set of research questions, this paper delves into the array of contemporary methods and tools used for monetization, considers their influence on content creation, explores the relation to underlying motivations of writers and investigates the current intermediary landscape in the field. As a first academic probe into the topic in the country, the research introduces key concepts and then takes the inductive approach of a qualitative study conducting 7 in-depth interviews with local independent creators and employing grounded theory for the data analysis. The themes emerging from the research of this population sample suggest that local independent writers exhibit a high degree of resourcefulness in their monetization strategies as they combat inherent uncertainties of their vocation. They are also mainly driven by intrinsic motivations in their creation, and while they enjoy a great deal of creative freedom thanks to their independent status attained by often becoming self-publishers, the findings show that the traditional intermediaries such as publishing houses remain highly relevant in the field.

[pt] Esta tese é fruto de uma análise hermenêutica crítica dos fundamentos da Teologia Moral elaborada por Bernhard Häring que, por suas características e propostas, recebe aqui o nome de Moral do Diálogo. A Teologia Moral é uma ciência prática e, por esta razão, é significativo ressaltar que a construção teórica do Autor tem como sustentação o cotidiano de sua existência, a narrativa de uma longa e fecunda vida, que soube fazer do Diálogo uma experiência acolhida, construída e transmitida. Nele, vida e obra se fundem e se confundem, para mostrar que o Diálogo é um caminho ético necessário para a vida da humanidade e que, por isto, deve ser proposto a todas as pessoas como a novidade que está presente nas entranhas do ethos cristão, como a referência de uma religião monoteísta trinitária que o assume e o realiza na própria fonte. Assim sendo, o Diálogo não pode também deixar de ser assumido pela Igreja de Jesus Cristo, como um compromisso ético-moral capaz de fazer dela um sinal fecundo e promissor do Reino de Deus. O que se pode dizer é que a Moral do Diálogo, à luz da Lei do Espírito que dá vida em Cristo, traz elementos novos e imprescindíveis para a reconfiguração dos fundamentos da moral cristã e torna-se uma boa notícia para o mundo atual. As conseqüências que daí decorrem já se fazem sentir. A moral especial, ao tratar das questões relacionadas à vida cotidiana dos homens e das mulheres deste tempo, já o faz numa perspectiva renovada. A liberdade e a fidelidade criativas são os pressupostos indispensáveis para a formação de pessoas responsáveis e sadias que, em parceria, desejam buscar uma vida plena de sentido. A Igreja de Jesus Cristo não se encontra fora desta perspectiva renovadora. O acolhimento de sinceras e sadias posturas relacionais, que garantem o Diálogo como mediação necessária para a re- elaboração de um modo de ser cristão, mais fraterno e solidário, é um caminho de grande fecundidade. Este caminho nos convida a olhar para dentro e para fora de nós mesmos, na recuperação de uma unidade que se abre para o acolhimento das enriquecedoras diferenças. Esta não é uma visão ingenuamente otimista. Existem desafios a serem vencidos, mas estes não matam a esperança e é ela que nos permite perceber que, apesar de todas as dificuldades, o projeto já é vencedor por si mesmo. Os alcances hermenêuticos da Moral do Diálogo são reais e mostram que muitos autores brasileiros e latinoamericanos beberam desta fonte para a elaboração de uma Moral interpelada pelas situações vividas no Terceiro Mundo, que pedem, de modo especial, um Diálogo frutuoso em favor da solidariedade que garanta a dignidade de toda vida humana. / [en] This thesis is the fruit of an interpretative critical analysis of the bases of Moral Theology elaborated by Bernhard Häring which, due to is characteristics and proposals, is here given the name Morals of Dialogue. Moral Theology is a pratical science and, because of this it is important to emphasize that the theoretical construction of the author has as its foundation his day-to-day existence, the story of a long and productive life, in wich he perceived how to make Dialogue a welcome experience, which he built on and transmitted to others. In it, his life and his work are fused and confused, to show that Dialogue is an ethical course necessary for the life of humanity and that it should therefore be recommended to all people as the novelty that is present at the heart of the Christian ethos, as the reference of a trinitarian monotheistic religion which accepts it and carries it out at source. This being so, Dialogue could not fail to be also accepted by the Church of Jesus Christ as an ethical-moral commitment capable of making it a fertile and promissing sign of the Kingdom of God. What we can say is that the Morals of Dialogue, in the light of the Law of the Spirit which gives life in Christ, brings indispensible new elements for the reconfiguration of the bases of Christian morals, which is good news for todays world. The consequences of this are already being felt. The special morals for dealing with questions related to the day-to-day life of men and women of these days already does so in a renewed perspective. Creative freedom and faithfulness are necessary pressuppositions for the development of responsible, healthy people who, in partnership, wish to seek a life full of meaning. The Church of Jesus Christ is not beyond this perspective of renewal. The ready adoption of sincere and healthy attitudes in relationships, which guarantee Dialogue as a necessary mediation for the re-elaboration of a Christian way of life which is more fraternal and solidary, is an extremely productive course. This course invites us to look inside and outside ourselves, in the recuperation of a unit which is open to welcome enriching differences. This is not a naïvely optimistic vision. There are challenges to be overcome, but these do not douse our hope, and it is this hope that enables us to realize that, despite all the difficulties, the project is in itself a victorious one. The interpretative reaches of the Morals of Dialogue are real and show that many Brasilian and Latin American authors have drunk from this well to elaborate morals which are interpellated by the situations experienced in the Third Word, which demande especially a fruitful dialogue on behalf of the solidarity which garantees the dignity of all human life.