France Inter est la radio la plus écoutée en France avec un peu moins de 7 millions d’auditeurs quotidiens. Selon l’imaginaire populaire, l’auditeur type de la station serait un individu de classe moyenne ou supérieure, d’une cinquantaine d’années, Parisien, bobo donc par définition de gauche (Gustave & Péronnet, 2013). Ce mémoire s’interroge sur la nature de la relation entre les auditeurs de France Inter et leur station et comment est-ce que la représentation que l’on se fait d’eux influence leur pratique radiophonique ? Les renseignements sur ces auditeurs sont presque inexistants. Les théories de la réception de Stuart Hall expliquent qu’il n’y a pas « un type » d’auditeur et pas une seule manière de s’approprier le contenu médiatique (Hall, 1980). Ensuite, Pierre Bourdieu nous permet de déconstruire l’idée reçue selon laquelle les goûts seraient le fruit d’un choix délibéré, pris sans influence extérieure (Bourdieu, 1979). Le sociologue en vient à la conclusion que nos goûts sont traversés par des mécanismes sociaux de distinction. Ses recherches le mènent à établir une théorie sur les classes sociales, car nos goûts et nos pratiques culturelles peuvent aider à nous situer socialement. L’auditeur de France Inter est mis au centre avec des entrevues semi-dirigées permettant de répondre aux deux questions de recherche : comment est-ce que les auditeurs de France Inter développent et entretiennent l’écoute de cette station ? Et comment est-ce que la représentation que l’on se fait d’eux a influencé le développement de cette écoute ? Quatre influences sur l’écoute sont identifiées : sociale, familiale, sociétale, politique et de l’âge. Face à la représentation de l’auditeur, nos participants ne sont pas d’accord, car ils se basent sur leur propre réalité. Plusieurs se rejoignent néanmoins sur un point : sa curiosité intellectuelle et son besoin de s’éduquer. Toutefois, il est certain que cette représentation n’a pas d’impact notable sur leur écoute. S’ils reçoivent des remarques négatives, cela va seulement les pousser à, d’autant plus, écouter. Pour tous, cette station a eu et a encore une influence monumentale. Elle sert d’horloge, de repère et de compagnon quotidien. Elle affecte les humeurs tout au long de la journée, provoque des réflexions et informe sur le monde d’hier, d’aujourd’hui et de demain. / France Inter is the most listened to radio station in France with almost 7 million daily listeners. According to popular opinions, the typical listener would be a middle or upper class individual, in his fifties, Parisian, a “bobo” therefore by definition from the left-wing (Gustave & Péronnet, 2013). This Master’s thesis questions the nature of the relationship between France Inter listeners and their station, and how does the representation we have of them influence their radio practice? Information on these listeners is almost non-existent. Stuart Hall's theories of reception explain that there is not just one type of listener and not one way to appropriate media content (Hall, 1980). Then, Pierre Bourdieu allows us to deconstruct the received idea that tastes are the fruit of a deliberate choice, taken without external influence (Bourdieu, 1979). The sociologist came to the conclusion that our tastes are shaped by social mechanisms of distinction. Bourdieu’s research led him to establish a theory on social class ; our tastes and cultural practices can help situate us socially. France Inter listeners are put at the center with semi-structured interviews allowing to answer the two research questions: how do France Inter listeners start and keep listening to this station? And how did the representation we have of them influence the development of this listening? Four influences on listening are identified: social, family, societal, political and age. Faced with the representation, our participants disagree because they are basing themselves on their own reality. However, many agree on one point: the intellectual curiosity and the need for education. It is certain that this representation does not have a noticeable impact on their listening. If they receive negative remarks, it will only make them listen even more. For all, this station had and still has a monumental influence. It serves as a clock, a landmark and a daily companion. It affects moods throughout the day, provokes reflections and informs on the world of yesterday, today and tomorrow.

The object of this diploma thesis is the concept of architectonic studies of concert hall – theatre music. The main functional scope of the projected building is concert hall with capacity of 542 visitors. Hall enables performances of choir up to 50 members and orchestra up to 80 members. Operative and service room of the concert hall background is one of the parts of handled task. The main accent was put on acoustic solution of the main hall and overall limpidity of the building operation. Building look and its solution is trying to supplement compactness of the urban unit with the respect to the surrounding build-up area.

Since the first diagnosis of HIV/AIDS more than three decades ago, the epidemic remains a humanitarian challenge. In Sub-Saharan Africa, the infection rate has escalated at an alarming rate over the years. Lesotho is no exception. Multiple stakeholders have resorted to different media platforms, including community radio to communicate HIV/AIDS awareness messages with the aim of reducing the HIV infection spread. This study focuses on a community radio station as a way of making sense of HIV/AIDS communication. Using the case of MCRS, the study assesses the contribution of this community broadcaster on HIV/AIDS awareness in Mafeteng district, in Lesotho. Two theories: the Public Sphere Theory and the Agenda Setting Theory guided the study and were used to conceptualise the contribution of this community radio station towards contributing to HIV/AIDS awareness in the community of broadcast. In a bid to assess how MCRS programmes contribute to HIV/AIDS awareness and education; the researcher employed a qualitative research methodology. The data were collected using two data collection instruments, namely face-toface interviews and focus group discussions. Thematic analysis was used to deduce the meaning and present the findings. The findings reveal that MCRS programmes largely contribute to HIV/AIDS awareness in the community. The station’s programmes on HIV/AIDS awareness are easily understood and influence communities’ socio-behavioural change as they enlighten them about the dangers of HIV/AIDS and how to reduce its spread. The results also reveal that live broadcasts proved to be more effective as they encourage two-way communication whereby listeners are involved and participate in these HIV/AIDS programmes. It is therefore concluded that MCRS programmes have been useful in the dissemination of valuable HIV/AIDS awareness messages / Communication Science / M.A. (Communication Science)

This study addresses the design of a new cultural center in the Moravian Square – a polyfunctional object with a great concert hall, a small multifunctional hall with operating and technical facilities, parking, customer services for visitors, and areas for employees and musicians. Also, a restaurant & cafe is a part of this proposed project. New space replaces the unsatisfactory conditions of the current residence of Brno Filharmony in Besední dům – too small, unsatisfactory acoustics, and complicated operation. The cultural center, also, serves as a congress center that is currently missing in Brno - a city of trade fairs and exhibitions. The proposition respects the existing character of the park. The capacity of the new proposed design is from three-quarters underground, and therefore makes a way (nebo „space“) for greenery and pedestrians. The designed object consists of one ground and two underground levels. It has a simple shape with a greenery roof, and is incorporated into the existing spaces of the square. The distinctive element of the design is an open outside atrium in the first underground level. The facase is covered with boards (nebo „panels“) made out of Corian® material in a white shade of Glacier White in contrast to glass windows. The supporting construction is designed from monolithic iron concrete.