The master'sthesiscalledThematicpreferencesoftheCzechprintedmedia seenontheexampleofthecaseofPussyRiotdeals withthe mediaphenomenon Pussy Riot, whichprovokedheightenedinterestofboththegeneralpublicand Russianand Western mediaatthebeginningof2012.The membersoftheartistic activistmovementPussyRiotperformedtheso-called"punkprayer"intheCathedral of Christthe Saviourin Moscow. Thisact, whichhadpoliticalandreligious overtones, wassubsequentlycriminalized. Thethesisoffersaninsightintothe backgroundofthecasefromtheperspectivesofhistory,inspirationandgoalsofthe movement.Italsoseekstopointouttheimportantaspectsoftheirperformanceand eventsthattookplaceafterthecase.ThethesisshowshowthePussyRiotissuehas beenaddressedbythemediaaroundtheworld,takingintoaccounttheworkofthe journalistandtheinfluencesthatmayshapehisorherwork.Italsotakesintoaccount theinfluenceoffeminism,itsdevelopmentinthemedia,anditsconnectionwiththe activismofPussyRiot.ThemainaimofthisworkistofindouthowCzechmedia haveconstructedmeaningsrelatedtoPussyRiotfromthebeginningofthecasetothe present.Todothis,aqualitativeanalysisofthreeCzechdailynewspapers Mladá frontaDNES,Hospodářskénoviny,PrávoandthreeCzechweeklyRespekt,Reflex andTýdenwasused.

The present research aims to develop a novel technique for creation of composite riot helmet shells with reinforcing fibre continuity for better protection against low velocity impacts. In this research an innovative, simple and effective method of making a single-piece continuously textile reinforced helmet shell by vacuum bagging has been established and discussed. This technique also includes the development of solid collapsible moulding apparatus from non-woven fibres. Angle-interlock fabric due to its good mouldability, low shear rigidity and ease of production is used in this research. Several wrinkle-free single- piece composite helmet shells have been manufactured. Low-velocity impact test on the continuously reinforced helmet shells has been carried out. For this purpose an in-house helmet shell testing facility has been developed. Test rig has been designed in such a way that the impact test can be carried out at different locations at the riot helmet shell. Low-velocity impact test has been successfully conducted on the developed test rig. The practical experimentation and analysis revealed that the helmet shell performance against impact is dependent on the impact location. The helmet shell top surface has better impact protection as compared to helmet shell side and back location. Moreover, the helmet shell side is the most at risk location for the wearer. Finite Element models were created and simulated in Abaqus software to investigate the impact performance of single-piece helmet shells at different impact locations. Models parts have been designed in Rhinoceros software. Simulated results are validated by the experimental result which shows that the helmet top position is the safest position against an impact when it is compared to helmet back and helmet side positions.

As with women journalists in other male-dominated fields, female music writers have long endured gendered harassment. In the newsroom, this sexist treatment is foisted upon female music journalists by their male editors and colleagues; in the outside world, it often occurs at the hands of male sources, readers, and online trolls. Unfortunately, the victims of such abuse are frequently left to cope with it alone, and many report that their mental health suffers in the process. Some may even ultimately decide to quit pursuing music journalism entirely. These women report wanting to feel more supported within their work environment, as well as through informal means, such as via a network of fellow female writers. Feminist media theory, utilitarianism, and ethics of care will serve as the study's theoretical bases. This research, based on in-depth interviews with women music journalists, suggests that the vast majority of participants had faced sexism and/or gendered harassment during their time as a female music journalist, experiences that left many of them feeling frustrated and devalued. Based on the research, I offer recommendations on how to make the industry more inclusive for women writers.

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This study describes the development of the black business and professional community with emphasis on the period from 1920 to 1930, the riot itself, and the impact of the episode on the local black community. It utilizes traditional historical research methods, county records, contemporary newspapers, and oral history.

This doctoral thesis is about female rock musicians who are involved in two Swedish non-profit feminist music associations; Rockrebeller, which is situated in Uppsala and She´s Got the Beat in Umeå. The aim of the study is to analyze how the informants describe their lives as rock musicians and as active participants in these feminist music associations. The main issues are musicianship, identity, feminism and gender. The empirical material consists of in-depth interviews with ten informants – five from Umeå and five from Uppsala – and these interviews are complemented by a number of participatory observations. The focus of thesis is on the informants’ self-presentations: their stories and experiences. One central theme is the ways that the informants’ different identities are interlaced and closely knit together in different ways: as feminists, as musicians and as active participants in the associations. Two major themes in my thesis are music and politics and they can be regarded as two sides of the same coin; in order to make it easier for women to play rock music they have become involved in the associations, and this relationship is regarded as a form of political work. The informants have been influenced by punk and Riot Grrrls Movement – a feminist movement that is associated with punk bands and fanzines is sometimes seen as representative of a "third wave feminism". All the informants are members of rock bands, but many are also engaged in other projects, for instance in the role of a singer-songwriter, and these different identities as musicians are often seen as complementary to each other. Rock bands are generally considered to be fascinating but insecure experiences because bands tend to split up with time. Those who are also active musicians outside of the band (most often guitarists) usually regard their own individual identity as musicians as the most important thing; a safe harbor that is always there. Their ideological beliefs are for instance visible in a common vision of the ideal rock band as democratic, anti-hierarchic and where an equality of opportunity exists. Rock music is in some ways used as an expression for an alternative way of life, of rebellion, and is seen as politically subversive. One of the ambivalences of the source material is the kind of identity politics that the associations represent and whose purpose is to improve the gender equality in the field. There is a well-known dilemma involved in this practice; how is it possible to navigate from a marginalized, subordinated position, without using the method of categorizing that may increase the probability of reproducing their own marginalization? Their life as rock musicians is described as enjoyable rewarding, and as a means of expressing their cultural belonging and ideological beliefs, such as feminism. However, the overall picture highlights the pleasures of creating and making music, which serves as an explanation why they strive to make rock music more accessible for women. The descriptions of being in a band and performing on stage are varied and on the whole complex. The group dynamics of the band are portrayed as very meaningful but also trying at times, and playing in front of an audience is described as everything between ecstasy and a nerve-wrecking experience. However, there is an overall adaptation to the norms surrounding rock music; a sense that one has to adjust oneself in order to function as a rock musician. The informants´ statements generally emphasize gender, but from time to time they identify themselves with other male amateur rock musicians.

Thesis (M.A.)--Miami University, Dept. of History, 2008. / Title from first page of PDF document. Includes bibliographical references (p.58-60).

Du soulèvement survenu en Birmanie en 2007 aux révoltes qui ont traversé les pays de la Méditerranée en 2011, les usages de la vidéo partagée sur internet n’ont cessé de se développer au cœur des manifestations et des émeutes. À partir d’observations menées sur internet et d’une enquête de terrain en Tunisie, la thèse s’attache à décrire l’évolution des usages de l’image animée sur le temps long du processus révolutionnaire tunisien entre 2008 et 2014, et à questionner la place et le rôle de ces pratiques dans un monde social en ébullition. L’analyse des contenus mais aussi des tensions socio-politiques qui ont présidé et succédé au moment insurrectionnel, suggère que la prise d’images n’est pas seulement une pratique utilitaire et stratégique destinée à sensibiliser ou à produire une information alternative, mais qu’elle sert des objectifs complexes traversés par les enjeux de lutte qui ont animé les différentes périodes. Des premiers usages en période autoritaire aux productions en plan-séquence dans le temps de l’urgence insurrectionnelle, des montages et mises en scènes accompagnant les mobilisations pour la reconnaissance des acteurs de la révolte à ceux réaffirmant les revendications des populations marginalisées, la vidéo partagée s’est affirmée comme le langage vernaculaire de la contestation. / From the Burma uprising in 2007 to the revolutions of the Arab world in 2011, the uses of digital video have continued to grow, from the heart of demonstrations and riots to the internet. Based on observations conducted on the internet and on a field survey in Tunisia, the thesis describe the evolution of moving image uses in the Tunisian revolutionary process between 2008 and 2014, and interrogates the place and role of these practices in a social world in turmoil. Content analysis combined with analysis of the socio-political tensions that led and succeeded the uprising, suggests that taking pictures is not only a strategic utility practice to raise awareness or to produce alternative information, but that it serves complex objectives marked by the struggle issues of the different periods. From the first uses in authoritarian period to the uses during riots weeks, from edited clips for recognition of revolutionary actors to productions for the recognition of marginalized populations, shared videos revealed as the vernacular language of protest.

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