This study compares how newspaper yearbooks and current upper secondary school history textbooks represent the Cold War between the years 1985-1991. As earlier research, this multimodal study focuses discourses and images. In addition I examine the usefulness of mediatization as illuminating tool in this context. For these aims, I have constructed a three-step model, in which concepts from mediatization theory are operationalized, and combined with Theo Van Leeuwen’s social semiotic theory. This thesis compares 356 representations from two yearbooks to 16 ones from three textbooks. At present, historical images are neither addressed nor regulated in the national curriculum, yet both educators and researchers within the field of education address them. The contribution of this paper is hence to shed light on the complexity of images, which shows how their meanings, including degree of mediatization, depend on context. Thereby I add a new aspect to multimodal literacy research.

The purpose of this essay is to analyse the Twitter posts from former president Donald Trump, specifically the posts that contain religious themes such as references to a religion or a deity. The first question asked in this essay is about how Donald Trump expresses himself about religion on Twitter. The second question is about how these posts can be interpreted from the mediatization theory. The method used to answer these questions is a qualitive text-analysis which means that different, recurring themes and terms were identified to analyse the deeper meaning of the contents of a text and to ascertain if there is a pattern. This was accomplished by finding posts on Donald Trumps Twitter account that contained religious terms and references and then those posts were interpreted from the perspective of the mediatization theory. The mediatization theory is a theory that states that media plays a pivotal role in how events are processed by society, by framing events in certain ways, by lending legitimacy to sources, by amplifying certain information related to the event and by how different forms of media can have a co-structuring function on how something is perceived in different social dynamics. The conclusion in this essay is that Trump is shown to express himself about religion in his tweets that causes his message to be mediatized, namely by using religion to push a Us vs Them type of narrative, by using religion to frame himself as the hero or defender of the USA and his opponents as the villains in that narrative and by using his Twitter account to co-structure that narrative.

No description available.

In the autumn of 2017 the #metoo-movement came to change a whole world. In Sweden, many #metoo-movements started, one of which was #vardeljus. #vardeljus means “Let there be light”, and was a movement of anonymous women in The Church of Sweden. The women wanted to illustrate how women have been sexually harassed in the organization. #vardeljus was also a blog with the same name, where the women shared their stories. In this essay, I have studied how the #vardeljus-movement highlighted existing gender structures in The Church of Sweden, and whether or not the movement contributed to an authority displacement. In relation to this, I examined in what way the theory of mediaziation could be useful in the study of these topics. In the making of this study, I have mainly relied on the theory of mediaziation as the main theory. In addition I have also benefited from ideas found in the theory of authority displacement as well as from adding a gender perspective. The text material of my choice was the #vardeljus-movement, publicated in the newspaper Kyrkans tidning, and a selection from the associated blog with same name - #vardeljus. The method of this study has been a systematic text analysis, wherein I have placed my text material in categories. These categories were power, gender structure, sexually harassment and authority displacement. The study found that the #vardeljus-movement illustrated gender structures in The Church of Sweden. These were expressed through sexually harassment, and abuse of power from authorities in the church. Another result of the study was that the movement started a process of an authority displacement, where previously silent stories were heard. In relation to these conclusions, the theory of mediaziation has been used to analyse how these gender structures and authority displacements are presented in the #vardeljus-movement, and how new medias are provided to these conclusions.

O consumo na sociedade contemporânea é uma atividade fundamental de produção de sentido, e que se apresenta indissociável das propriedades simbólicas sobre o que se consome, indo muito além das propriedades utilitárias dos bens. Tais propriedades são dadas a partir de significados culturais que, em movimento contínuo no mundo social, são transferidos dos bens aos consumidores individuais por meio de rituais de consumo (MCCRACKEN, 2010). Estes significados se realizam, ainda, de maneira dinâmica a partir do jogo entre as estratégias e táticas do consumo (CERTEAU, 2014), situando o consumo enquanto usos dos bens no cotidiano, atravessado por contextos culturais, constituindo uma atividade criadora de sentidos dos sujeitos na vida material. Nesta sociedade, ainda, vivemos sob a presença cada vez mais influente da mídia e suas lógicas contexto em que a mídia se torna uma instituição social semi-independente, dentro da ideia de midiatização conforme Hjarvard (2014a). A mídia, enquanto mediação cultural principal nesta sociedade (MARTÍN-BARBERO, 2004), passa a exercer influência sobre outras instituições e práticas culturais, tais como a política, a religião ou, no caso específico deste trabalho, o consumo. Nesse contexto, dedicamos especial atenção às mídias digitais, nos modos como suas possibilidades são apropriadas em rituais do consumo na circulação midiática (FAUSTO NETO, 2010). A partir destas premissas, o objeto da presente pesquisa são os rituais próprios do consumo midiatizado nas redes digitais, particularmente os rituais da curadoria do consumo online, a que chamamos de marcações do consumo. Nossa análise se estenderá às práticas do consumo midiatizado em três pilares da base da vida material (BRAUDEL, 2005): alimentação, vestuário e moradia, na circulação midiática em seus vestígios nas mídias sociais digitais. O objetivo deste trabalho é pensar o contexto em rede e digital como um novo lugar de transferência de significados, onde podemos observar rituais de consumo específicos das redes, bem como as práticas do consumo midiatizado nos rituais do alimentar-se, do vestir-se e do morar. Configuram-se, assim, práticas de consumo midiatizadas, em um contexto de circulação de mensagens que favorece o desenrolar dos novos rituais de consumo, por meio dos quais os consumidores selecionam, rearranjam e ressignificam os bens de consumo e seus significados nas suas estratégias e táticas midiatizadas. / Consumption in contemporary society is a fundamental activity of production of meaning, and it is indissociable from the symbolic properties of what is consumed, going far beyond the utilitarian properties of goods. Such properties are given from cultural meanings that, in continuous movement in the social world, are transferred from the goods to the individual consumers by means of consuming rituals (MCCRACKEN, 2010). These meanings are also dynamically realized through the play of strategies and tactics of consumption (Certeau, 2014), placing consumption as the use of goods in daily life, crossed by cultural contexts, constituting an activity that creates the senses of the subjects In material life. In this society, we live under the increasingly influential presence of the media and its logical context in which the media becomes a semi-independent social institution within the idea of mediatization according to Hjarvard (2014a). The media, as the main cultural mediation in this society (MARTÍN-BARBERO, 2004), has an influence on other cultural institutions and practices, such as politics, religion or, in the specific case of this work, consumption. In this context, we pay special attention to digital media, in the ways in which their possibilities are appropriate in rituals of consumption in the media circulation (FAUSTO NETO, 2010). From these premises, the object of the present research is the rituals of consumption mediated in digital networks, particularly the rituals of online consumption curation, which we call consumption marking. Our analysis will extend to the practices of mediated consumption in three pillars of the basis of material life (BRAUDEL, 2005): food, clothing and housing, in the media circulation in its vestiges in digital social media. The purpose of this work is to think of the network and digital context as a new place of transference of meanings, where we can observe specific consumption rituals of the networks, as well as the practices of mediated consumption in the rituals of eating, dressing and housing. Thus, practices of mediatized consumption are configured, in a context of message circulation that favors the development of new consumption rituals through which consumers select, rearrange and re-signify consumer goods and their meanings in their mediated strategies and tactics.

This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.

The aim of this study is to investigate how frequently religious actors participate in public debates, on what subjects and with what arguments. This is done by studying the debate pages of Sweden’s largest tabloid: Aftonbladet. Furthermore, the aim is also to study what forms of authority and arguments the religious actors use while participating in the public sphere. In order to answer the research ques-tions the author takes an abductive approach and uses the theories of deprivatiza-tion and mediatization to conduct a sequential mixed method study of Af-tonbladet’s debate page between the years 2001 and 2011. The results show that very few religious actors participate in public debates in Sweden, and that the small sample of articles signed by religious actors are dominated by the Church of Sweden. The Christian groups are represented by religious authorities to a much larger extent than the Jewish and Muslim groups. However, the arguments used by all groups are predominately secular, which would indicate an acceptance of the secular norm in the public sphere.

The increasing importance of media, especially digital media, in society has been studied widely, from identity formation to activist movements. In international relations studies digital media’s impact has focused considerably on public diplomacy 2.0. This focus has caused a more holistic view of digital diplomacy to be neglected. This study explores how digital media’s impacts as a part of mediatization are seen within the Ministry for Foreign Affairs of Finland. Semi-structured interviews with 11 officials from the Ministry of Foreign Affairs were conducted. These led to the creation of three thematic fields. The first one looks into how the agency of the Ministry is seen to be impacted by digitalization. The second section looks into how community building is seen as essential. And the third part investigated how the ministry evaluates the impacts of digitalization on other ministries of foreign affairs in the light of its own experience. The finding is that the ministry is expanding into a new digital sphere and that in the process of so doing the Ministry is not a tabula rasa, but it mirrors the cultural and political context of the country within the online sphere.

This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.

O consumo na sociedade contemporânea é uma atividade fundamental de produção de sentido, e que se apresenta indissociável das propriedades simbólicas sobre o que se consome, indo muito além das propriedades utilitárias dos bens. Tais propriedades são dadas a partir de significados culturais que, em movimento contínuo no mundo social, são transferidos dos bens aos consumidores individuais por meio de rituais de consumo (MCCRACKEN, 2010). Estes significados se realizam, ainda, de maneira dinâmica a partir do jogo entre as estratégias e táticas do consumo (CERTEAU, 2014), situando o consumo enquanto usos dos bens no cotidiano, atravessado por contextos culturais, constituindo uma atividade criadora de sentidos dos sujeitos na vida material. Nesta sociedade, ainda, vivemos sob a presença cada vez mais influente da mídia e suas lógicas contexto em que a mídia se torna uma instituição social semi-independente, dentro da ideia de midiatização conforme Hjarvard (2014a). A mídia, enquanto mediação cultural principal nesta sociedade (MARTÍN-BARBERO, 2004), passa a exercer influência sobre outras instituições e práticas culturais, tais como a política, a religião ou, no caso específico deste trabalho, o consumo. Nesse contexto, dedicamos especial atenção às mídias digitais, nos modos como suas possibilidades são apropriadas em rituais do consumo na circulação midiática (FAUSTO NETO, 2010). A partir destas premissas, o objeto da presente pesquisa são os rituais próprios do consumo midiatizado nas redes digitais, particularmente os rituais da curadoria do consumo online, a que chamamos de marcações do consumo. Nossa análise se estenderá às práticas do consumo midiatizado em três pilares da base da vida material (BRAUDEL, 2005): alimentação, vestuário e moradia, na circulação midiática em seus vestígios nas mídias sociais digitais. O objetivo deste trabalho é pensar o contexto em rede e digital como um novo lugar de transferência de significados, onde podemos observar rituais de consumo específicos das redes, bem como as práticas do consumo midiatizado nos rituais do alimentar-se, do vestir-se e do morar. Configuram-se, assim, práticas de consumo midiatizadas, em um contexto de circulação de mensagens que favorece o desenrolar dos novos rituais de consumo, por meio dos quais os consumidores selecionam, rearranjam e ressignificam os bens de consumo e seus significados nas suas estratégias e táticas midiatizadas. / Consumption in contemporary society is a fundamental activity of production of meaning, and it is indissociable from the symbolic properties of what is consumed, going far beyond the utilitarian properties of goods. Such properties are given from cultural meanings that, in continuous movement in the social world, are transferred from the goods to the individual consumers by means of consuming rituals (MCCRACKEN, 2010). These meanings are also dynamically realized through the play of strategies and tactics of consumption (Certeau, 2014), placing consumption as the use of goods in daily life, crossed by cultural contexts, constituting an activity that creates the senses of the subjects In material life. In this society, we live under the increasingly influential presence of the media and its logical context in which the media becomes a semi-independent social institution within the idea of mediatization according to Hjarvard (2014a). The media, as the main cultural mediation in this society (MARTÍN-BARBERO, 2004), has an influence on other cultural institutions and practices, such as politics, religion or, in the specific case of this work, consumption. In this context, we pay special attention to digital media, in the ways in which their possibilities are appropriate in rituals of consumption in the media circulation (FAUSTO NETO, 2010). From these premises, the object of the present research is the rituals of consumption mediated in digital networks, particularly the rituals of online consumption curation, which we call consumption marking. Our analysis will extend to the practices of mediated consumption in three pillars of the basis of material life (BRAUDEL, 2005): food, clothing and housing, in the media circulation in its vestiges in digital social media. The purpose of this work is to think of the network and digital context as a new place of transference of meanings, where we can observe specific consumption rituals of the networks, as well as the practices of mediated consumption in the rituals of eating, dressing and housing. Thus, practices of mediatized consumption are configured, in a context of message circulation that favors the development of new consumption rituals through which consumers select, rearrange and re-signify consumer goods and their meanings in their mediated strategies and tactics.