Taylor Swifts turné ‘The Eras Tour’ har kommit att bli en av de mest omtalade turnéerna i nutid. Hysterin som uppstått kring Swift och ‘The Eras Tour’ väckte intresset att förstå vilka faktorer som gör att turnén blivit så stor som den har blivit. Sociala medier och det digitaliserade samhället vi lever i idag har lett till att innehåll sprids i en fart det aldrig tidigare gjort. Genom att ta del av innehåll från exempelvis konserter skapas en bild av hur konserten är utformad vilket kan leda till att fans får förväntningar. Att fans har förväntningar på ‘The Eras Tour’ är inget undantag och hur dessa ser ut och vilken roll sociala medier spelar för dessa är relativt outforskade. Tidigare forskning undersöker främst fankultur, publikens engagemang, och Taylor Swifts marknadsföringsstrategier (Baym, 2018; Bennet, 2014; Duffet, 2013; Fiske, 1992; Hills, 2003; Ryan Bengtsson & Edlom, 2022). Denna studie syftar därför till att undersöka om det finns något samband mellan Taylor Swifts fans, så kallade 'Swifties', konsumtion av sociala medier och förväntningarna som finns på ‘The Eras Tour’. Studien leds-av-frågeställningen: - Vilken relation har fans konsumtion av sociala medier och förväntningar på konsertkulturen på ‘The Eras Tour’? Utöver studiens frågeställning undersöks också fyra forskningsfrågor som tillsammans lägger en grund för att kunna besvara frågeställningen. Forskningsfrågorna ämnar undersöka fans användarmönster på sociala medier,deras förväntningar på ‘The Eras Tour’, vilka sociala interaktioner fansen har med varandra samt vilka samband som finns mellan användarmönster, grad av fan, förväntningar och engagemang. Studien förankras i betrodda teorier och tidigare forskning vilka bland annat omfattar sociala medier, engagemang, fandom och konsertkultur samt hur dessa samspelar med varandra. Genom en kvantitativ enkätstudie har data från 291 respondenter samlats in genom Survey & report och sedan lagts över i SPSS för att undersökas och analyseras. Enkäten publicerades på plattformarna Instagram, TikTok, Facebook och X. Resultatet av denna studie visar att det finns flera signifikanta samband, och ett av dem är mellan i vilken utsträckning fans har tagit del av videor från ‘The Eras Tour’ och om fans ska klä sig enligt en ‘Era’ samt ta med sig vänskapsarmband till konserten. Det kan antas att fans i och med detta agerar på ett visst sätt för att de på sociala medier har sett videor från konserten där de fått kunskap om hur de ska klä sig och vara. Ett annat resultat av denna studie visar att den största andelen respondenter har varit fans av Swift i 1-3 år, vilket vid studiens genomförande också är då ‘The Eras Tour’ har varit aktuell. Detta resultat visar att spridning på sociala medier också kan generera fler fans vilket kan bidra till den växande framgången som Swift haft under de senaste åren som hon varit aktiv med turnén ‘The Eras Tour’. Då turnén har blossat upp på sociala medier pekar detta resultat på att spridningen av innehåll från turnén har gjort att fans troligtvis därför har förväntningar på den och att det tillkommit nya fans under denna tid. Genom att vara en del av ‘Swiftie’-communityt samt att ta del av videor från konserterna på sociala medier, byggs förväntningar om konsertkulturen upp. Detta är troligtvis anledningen till att en stor majoritet fans känner sig så pass trygga att de kan tänka sig att gå på en konsert ensam vilket också är ett resultat som kommit fram under studiens gång. Slutsatsen som kan dras av denna studie är att det finns en relation mellan konsumtion av sociala medier och fans förväntningar på ‘The Eras Tour’. Den antagna relationen är att förväntningar troligtvis skapas ju mer innehåll från konserten som tas del av på sociala medier. / Taylor Swift's tour 'The Eras Tour' has become one of the most well-known tours in recent times. The hysteria about Swift and 'The Eras Tour' sparked interest in understanding the factors that have made the tour as big as it is. Social media and the digitalized society we live in today have led to content spreading at an unprecedented speed. By consuming content from concerts, for instance, an image of the concert is created, which can lead to fans having expectations. Fans having expectations regarding 'The Eras Tour' is no exception, and how these are formed and the role social media plays is relatively unexplored. Previous research mainly examines fan culture, audience engagement and Taylor Swifts marketing strategies (Baym, 2018; Bennet, 2014; Duffet, 2013; Fiske, 1992; Hills, 2003; Ryan Bengtsson & Edlom, 2022). Therefore, this study aims to investigate whether there is a correlation between Taylor Swift's fans, known as 'Swifties,' their consumption of social media, and the expectations for 'The Eras Tour.' The study is guided by the question: - What is the relationship between fans' social media consumption and expectations for the concert culture at 'The Eras Tour? In addition to the main question, the study examines four research questions that collectively provide a foundation to help answer the main question. The research questions aim to investigate fans' usage patterns on social media, their expectations regarding 'The Eras Tour,' the social interactions fans have with each other, and the correlations between usage patterns, level of fandom, expectations, and engagement. The study is based on trusted theories and previous research, which include social media, engagement, fandom, and concert culture, and how these interact with each other. Through a quantitative survey, data from 291 respondents have been collected through Survey & report and analyzed and examined in SPSS. The survey was published on Instagram, TikTok, Facebook and X. The results of this study show that there are several significant correlations, one of which is between the extent to which fans have watched videos from 'The Eras Tour' and whether fans plan to dress according to an 'Era' and bring friendship bracelets to the concerts. Consequently, it can be assumed that fans behave in a certain way because they have seen videos from the concert on social media, where they have learned how to dress and act. Another result of this study shows that the largest proportion of respondents have been fans of Swift for 1-3 years, which is also the period when 'The Eras Tour' has been relevant. This result shows that distribution on social media also can generate more fans which can contribute to the ongoing success that Swift have had in recent years since she has been active with the tour ‘The Eras Tour’. As the tour has exploded on social media, this result suggests that the spread of content from the tour has likely led to fans having expectations for it and that new fans have emerged during this time. By being part of the 'Swiftie' community and watching videos from the concerts on social media, expectations regarding the concert culture are made. This is likely why a large majority of fans feel comfortable enough to consider attending a concert alone which also is a result from the study. The conclusion that can be drawn from this study is that there is a relationship between social media consumption and fans' expectations for 'The Eras Tour.' The assumed relationship is that expectations more likely are created the more content fans consume from the concert on social media.

The problem of this study was a test of a specific videotape designed to influence the actions of tour guides for older adult groups. The purposes of the study were to observe guide performances and older adult responses before and after training in techniques for sharing information with older adults in public spaces. The hypotheses were tested. 1) Guides after training would exhibit significant differences in behaviors of pointing, repeating, pausing, questioning, conversing, facing art when talking, talking inaudibly, pacing rapidly. 2) Older adult drop-outs would decrease on tours with especially trained guides.

Nicolas Besnier (1686-1754) est le fils de François Besnier, chef du gobelet du roi, et d’Henriette Delaunay. Son oncle est Nicolas Delaunay et son parrain est Corneille Van Clève. Comme architecte, Nicolas Besnier fait le voyage en Italie de 1709 à 1712 ; étudiant à l’Académie de France à Rome, il obtient le premier prix d'architecture de l’Académie de Saint-Luc en 1711. Maître orfèvre en 1714, associé à Delaunay, logé aux galeries du Louvre à partir de 1718, il est nommé orfèvre du roi par un brevet en 1723. Il travaille pour la cour de France, notamment pour le remplacement de la vaisselle ordinaire du roi et pour les Affaires étrangères, ainsi que pour les comtes de Tarroca, de Pontchartrain, les duchesses de Retz, d'Harcourt, le maréchal de Castries, les ducs de Bouillon, de Levy, Horatio Walpole, Gaspard-César-Charles de Lescalopier, William Bateman, l'église Saint-Louis-en-l'ile, la cour de Wurtemberg, etc… Il devient échevin de la ville de Paris en 1729. A cette époque, il décide de collaborer avec son gendre Jacques Roëttiers de La Tour, à qui il laissera la conduite de son atelier d’orfèvre. De 1734 à 1753, il est directeur de la Manufacture royale de tapisserie de Beauvais. Il supervise la création de nouvelles tentures par Jean-Baptiste Oudry - Métamorphoses d'Ovide, Verdures fines -, par Charles Joseph Natoire - Histoire de don Quichotte - et par François Boucher - les Fêtes italiennes, Histoire de Psyché,Seconde tenture chinoise, les Amours des dieux, la Noble pastorale, les Fragments d'opéra ; cette période est vraiment « l'âge d'or » de la manufacture. Il quitte son logement aux galeries du Louvre en 1739 et il remet son poinçon d'orfèvre en 1744. / Nicolas Besnier (1686-1754) is the son of François Besnier, head of the Gobelet du Roi and Henriette Delaunay. His uncle is Nicolas Delaunay and his godfather is Corneille Van Clève. As an architect, Nicolas Besnier traveled to Italy from 1709 to 1712. As student at the Academy of France in Rome, he obtained the first prize of architecture of the Académie de Saint-Luc in 1711. He became master goldsmith in 1714, partner with Delaunay, and was housed in the Galeries du Louvre from 1718. He was appointed goldsmith of the king by a patent in 1723. He worked for the court of France, notably for the replacement of the king's ordinary serveware and for the Foreign Affairs, as well as for the Counts of Tarroca, of Pontchartrain, the Duchess of Retz, of Harcourt, the Marshal de Castries, the Dukes of Bouillon, of Levy, Horatio Walpole, Gaspard-Caesar-Charles de Lescalopier,William Bateman... He became the alderman of the city of Paris in 1729. At that time, he decided to collaborate with his son in law Jacques Roëttiers de La Tour, who led the his workshop of goldsmith. From 1734, and until 1753, he was director of the Royal Manufacture of Tapestry of Beauvais. He supervised the creation of newhangings by Jean-Baptiste Oudry - Metamorphosis of Ovide, Fine verdures, by Charles Joseph Natoire - History of Don Quixote and by François Boucher - Italian festivals, Story of Psiché, the second Chinese hangings, the Loves of the gods, the Noble pastoral, Fragments of opera. This period is truly the « golden age » ofmanufacturing. He left his lodging at the galleries of the Louvre in 1739 and in 1744 gave back his hallmark of goldsmith.

No description available.

La presente tesi di dottorato è il primo studio complessivo sui rapporti di Alessandro Manzoni con la cultura anglosassone, considerati nelle due direzioni: da una parte, le possibili influenze della letteratura inglese sulle sue opere, dall’altra la fortuna dell’autore in Gran Bretagna e negli Stati Uniti nell’Ottocento. Manzoni, infatti, non fu complessivamente incompreso o ignorato nei paesi anglosassoni, come ritenevano alcuni studiosi. Al contrario: personaggi importanti del mondo letterario e culturale apprezzavano e citavano le sue opere, e le numerose traduzioni, recensioni, antologie e libri sull’Italia testimoniano che questo autore era noto tra il pubblico colto. Tra gli episodi più importanti della fortuna di Manzoni nell’Inghilterra vittoriana si possono ricordare: due recensioni di Mary Shelley, influenzata dalla prospettiva risorgimentale (che era in realtà ambivalente verso Manzoni); e un romanzo della scrittrice Charlotte Yonge, legata al movimento di Oxford, che apprezzava particolarmente "I promessi sposi" per i valori cristiani. Negli Stati Uniti, i pregi del romanzo erano riconosciuti da intellettuali attenti alla cultura italiana contemporanea, come Emerson e Margaret Fuller. / This dissertation is the first overall study on Alessandro Manzoni’s relationship with the English-speaking world, considered along both lines: possible influences from English literature on Manzoni’s works, and Manzoni’s reception in Great Britain and the United States in the XIXth century. Manzoni was not ignored or misunderstood in those countries, as some critics believed. On the contrary, distinguished men and women from the literary and cultural world read, liked and quoted his works. Indeed, the great number of translations, reviews, anthologies and books on Italy dealing with Manzoni testifies that the Italian author was well-known among the educated reading public. Two important episodes of Manzoni’s reception in Victorian England can be mentioned: two reviews by Mary Shelley, who was influenced by the issues of the Italian Risorgimento (not totally sympathetic with Manzoni); a novel by Charlotte Yonge, the novelist of the Oxford movement, who admired Manzoni’s "Promessi sposi" for its Christian values. In the United States, the merits of Manzoni’s work were acknowledged by Emerson and Margaret Fuller, who showed interest and consideration for the contemporary Italian culture.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Made available in DSpace on 2015-05-14T12:36:44Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 13775909 bytes, checksum: a65f9a9446bb61eaf79c21106539a9be (MD5) Previous issue date: 2013-07-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This document presented the relationship between Digital TV - through their interactivity - and virtual tours, regarding the presentation of remote locations based on the methodology employed in virtual tours of Google Street View. Briefly expounded the evolution of some issues necessary for the proper understanding of the project as: Virtual Tour, Google Street View, Tourism and Digital TV, drawing parallels and points of encounter between these social and cultural phenomena, and present a reflection on using conceptual image at the expense of its use as a visual representation only. This research was presented a possible adaptation to the Digital TV visitation to remote places through 360° panoramic tours. As validation of the hypothesis, an application was developed for Digital TV containing a virtual tour to a museum in the light of the methods used to develop virtual tours to the internet in order to demonstrate their use successfully in this new platform. As a complement, a WEB system was developed able to generate this NCL application, suitable for Digital TV. / Este trabalho apresentou a relação entre a TV Digital - através de seus recursos de interatividade - e passeios virtuais, no que tange a apresentação de lugares remotos tendo como base a metodologia empregada nos passeios virtuais do Google Street View1. De forma resumida explanou a evolução de alguns temas necessários ao bom entendimento do projeto como: Passeio/Tour virtual, Google Street View, Turismo e TV Digital, traçando paralelos e pontos de encontro entre estes fenômenos sociais e culturais, além de apresentar uma reflexão sobre o uso da imagem conceitual em detrimento do seu uso como representação exclusivamente visual. Foi apresentado nesta pesquisa um formato possível de adaptação à TV Digital de visitação a lugares remotos através de Tours panorâmicos 360°. Como validação da hipótese levantada, um aplicativo foi desenvolvido para TV Digital contendo um passeio virtual a um museu à luz dos métodos utilizados para desenvolvimento de passeios virtuais para internet, a fim de demonstrar o seu uso com êxito nessa nova plataforma. Como complemento, foi desenvolvido um sistema WEB capaz de gerar essa aplicação no formato NCL, próprio para TV Digital.

Cette étude porte sur les systèmes défensifs d'une quarantaine de villes petites et moyennes, édifiés en Alsace centrale entre les XIIIe et XVe siècles, jusqu'à leur déclassement ou démantèlement définitif au XIXe siècle. Les ressources sollicitées sont de natures diverses : prospections des vestiges conservés, sondages archéologiques, documentation iconographique (plans, gravures, photographies anciennes), archives médiévales et modernes. Parmi ces dernières, une grande enquête sur l’état de conservation des enceintes des petites villes, bourgs et villages d’Alsace, initiée par le directeur des fortifications d’Alsace en 1779, livre un tableau exhaustif des systèmes fortifiés avant leur abandon. Les questions abordées portent sur les matériaux de construction, les diverses composantes de la défense (portes, murs, fossés, remparts...), les données topographiques et la chronologie des aménagements. Les enseignements majeurs, dans un domaine où seules les enceintes des grandes villes ont jusqu'à présent attiré l'attention, sont la diversité des réponses apportées au besoin de défense mais également des chronologies et types de structures qui n'ont rien à envier à ces grandes villes. Tout au moins jusqu'au XVIe siècle ; car sauf exception, ces villes petites et moyennes n'ont en effet pas pu prendre le virage du bastionnement des fortifications. Elles ont en revanche assez bien entretenu les structures héritées du Moyen Âge pour encore pouvoir être considérées comme des points d’appui dans la défense de la région par l'administration royale peu avant la Révolution. / This study deals with the defensive systems of three dozen small and middle-sized towns of central Alsace, from their building between the 13th and 15th Centuries, to their definitive dismantling during the 19th Century. Various resources were exploited : examination of existing remains, archaeological surveys, visual sources (maps, prints, old photographs), Middle Age and Modern period archives. The latter source included a major condition report on Alsace’s small cities, towns and villages, initiated by the province’s head of fortifications in 1779, which offers a complete overview of fortification systems before they were abandoned.The study addresses the questions of the construction materials used, the variety of defensive elements (doors, walls, moats, ramparts, etc.), topographical data and a chronology of their construction.The major teachings, in a field so far focused on large cities’ walls, are the broad range of solutions to the protective needs and the diversity of their chronology and layout models that are just as interesting as those of larger cities. This is noted until the 16th Century, when, with few exceptions, these small and middle-sized towns were not able toupgrade their defense to the level of bulwarks. Well maintained though, they were still seen as a major defensive support for the region by the royal administration, soon before the French revolution.

La Provence n’est pas une destination traditionnellement associée avec la peinture allemande. Pourtant, cette région attire les peintres déjà au siècle des Lumières. Les vestiges romains et le souvenir de Pétrarque en font une étape du Grand Tour ainsi que du Kavalierstour. Les artistes allemands, si nombreux à aller en Italie, commencent aussi à remarquer le sud de la France. Les raisons qui les poussent à entreprendre ce voyage sont variées : pour les peintres au XVIIIe siècle, comme Jakob Philipp Hackert, il s’agit d’une escale en route vers l’Italie qui donne déjà un avant-goût de la péninsule. Johann Georg von Dillis et Ludwig Richter se rendent en Provence au début du XIXe siècle dans le cadre d’un voyage princier. Puis, au milieu du siècle, Johann Wilhelm Schirmer choisit consciemment de parcourir le sud de la France et découvre alors une nature différente de celle de l’Italie. Cette étude a pour but d’établir un corpus d’œuvre, permettant à la fois de documenter la présence d’artistes allemands en Provence, mais aussi de dégager les motivations derrière le voyage, et de montrer comment leur perception de la nature provençale évolue du XVIIIe au XIXe siècle. Ce travail propose une analyse de la place de cette région dans l’histoire artistique, culturelle et littéraire et examine les sources littéraires et visuelles dont les artistes allemands avaient pu avoir connaissance. Les différents cas d’artistes étudiés montrent l’évolution du regard artistique allemand sur la Provence et illustrent la difficulté de faire entrer ce territoire dans les canons de l’époque ce qui s’exprime particulièrement dans la peinture allemande. / Provence is not a destination traditionally associated with German painting. Yet, this region has attracted painters from the eighteenth century onwards. Roman remains and the memory of Petrarch make it a stop on the Grand Tour and on the Kavalierstour. German artists, who were going to Italy in large numbers, paid increasing attention to the South of France by the end of the eighteenth century. The reasons that motivated them to undertake such a voyage were varied: for painters such as Jakob Philip Hackert, it is a station on the way to Italy that gives them a foretaste of the peninsula. Johann Georg von Dillis and Ludwig Richter go to the South of France at the beginning of the nineteenth century as part of princely travels. Then, in the middle of the century, Johann Wilhelm Schirmer makes the conscious decision of touring Provence in search of natural scenery different from Italy’s. The present study aims to establish a body of work documenting the presence of German artists in the South of France, and also to identify what motivated the journey, in order to demonstrate how their perception of Provence evolved from the eighteenth to the nineteenth century. The aim is to analyze the place of this region in artistic, cultural and literary history, and to identify the visual and literary sources that German artists could rely on during their voyage. The different case studies serve to demonstrate the evolution of the Germanic artistic gaze on Provence, and to illustrate the difficult entry of this territory into the canons of the period, which is particularly notable in the context of German painting.

This final thesis deals with the process of transforming of the selected travel agency VS Tours into a touroperator. All formalities and practical steps that are necessary for a successful process are analyzed and evaluated. In the first part general legal conditions for tourism industry in the Czech Republic as well as the formal transformation process are described. The second part first introduces the existing travel agency VS Tours and deals further with practical aspects of its transformation into a touroperator, including drafts of the necessary documents. The third part solves purely the practical aspects of the matter. A proposal for a profile product of the new touroperator, its marketing strategy and revenue calculations are presented. The work as a whole proposes a complex plan for transforming the travel agency VS Tours into a touroperator. The work can also be generally seen as a guide for any other travel agency planning a similar step.