This study presents research about the virtual experience room, more specific theKarantänfestivalen Unplugged. The purpose of this study is to analyse how the virtualexperience room Karantänfestivalen Unplugged is built and also how committed consumersare during a virtual event. This will be answered by three research questions. The researchquestions affect inclusion of consumers at a distance, important factors from the physicalexperience room and also how consumers judge the virtual experience room in terms ofcomments.The research questions will be answered with help from the model The Virtual ExperienceRoom that is created by the authors of this study. The model is based on the two models TheExperience Room Model and The Four Realms of An Experience. Also the important factorsregarding the experience room from Mossberg and Bitner. The study is written from aqualitative approach where the collection of the data has been done through a case study. Thecase study was made from the virtual experience room Karantänfestivalen Unplugged througha document and video study. The documents and the video was analysed from a contentanalysis with help from the model that was mentioned above.The result shows that Karantänfestivalen Unplugged includes its consumers in a way that itmakes it possible for them to participate more spontaneously than if it was a physical event.And also that the consumers are able to ask questions to the artists and employees of theevent. The main factors in a virtual experience room are considered to be customerengagement, technology, object language and intangible artefacts, which is presented in themodel The Virtual Experience Room. Finally, it can be considered that consumers of a virtualevent will express their opinions through writing in a comment that they will publish on aplatform where the event is being observed.The study is written in Swedish. / I denna studie presenteras forskning kring det virtuella upplevelserummet Karantänfestivalen Unplugged. Syftet med studien är att analysera hur det virtuella upplevelserummet Karantänfestivalen Unplugged är uppbyggt samt hur engagerade konsumenter är under ett virtuellt evenemang. Detta besvaras genom tre forskningsfrågor. Forskningsfrågorna berörinkludering av konsumenter på distans, viktiga faktorer som kan appliceras från det fysiska upplevelserummet samt hur konsumenter bedömer det virtuella upplevelserummet i form av kommentarer. Forskningsfrågorna besvaras med hjälp av den egenskapade modellen Det Virtuella Upplevelserummet som baseras på modellerna The Experience Room Model och The Four Realms of An Experience, samt Mossberg och Bitners viktiga faktorer i ett upplevelserum. Studien är skriven utifrån en kvalitativ infallsvinkel där insamlingen av data har gjorts genomen fallstudie. Fallstudien gjordes på det virtuella upplevelserummet Karantänfestivalen Unplugged genom en dokument- och videostudie. Dokumenten och videon analyserades utifrån en innehållsanalys med hjälp av modellen som tidigare nämnts. Resultatet visar att Karantänfestivalen Unplugged inkluderar konsumenterna genom att spontant deltagande kan ske på ett annat sätt än vid fysiska evenemang samt att konsumenterna får ställa frågor till artisterna och personalen. Huvudfaktorerna i ett virtuellt upplevelserum anses vara kundengagemang, teknologi, object language och ogripbara artefakter, vilket visas i modellen Det Virtuella Upplevelserummet. Slutligen kan det konstateras att konsumenter av ett virtuellt evenemang uttrycker sina åsikter genom att skrivadet i en kommentar som de sedan publicerar på den plattform där de följer sändningen.

This study investigates the manner in which cinematic visual translation styles can be used to incorporate dominant and subversive historical versions in fictional narratives constructed within the conspiracy film genre. Fictional characters in a conspiracy film are often tasked with a mission to discover the alternative historical accounts, accounts which for all intents and purposes are regularly kept hidden from the public eye. These accounts are presented as a plausible and often unconventional narrative which challenges the dominant version of events. A visual translation style is a term used to describe the various methods in which a film can be shot and edited in order to create a specific aesthetic and communicate a specific idea. These styles can consist of camera movements, shot sizes or editing techniques, all of which aid in communicating a specific idea in a film. This study analyses the conventions of the conspiracy film, with regard to the manner in which the alternative and dominant versions of historical accounts are constructed. Furthermore, the study explores how these alternative and hegemonic historical events are presented and communicated through the use of visual translation styles. Theorists such as Jean Baudrillard and David Bordwell are referenced when discussing the meaning and application of terms such as “truth”, “narrative” and “history” and to problematise these notions in the context of this particular genre. Other key notions investigated include aporia, metalanguage and object-language and notions of genre theory. The conceptual and theoretical framework regarding visual translation styles is further complemented by writers such as Don Fairservice and Ken Dancyger. / Dissertation (MA)--University of Pretoria, 2012. / Drama / unrestricted

No description available.

This study is based on the presumption that language is fundamental to the construction of knowledge. In addition, linguistic demands are incorporated in the policy documents of the upper secondary edu­cation of Sweden; students shall, during their education, be given the opportunity to appropriate certain linguistic tools. The purpose of this thesis is to investigate how teachers and students in upper secondary education manage and utilize the discourse of social science in both speech and writing. More specifically, two classes are studied during three terms. The teachers’ ability to organize and support the students vocally and in written is examined, so are the effects of the teaching on students’ writing. The origin of the study is constituted by a sociocultural stance provided by Vygotskij, Bakhtin and Halliday. A combination of a functional perspective on language and a cognitive is probed, where the study is comparative in nature consisting of an experimental class and a control class. The importance of language for the creation of knowledge has been communicated to the teachers of the experimen­tal class, with provided complementary subject didactic literature. This literature offers support for teachers to augment the use of explicit teaching and enhance student awareness of how conceptual structures mould social science. Qualitative analyses are performed on the basis of teacher-student dialogue and written tasks by a group of selected students. The ana­lytical tools object language – metalanguage, linguistic operations and knowledge structures are developed for the purpose of processing data, and have been combined with the tools activity analysis, subject-related concepts and text activity. The results from the analyses display no difference in the handling of the discourse of social science between the experimental class and the control class. The teachers of the experimental class, like the teacher of the control class, are primarily utilizing object language where knowledge structures are visible, as opposed to a combination of object language – metalanguage. Furthermore, they exhibit diminutive use of dialogue in their teaching. The students of both classes, on their hand, demon­strate an equal progress in textual development. This study concludes that the experimental class has not been provided with sufficiently explicit support to advance in the struc­turing of knowledge and in level of reasoning. A more efficient support to teachers to manage these analytical tools would, in all probability, give them, and through this the students, an increasingly profound insight into structuring of text activities, the meaning and signalling of linguistic operations, the construction of subject-related concepts and, most importantly, how these three tools are interrelated.