Übersetzung als Phänomen hat wahrscheinlich existiert seit Menschen verschiedene Sprachen gesprochen haben. Es ist bekannt, dass sie zumindest seit den Römern existiert, weil sie regelmäßig griechische Werke übersetzten (Munday 2012:19). Trotz ihrer langen Geschichte ist Übersetzungswissenschaft ein neues Fach der Linguistik und es gibt mehr oder weniger keine Regeln oder Normen in Bezug darauf, wie man klar und korrekt übersetzen soll. Es gibt in gewissen Bereichen der Übersetzungswissenschaft einige Regeln und Normen, aber der Übersetzer hat allgemein ziemlich freie Hand. Infolgedessen werden verschiedene Aspekte eines Texts stärker oder schwächer betont, was unten weiter beschreiben wird.

Uppsatsen har gjort i syfte att undersöka porträtteringen av kvinnliga antagonister samt protagonister i två Disneyfilmer för att se om porträtteringen skiljer sig filmerna emellan. De filmer som varit aktuella för undersökningen har varit Snövit och de sju dvärgarna (1937) samt Trassel (2010). Materialet har analyserats utifrån representationsteori med nedstamp i stereotyper, genus samt mise-en-scéne inom animation. De valda metoder för analysen är en narrativ samt semiotisk analys där karaktärernas handlingar samt utseende tolkats för att sedan jämföras. Antagonisterna och protagonisterna från båda filmerna porträtteras likadant och har liknande narrativa funktioner, där antagonisten är kontrasterande och binär gentemot protagonisten som ses som filmens normala. / The purpose of this essay has been to analyze the female antagonists and protagonists in two films from Disney to see if the portrayal of these characters differentiate. The films fitting for the analysis are Snow White and the Seven Dwarfs (1937) and Tangled (2010). The material has been analyzed through a perspective of representation theory as well as stereotypes, gender and mise-en-scéne in animation. The methods chosen for this essay are a narrative analysis and a semiotic analysis where the characters’ actions and appearance  are being interpreted and compared. The antagonists and protagonists from both films are portrayed in a similar way and have narrative functions that are similar, where the antagonists are contrasting and binary opposite the protagonists who are viewed as the normal.

[pt] Este estudo buscou identificar como mulheres de baixa renda, das gerações Baby Boomers e Millennials, interpretam e reagem à mudança do papel feminino nos contos de Disney e a sua influência na percepção da marca. Foram conduzidas dezesseis entrevistas em profundidade com mulheres, moradoras do Estado do Rio de Janeiro. A partir de lembranças e experiências vividas das entrevistadas em relação a marca e aos filmes, e empregando também dois filmes previamente selecionados que marcaram as duas gerações, Cinderela (1950) e Frozen (2014), foram obtidos resultados que apresentaram evidências de diferentes reações e identificações, provocadas pelas princesas nos filmes, denotando papéis sociais femininos dentro da sociedade. A geração a que pertencem e o nível socioeconômico das entrevistadas parece influenciar em suas reações. / [en] This study aimed to identify how low-income women, representatives of the Baby Boomers and Millennials generations interpret and react to the changing role of women in Disney tales and their influence on brand perception. Sixteen in-depth interviews were conducted with women from Rio de Janeiro State. From the memories and lived experiences of the interviewees regarding the brand and the films, and also employing two previously selected films that marked the two generations, Cinderela (1950) and Frozen (2014), results were obtained that showed evidence of different reactions and identifications provoked by the princesses in the movies, denoting female social roles within society. The generation to which they belong and the socioeconomic level of the interviewees seem to influence their reactions.

Streaming services have had a significant gain in popularity over the last decade, with an increasing number of subscribers. Along with digitalization, more households seek accessible entertainment that allows them to choose the type of content they wish to watch. However, as streaming services have grown in popularity, the content library of those services has been increasing, leaving users overwhelmed when deciding what to watch next. A recommendation system is used by the majority of streaming providers to assist its customers find appropriate material to watch. This recommendation system suggests suitable material based on the user's collected data. However, the recommendation systems suggestions are not always perceived to be relevant. The purpose of this thesis is to identify potential perceived problems with the recommendation systems and their causes. This was accomplished by investigating how consumers of those services experience them by conducting a survey and interviews. The identified problems have then been compiled into a basis. The goal of this thesis is to provide a basis that may benefit streaming services, their consumers and be of use by academics to conduct further research within the field. The basis indicates that there are several perceived problems with the current recommendation systems. A total of nine problems have been documented and discussed. / Streamingtjänster har haft en betydande ökning i popularitet under det senaste årtiondet, med ett ökande antal användare. Tillsammans med digitaliseringen söker fler hushåll tillgänglig underhållning som gör att de kan välja vilken typ av innehåll de vill titta på. Men eftersom streamingtjänster har ökat i popularitet, har utbudet för dessa tjänster ökat, vilket gör användarna överväldigade när de bestämmer sig för vad de ska titta på härnäst. Rekommendationssystemen används av majoriteten av streamingtjänsterna för att hjälpa sina kunder att hitta lämpligt material att titta på. Rekommendations systemen föreslår lämpligt material baserat på användarens beteende mönster. Rekommendations systemets förslag uppfattas dock inte alltid vara relevanta. Syftet med denna uppsats är att identifiera potentiella problem som användare uppfattar av rekommendations systemen och vad som kan orsaka dessa problem. Detta åstadkoms genom att undersöka hur konsumenter av dessa tjänster upplever dem genom att genomföra en undersökning samt ett antal intervjuer. De identifierade problemen har sedan sammanställts till ett underlag. Målet med detta examensarbete är att ge ett underlag som kan gynna streamingtjänster, deras konsumenter och vara till nytta för akademiker för att genomföra ytterligare studier inom området. Underlaget tyder på att det finns flera problem med nuvarande rekommendationssystem som upplevs av användare. Totalt har nio problem dokumenterats och diskuterats.

Although children’s programming has been considered to be at the forefront of incorporating racial and ethnic diversity, the roles on television for racial and ethnic minorities have continued to be limited or based on stereotypes, and sheer presence in numbers for non-whites is still lacking in comparison to white characters. Television programming during the 1990s and early 2000s became a key period in history for racial and ethnic representation, as programming as a whole reflected a greater non-white presence than ever before, with children’s programming as no exception. This thesis focuses on how race and ethnicity were depicted on the children’s cable networks Nickelodeon and Disney Channel during this time period. My study focuses on three programs, The Mystery Files of Shelby Woo (Nickelodeon, 1996-1998), Taina (Nickelodeon, 2001-2002), and The Proud Family (Disney Channel, 2001-2005), all of which placed racial and ethnic minorities as lead characters, diverging from the standard in casting for children’s television programs. In observing whether these programs portrayed race in an assimilationist, color/culture conscious, or post-racial manner, my study provides insight into the overarching narrative constructed about race and ethnicity for youth viewing two of television’s most successful networks committed to programming for kids in this time period. / text

Thesis advisor: Donald Fishman / This thesis examines the role of culture in international business communication through case studies of several multinational corporations. The first case looks at Coca-Cola's product recall crisis in Belgium in 1999, which exhibited an uncharacteristic deviation from the company's well-known brand marketing brilliance. The second case deals with problems that Disney encountered as it tried to establish its first theme park in Europe in the 1990s and found itself facing a culture as proud and protective as Disney itself. At the heart of these cases were outdated international strategies and an attitude of arrogance that assumed that an American business approach could easily be transferred to a different country and culture. The thesis concludes with an analysis of Google as a case study for the future followed by suggestions for successful international strategies and final thoughts on globalization's effect on culture and corporations. / Thesis (BA) — Boston College, 2007. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Communication. / Discipline: College Honors Program.

No description available.

Människor lever i ett komplext samhälle där individers levnadssätt och stereotypa roller återspeglas i filmer (Mikos, 2014; Wood, 1994). Studien analyserar kritiskt två versioner av The Walt Disney Companys film Skönheten och Odjuret ur ett semiotiskt och genusteoretiskt perspektiv. Den utgår från två frågeställningar och sex utvalda scener för att analysera hur manliga och kvinnliga stereotyper framställs. Studien undersöker även eventuella skillnader mellan versionerna eftersom den animerade filmen producerades 1991 och nyinspelningen 2017. Filmerna är valda på grund av att det skiljer 26 år mellan versionerna och för att The Walt Disney Company är ett av de största företagen i världen (The Walt Disney Company, u.å.). Filmindustrins framställning av karaktärer kan påverka människors synsätt om hur män och kvinnors stereotypa egenskaper bör vara. Ämnet är av vikt att studera eftersom medier har makten att påverka sin publik (Kleberg, 2006; Mitu, 2011; Ndiayea & Ndiayea, 2014; Strömbäck, 2014). Scenerna introduceras med en denotativ beskrivning och fortsätter sedan att analyseras genom de valda analysverktygen och ett schema på manliga och kvinnliga egenskaper. Genom semiotiken studeras omgivningarna, texterna, objekten, blickarna, poseringarna och kameravinklarna. Tecken granskas för att avslöja bakomliggande budskap kring framställningen av stereotyper. Genusperspektivet har använts för att se hur medier väljer att framställa kvinnor och män, och på så sätt se de stereotypa skildringarna. Resultatet från studien visar att stereotyper återspeglas i båda filmerna. Skillnaden är att filmen från 2017 innehåller färre stereotyper än filmen från 1991. Huvudkaraktären Belle har färre kvinnliga stereotypa egenskaper i nyinspelningen och har även vissa manliga stereotypa egenskaper. Hon är till exempel stark, självständig och aktiv. Gaston och Odjuret skildras fortfarande enligt manliga stereotypa egenskaper men har vissa inslag av kvinnliga egenskaper.

Chan, Yu Kwan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves [108]-120). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-05-26T11:54:49Z No. of bitstreams: 1 Fabrício Almeida Brandão Martins.pdf: 3906573 bytes, checksum: 1da8de3505e3b46245ab16a040d5b683 (MD5) / Made available in DSpace on 2017-05-26T11:54:50Z (GMT). No. of bitstreams: 1 Fabrício Almeida Brandão Martins.pdf: 3906573 bytes, checksum: 1da8de3505e3b46245ab16a040d5b683 (MD5) Previous issue date: 2017-05-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation has as main research goal the design of the perceptive experience for structuring a platform of experience configured to promote the engagement between people and companies in large scale. For this, it features a MyMagic+, digital platform that connects all Disney attractions and narratives, promoting a comprehensive, engaging and irresistible experience. Making a counterpoint to marketing yearnings according to a vision of marketing executives and thinkers such as Steven J. Heyer, Kevin Roberts, Lee Cockerell, and Philip Kotler, this research addresses subjects such as experience, media, design, synaesthesia, and engagement through authors Like Merleau-Ponty, Maturana and Varela, McLuhan and Jenkins, an interdisciplinary analysis necessary also includes concepts worked by Donald Norman, emotional design researcher and game designer Scott Rogers. They are analyzed as perceptions of magic and dream described by Disney consumers, the importance of constructing a utopian thematic world, a technical articulation of the means for a configuration of desires and the role of affectivity in the interaction, always with a view to understanding what is engagement and the role of a platform in technology-mediated engagement / Esta dissertação tem como meta principal de pesquisa o design da experiência perceptiva para a estruturação de uma plataforma de experiência configurada para promover o engajamento entre pessoas e empresas em grande escala. Para isso, apresenta a MyMagic+, plataforma digital que conecta todas as atrações e narrativas Disney, promovendo uma experiência abrangente, envolvente e irresistível. Fazendo um contraponto com os anseios mercadológicos de acordo com a visão de executivos e pensadores do marketing como Steven J. Heyer, Kevin Roberts, Lee Cockerell e Philip Kotler, esta pesquisa aborda temas como experiência, meio, design, sinestesia e engajamento através de autores como Merleau-Ponty, Maturana e Varela, McLuhan e Jenkins em uma análise interdisciplinar necessária que inclui também conceitos trabalhados por Donald Norman, pesquisador do design emocional e o designer de games Scott Rogers. São analisadas as percepções de magia e sonho descritas pelos consumidores da Disney, a importância da construção de um mundo temático utópico, a articulação tecnificada dos meios para a configuração dos desejos e o papel da afetividade na interação, sempre tendo em vista o entendimento do que é engajamento e o papel de uma plataforma digital no engajamento mediado pela tecnologia