My diploma thesis deals with the relation of youth to various kinds of media in their free time. First it describes media, their function, possible impact on personality, media literacy. It deals with division of media, more concerned with the mass media, electronic and print. It also characterizes free time and the period of youth aged 15 30 years. The study of literature led to questions for quantitative research, young people and library staff were interviewed. Selected youth use electronic media more in their free time, but often they are not satisfied with it, they would prefer to read more books.

This research seeks to examine the experience of social privacy around online social networking services. In particular, it examines how individuals experience social privacy through the perception of veillance, relationships and space. It highlights that individuals need varying types of veillance and relationships in order to experience the social privacy they desire. It also highlights that individuals used the perception of space to indicate acceptable convention within that space; seeking spaces, both real and metaphorical, that they perceived to afford them the experience of social privacy. Through the application of phenomenological methods drawn from ethnography this study explores how the experience of social privacy is perceived. It does this through examining the perception of veillance, relationships and space in separation, though notes that the individual perceives all three simultaneously. It argues that the varying conditions of these perceptions afford the individuals the experience of social privacy. Social privacy is, therefore, perceived as a socially afforded emotional experience.

Please read the abstract in the section 00front of this document / Dissertation (MA (Publishing))--University of Pretoria, 2007. / Information Science / unrestricted

KŘÍŽOVÁ, Kristýna, The impact of Internet Versions of Printed Newspapers on Information about Extremism, Faculty of Humanities, Charles University, Prague, 2010, diploma thesis ------------------------------------------------------------------------------------------ Key words: electronic media, printed media, audience ------------------------------------------------------------------------------------------ The theoretical part of the work concerns the possible consequences of transforming printed media into electronic form with respect to the reporting of extremism. A cultural approach was selected which highlights the way in which the final form of a report and its interpretation is subject to cultural factors. The work draws on the Three Party Model of Communication Situations devised by Winfried Schulz, which models the mutual relationship between the three protagonists of an event - the main figures (representatives of extremist movements), journalists (mass media - Internet sites), and the audience (readership, recipients). Investigation of the possible interest of these three parties in information on extremism is considered on the basis of theories of critics of contemporary media. Interpretation reveals the difficulties associated with transforming the daily papers into electronic news sites and...

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"Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de Maître en droit (LL.M.)" / En prenant pour acquis qu'il existe bel et bien une relation entre droit d'auteur et évolution médiatique, nous avons tenté d'expliciter cette relation en nous penchant sur le cas des artistes interprètes et exécutants. Ainsi, en mettant à contribution l'une des théories de la communication, la médiologie, nous avons, d'une part, identifié ce que l'on appelle, en jargon médiatique, un média dominant; d'autre part, nous avons caractérisé la mentalité médiatique qui en découle. Enfin, nous avons examiné le droit d'auteur à la lumière de ces caractéristiques afin de déterminer quelle place revenait à l'artiste interprète et exécutant dans un contexte médiatique précis. Plus spécifiquement et conformément à la démarche que nous venons de décrire, la première partie de ce mémoire a donc porté sur l'influence d'un premier média dominant, l'imprimerie. Le statisme et la fixité exigés par la prédominance de ce média a naturellement orienté notre analyse vers l'importance de la fixation en droit d'auteur. Comme la fixation revêt une place de choix en droit d'auteur, la prestation artistique, qui ne répond pas à ce critère, est reléguée au régime des droits voisins. Puis, avec l'avènement d'un second média dominant, le média de réseaux, c'est une toute autre ère qui s'ouvre, celle de la dématérialisation. La fixation devient alors un critère en pleine perte de vitesse. Malgré tout, la communauté internationale continue de croire que la prestation artistique relève du régime des droits voisins Cependant, le Traité de l'OMPI octroie aux artistes interprètes et exécutants plus de droits. Serait-ce le premier signe d'une éventuelle accession des artistes interprètes et exécutants au régime de droits d'auteur? / If we assume that copyright laws and the evolution of media are linked, our analysis of performance artists attempts to clarify this relationship. Using mediology as a tool for communication theory, we first identified a dominant media, or what is referred as a «mediasphere» in mediology. Next, we qualified its resultant mentality. Finally, we used these characteristics to examine copyright laws in an effort to determine the position of performers in a given mediasphere context. More specifically, the first part of this thesis focuses on the influence of the print as a dominant medium. The prevalence of this medium demands a level of statism and fixity which prompts us to analyze the importance of fixation in copyright laws. Considering the predominance of fixation in copyright laws and the transitory nature of the artistic performance, performers are only granted neighboring rights, not copyrights. Nowadays, the emergence of the electronic medium seems to give way to a new mediasphere in which dematerialisation is the key. Therefore, fixation as a criterion for determining whether or not to copyright a work of art is slowly losing its significance. Despite this fact, the international copyright community continues to believe that performers should be protected by neighboring rights. However, the WIPO Treaty of 1996 grants performers greater rights. Is this the first sign ofperformers gaining potential access to authorship?

En prenant pour acquis qu'il existe bel et bien une relation entre droit d'auteur et évolution médiatique, nous avons tenté d'expliciter cette relation en nous penchant sur le cas des artistes interprètes et exécutants. Ainsi, en mettant à contribution l'une des théories de la communication, la médiologie, nous avons, d'une part, identifié ce que l'on appelle, en jargon médiatique, un média dominant; d'autre part, nous avons caractérisé la mentalité médiatique qui en découle. Enfin, nous avons examiné le droit d'auteur à la lumière de ces caractéristiques afin de déterminer quelle place revenait à l'artiste interprète et exécutant dans un contexte médiatique précis. Plus spécifiquement et conformément à la démarche que nous venons de décrire, la première partie de ce mémoire a donc porté sur l'influence d'un premier média dominant, l'imprimerie. Le statisme et la fixité exigés par la prédominance de ce média a naturellement orienté notre analyse vers l'importance de la fixation en droit d'auteur. Comme la fixation revêt une place de choix en droit d'auteur, la prestation artistique, qui ne répond pas à ce critère, est reléguée au régime des droits voisins. Puis, avec l'avènement d'un second média dominant, le média de réseaux, c'est une toute autre ère qui s'ouvre, celle de la dématérialisation. La fixation devient alors un critère en pleine perte de vitesse. Malgré tout, la communauté internationale continue de croire que la prestation artistique relève du régime des droits voisins Cependant, le Traité de l'OMPI octroie aux artistes interprètes et exécutants plus de droits. Serait-ce le premier signe d'une éventuelle accession des artistes interprètes et exécutants au régime de droits d'auteur? / If we assume that copyright laws and the evolution of media are linked, our analysis of performance artists attempts to clarify this relationship. Using mediology as a tool for communication theory, we first identified a dominant media, or what is referred as a «mediasphere» in mediology. Next, we qualified its resultant mentality. Finally, we used these characteristics to examine copyright laws in an effort to determine the position of performers in a given mediasphere context. More specifically, the first part of this thesis focuses on the influence of the print as a dominant medium. The prevalence of this medium demands a level of statism and fixity which prompts us to analyze the importance of fixation in copyright laws. Considering the predominance of fixation in copyright laws and the transitory nature of the artistic performance, performers are only granted neighboring rights, not copyrights. Nowadays, the emergence of the electronic medium seems to give way to a new mediasphere in which dematerialisation is the key. Therefore, fixation as a criterion for determining whether or not to copyright a work of art is slowly losing its significance. Despite this fact, the international copyright community continues to believe that performers should be protected by neighboring rights. However, the WIPO Treaty of 1996 grants performers greater rights. Is this the first sign ofperformers gaining potential access to authorship? / "Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de Maître en droit (LL.M.)"

New media offer new ways for communication and production. This study aims to explore possible outcomes of the review of the new media literature for a contribution to the field of product design. Examining new media in a descriptive manner, the study presents its basic principles and characteristics. Relevant parts of new media and product design literature are reviewed in order to locate possible connections and/or exchanges between major concepts used in these fields. The two focal points of the study are the transformations that have taken place in (1) userproduct communication and (2) design and production media, resulting from the emergence of new media technologies.

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! ! Abstract This thesis explores and analyses influence of smartphones, tablets and e-readers launch on today's media development both from publisher's and media consumer's view. Main goal of this work is to map turbulent media evolution thanks possibilities, brought by revolutionary devices especially iPhone and iPad and their impact on publishing houses and traditional media. The thesis envisages the future of printed media and its co-existing together with the digital versions of traditional titles, possibilities and consumer willingness to pay for the digital content and specifics of the copyright in the digital media world. Least but not last thesis tries to discover individual target groups of each media including their typical behavior and arguing over the diversion from the traditional media towards the digital media.