The book provides a deep insight into the successful organisation, management and marketing of booths at trade shows. By giving practical examples and explanations, Solberg Søilen aims at examining previous research and exploring factors and aspects which can lead, if properly applied, to successful boothmanship. Findings were, that the book is written rather as a guidebook for inexperienced readers in the field of marketing and trade show intelligence. Whereas the exhibiting of marketing is discussed in detail, the topic of “trade show intelligence” is not covered in depth and, thus, the title is rather misleading.Overall, the book is easy to read and follow due to the provided examples, tables and graphs, which enhance the reader’s understanding.

O presente trabalho situa-se na convergência interdisciplinar entre a Análise do Discurso de linha francesa e os estudos da mídia na pós-modernidade. Nele pretende-se demonstrar, com base na observação de 10 episódios de um programa popular da televisão brasileira (o Programa do Ratinho), como existe no gênero uma tendência crescente de dispersão de identidades, poderes e saberes. Embora limitados por regras discursivas que determinam sua produção e exibição, esses programas se caracterizam pela constante negociação e redefinição dos limites de poder dos diferentes sujeitos envolvidos - apresentadores, convidados leigos e especialistas, público da platéia e audiência doméstica. Propõe-se que tal tendência à dispersão está ligada ao fenômeno marcadamente pós-moderno da dispersão dos sentidos, promovida por sua vez em grande parte pela multiplicidade de vozes que se fazem ouvir, com níveis desiguais de poder, nos formatos da mídia contemporânea. No programa popular brasileiro em questão, observa-se uma aparente contradição no que diz respeito à construção de poderes e saberes. Por um lado, a multiplicação potencial das diversas vozes no programa sugere uma situação mais ou menos caótica, na qual os discursos circulam sem uma hierarquia nítida ou estável. Por outro lado, há uma valorização visível das narrativas da experiência pessoal dos participantes, experiência essa que tende a desbancar a autoridade do discurso oficial da ciência - o discurso especializado dos psicólogos, advogados e médicos - e a assumir o status de parâmetro de autenticidade. Nesse sentido, a autenticidade do conhecimento (e também do poder) torna-se maior quanto melhor construída e articulada no espaço concreto do programa popular, ainda que isso implique em uma maximização do elemento performático, que nesse contexto se equivale à verdade autenticada. / This dissertation is situated in the interdisciplinary convergence between the French approach to discourse analysis and the Media Studies in postmodernity. We set out to demonstrate, based on the observation of 10 episodes of a popular Brazilian TV program (Programa do Ratinho), how the genre is marked by a growing tendency towards the dispersion of identities, power and knowledge. Despite being restrained by discursive rules which determine their production and exhibition, these programs are characterized by constant negotiation and redefinition of the limits of power of the different subjects involved - hosts, lay and expert guests, and the audiences at home and in the studio. We propose that such tendency towards dispersion is associated with the markedly postmodern phenomenon of the dispersion of meanings, which in turn is grounded partly on the multiplicity of voices which are heard, at unequal levels of power, in the contemporary media formats. On the Brazilian popular broadcast in question, we observe an apparent contradiction regarding the construction of power and knowledge forms. On the one hand, the potential multiplicity of voices on the show points to a rather chaotic situation, in which discourses circulate without a distinct or stable hierarchy. On the other hand, there is a clear emphasis on the participants\' narratives of personal experience, of the kind that tend to debunk the authority of the official discourse of science - the expertise discourse of psychologists, lawyers and doctors - and to take on the status of parameters of authenticity. In this connection, the authenticity of knowledge (and also of power) becomes all the greater the better it is constructed and articulated within the concrete space of the popular broadcast, even if this implies a maximization of the performative element, which in this context is equivalent to authenticated truth.

Cryptographic credential systems provide some possible solutions to the problem of privacy leakage of users in the ``virtual'' world. This thesis presents a privacy-preserving method which can enable the cryptographic credentials to have the capability of anonymous multi-show. Our approach builds on the work of Brands from the year 2000 which proposed a Digital Credential system that can protect users' privacy. This system is efficient but not perfect, since the Digital Credentials in that system can only be shown once to avoid linkability. We propose the use of a malleable signature technique to transform Brands' Digital Credentials from single-show to multi-show capability. In this thesis, we describe our modified issuing and showing protocols and discuss the security properties of our proposed scheme. We have a basic implementation (proof of concept) to support our concept and analysis of timing results is also provided. In the end, we point out a number of future directions which can be used to complement or improve this approach.

Television has often been considered a safe haven for female performers, especially comedians. But in fact, women have often been marginalized – narratively and institutionally – within the medium of television. While there has been a promising increase in the number of creative and professional opportunities afforded to women in TV, there is one arena in which women have historically been, and continue to be, excluded: late-night comedy. As the first female late-night talk show host, Joan Rivers is central to the history of broadcast television and American comedy. While some (but not much) work has centered on Rivers’ impact as a comedian, little of this research has contextualized her career through the industrial frameworks of late-night broadcasting. From starting out as a standup comedian, to becoming Johnny Carson’s permanent guest host in the 1980s, to acrimoniously splitting with Carson and NBC for the opportunity to host her own late-night program, Rivers creatively performed her gender in order to differentiate herself as the singular female host in late night. From a feminist media studies perspective coupled with a historical analysis of Rivers’ professional trajectory in late-night comedy, this thesis will uncover the systemic, personal, and gender-specific factors that contributed to Rivers’ initial success, yet ultimate exile from late night.

Submitted by Leonardo Cavalcante (leo.ocavalcante@gmail.com) on 2018-04-10T15:38:31Z No. of bitstreams: 1 Arquivototal.pdf: 15660980 bytes, checksum: bf82ab0f30b285a6fe3d0f990324d65d (MD5) / Made available in DSpace on 2018-04-10T15:38:31Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 15660980 bytes, checksum: bf82ab0f30b285a6fe3d0f990324d65d (MD5) Previous issue date: 2016-08-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Target of criticism from various sections of society, the Big Brother Brazil as object of study, allows looks from various academic aspects such as the Sociology, Anthropology and Psychology, and in the area of communication, can be analyzed from a range of possibilities to deal with the subject example the authors François Jost and Muniz Sodre. Among these possibilities, in this work, he started to study the Big Brother Brazil as televisual product and as a theoretical framework and is considered the television drama elements in order to understand if it is possible to find points of intersection between these two narratives. Therefore, it is important to consider that it is necessary to leave the common sense in which the shows realitys are empty and do not add value to society. As media products such attractions condense aspects involving not only the Brazilian people culture, considering its habits and behavior, but above all, which reconfigures media in a new genre that gives rise to an invented reality, being sold as reality only because it uses real aspects. In this study object of analysis, the construction of the characters worked, observing the physical or behavioral characteristics of the participants that were transmitted by the program production. In the same study, it was also observed that, both in the house parties, as the evidence leader and Angel, the productions performed by the direction of the program can be considered as performing structures from the understanding that such spaces are strategically prepared environments to generate the "stage" of events. The third and most important category of analysis consisted of the construction of three major narrative threads in search of participants to win the program. The first narrative thread refers to the relationship between Amanda and Fernando, the second main narrative thread is the involvement of Aline and Fernando, and the third main narrative thread discusses the lonely path of César Award winner in cash. It is thus understandable that the precise identification of these categories in the fifteenth edition of the reality provides a new perspective on the Big Brother Brazil as audiovisual product. This look not only demystifies the 'label' reality show presented by broadcaster as possible acceptance of television drama elements in this genre programs. Key-words: television; reality show; teledramaturgy / Alvo de críticas oriundas das mais variadas camadas da sociedade, o Big Brother Brasil, enquanto objeto de estudo, possibilita olhares das mais diversas vertentes acadêmicas a exemplo da Sociologia, da Antropologia e da Psicologia, e, na área da Comunicação, pode ser analisado a partir de um leque de possibilidades que tratam do tema a exemplo dos autores François Jost e Muniz Sodré. Dentre essas possibilidades, no presente trabalho, passou-se a estudar o Big Brother Brasil enquanto produto televisual e como arcabouço teórico e se considerou os elementos da teledramaturgia a fim de entender se é possível encontrar pontos de interseção entre essas duas narrativas. Para tanto, é importante considerar que é necessário sair do senso comum no qual os realitys shows são vazios e não agregam valor à sociedade. Como produtos midiáticos, tais atrações condensam aspectos que envolvem não apenas a cultura do povo brasileiro, considerando seus hábitos e comportamentos, mas, sobretudo, o que a mídia reconfigura em um novo gênero que dá origem a uma realidade inventada, sendo vendida como realidade apenas porque se utiliza de aspectos do real. Na análise do objeto deste estudo, trabalhou-se a construção dos personagens, observando-se as características físicas ou comportamentais dos participantes que eram transmitidas por parte da produção do programa. Ainda neste estudo, observou-se também que, tanto nas festas da casa, como nas provas do Líder e do Anjo, as produções realizadas pela direção do programa podem ser consideradas como estruturas cênicas a partir da compreensão de que tais espaços são ambientes preparados estrategicamente para gerar o “palco” dos acontecimentos. A terceira e mais relevante categoria de análise constituiu-se da construção de três fios narrativos principais na busca dos participantes em vencer o programa. O primeiro fio narrativo se refere ao relacionamento entre Amanda e Fernando, o segundo fio narrativo principal trata do envolvimento de Aline e Fernando, e o terceiro fio narrativo principal aborda a trajetória solitária de César, ganhador do prêmio em dinheiro. Compreende-se assim que a identificação precisa destas categorias na décima quinta edição do reality possibilita uma nova perspectiva a respeito do Big Brother Brasil enquanto produto audiovisual. Tal olhar não apenas desmitifica a ‘etiqueta’ de reality show apresentada pela emissora como possibilita a aceitação de elementos da teledramaturgia em programas deste gênero.

abstract: Currently, show management for convention centers have several resources to help determine where to place their efforts in facility services for exhibitors, one of which is to use research results from an importance-performance analysis study. In order to help show management refine their understanding of the needs of exhibitors before a trade show, this study explores the relationship between the exhibitor’s ranking of importance placed on facility services through the Importance-Performance Analysis, and the goals exhibitors have for the trade show. A survey was conducted at three different trade shows taking place in two convention centers. Using a sample of 115 exhibitors, the underlying factors were determined for the importance exhibitors placed on facility attributes and their goals. The findings from the research show that the correlations between importance factors and goals are statistically weak, albeit some notable correlations were made. The importance performance analysis remains a strong and useful tool for show management to use and implementing the iso-rating line provides more detail for a show manager to work with. The finding of this study offer insights into the factor analysis of facility attributes as well as the importance-goals analysis conducted. / Dissertation/Thesis / Masters Thesis Community Resources and Development 2017

Made available in DSpace on 2014-12-17T14:00:16Z (GMT). No. of bitstreams: 1 RodrigoCNX_DISSERT.pdf: 2125715 bytes, checksum: af08f814b4492642e0f887f419e8806b (MD5) Previous issue date: 2012-05-25 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas / Desde a d?cada de 1970, o mundo observa a fragmenta??o, o hibridismo, a pluralidade e a miscigena??o que v?m tomando conta das artes da cena. A poesia contempor?nea sente-se livre das regras cl?ssicas; o teatro j? n?o mais obedece ?s prescri??es dos manuais po?ticos; desaparecem as fronteiras r?gidas entre os g?neros; os artistas deixam de representar para o p?blico para dialogar com ele. Como consequ?ncia dessa evolu??o das artes c?nicas, emerge nas ?ltimas d?cadas do s?culo XX e in?cio do s?culo XXI na cena brasileira o fen?meno derris?vel objeto de estudo dessa pesquisa, o One-man Show. Trata-se de um formato teatral que despontou no cen?rio brasileiro arrebatando a aten??o do p?blico em espa?os alternativos, teatros e, como n?o poderia deixar de ser, tamb?m na internet, sendo muitas vezes confundido com o Stand-up Comedy. Uma pesquisa que delimite e busque identificar as caracter?sticas fundamentais do One-man Show brasileiro, fazse necess?ria n?o somente pela aus?ncia de estudos sobre o referido assunto, mas tamb?m para se compreender alguns aspectos da cena brasileira e da situa??o do riso e do c?mico dentro dela. No primeiro cap?tulo, apresenta-se uma discuss?o sobre a com?dia e o riso na Antiguidade cl?ssica, tomando os escritos de Plat?o e Arist?teles como ponto de partida; no segundo, s?o analisadas algumas das principais teorias cl?ssicas do riso procurando identificar caracter?sticas gerais que permitam entender tamb?m a constru??o da comicidade; no terceiro, aborda-se de um modo geral o momento da cena teatral brasileira em que emerge o One-man Show e, no quarto cap?tulo, h? a explana??o acerca de tal fen?meno e a descri??o do exerc?cio pr?tico intitulado Experimento One-person Show: Damas

O presente trabalho situa-se na convergência interdisciplinar entre a Análise do Discurso de linha francesa e os estudos da mídia na pós-modernidade. Nele pretende-se demonstrar, com base na observação de 10 episódios de um programa popular da televisão brasileira (o Programa do Ratinho), como existe no gênero uma tendência crescente de dispersão de identidades, poderes e saberes. Embora limitados por regras discursivas que determinam sua produção e exibição, esses programas se caracterizam pela constante negociação e redefinição dos limites de poder dos diferentes sujeitos envolvidos - apresentadores, convidados leigos e especialistas, público da platéia e audiência doméstica. Propõe-se que tal tendência à dispersão está ligada ao fenômeno marcadamente pós-moderno da dispersão dos sentidos, promovida por sua vez em grande parte pela multiplicidade de vozes que se fazem ouvir, com níveis desiguais de poder, nos formatos da mídia contemporânea. No programa popular brasileiro em questão, observa-se uma aparente contradição no que diz respeito à construção de poderes e saberes. Por um lado, a multiplicação potencial das diversas vozes no programa sugere uma situação mais ou menos caótica, na qual os discursos circulam sem uma hierarquia nítida ou estável. Por outro lado, há uma valorização visível das narrativas da experiência pessoal dos participantes, experiência essa que tende a desbancar a autoridade do discurso oficial da ciência - o discurso especializado dos psicólogos, advogados e médicos - e a assumir o status de parâmetro de autenticidade. Nesse sentido, a autenticidade do conhecimento (e também do poder) torna-se maior quanto melhor construída e articulada no espaço concreto do programa popular, ainda que isso implique em uma maximização do elemento performático, que nesse contexto se equivale à verdade autenticada. / This dissertation is situated in the interdisciplinary convergence between the French approach to discourse analysis and the Media Studies in postmodernity. We set out to demonstrate, based on the observation of 10 episodes of a popular Brazilian TV program (Programa do Ratinho), how the genre is marked by a growing tendency towards the dispersion of identities, power and knowledge. Despite being restrained by discursive rules which determine their production and exhibition, these programs are characterized by constant negotiation and redefinition of the limits of power of the different subjects involved - hosts, lay and expert guests, and the audiences at home and in the studio. We propose that such tendency towards dispersion is associated with the markedly postmodern phenomenon of the dispersion of meanings, which in turn is grounded partly on the multiplicity of voices which are heard, at unequal levels of power, in the contemporary media formats. On the Brazilian popular broadcast in question, we observe an apparent contradiction regarding the construction of power and knowledge forms. On the one hand, the potential multiplicity of voices on the show points to a rather chaotic situation, in which discourses circulate without a distinct or stable hierarchy. On the other hand, there is a clear emphasis on the participants\' narratives of personal experience, of the kind that tend to debunk the authority of the official discourse of science - the expertise discourse of psychologists, lawyers and doctors - and to take on the status of parameters of authenticity. In this connection, the authenticity of knowledge (and also of power) becomes all the greater the better it is constructed and articulated within the concrete space of the popular broadcast, even if this implies a maximization of the performative element, which in this context is equivalent to authenticated truth.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-07-31T12:33:47Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Tese_PatriciaMonteiroCruzMendes_UFPE.pdf: 6007130 bytes, checksum: 8c92bbf798b296112e1a633214a764f7 (MD5) / Made available in DSpace on 2017-07-31T12:33:47Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Tese_PatriciaMonteiroCruzMendes_UFPE.pdf: 6007130 bytes, checksum: 8c92bbf798b296112e1a633214a764f7 (MD5) Previous issue date: 2016-02-29 / CAPES / A presente tese aborda a televisão enquanto tecnologia do imaginário que promove uma biopolítica da saúde ao disseminar o nexo cuidados com o corpo e aparência. O estudo foi alicerçado em compreender como o imaginário midiático utiliza a associação entre cuidados com o corpo e responsabilização dos indivíduos para produzir uma estética específica de saúde, que estamos chamando de saúde imaginária. Partindo da sociologia compreensiva, utilizamos o conceito de biopolítica em Foucault e as noções de imaginário em Maffesoli e Durand como base teórico-metodológica para a análise do material empírico: os reality shows Medida Certa e Além do Peso, veiculados pela TV Globo e TV Record, respectivamente. As confluências entre o sistema foucaultiano de corpo e as reflexões do imaginário social permitiram compreender a aparência como uma estrutura antropológica que põe o corpo em comunicação. Assim, para a análise do corpus, identificamos as formas do imaginário midiático por meio da proposição de um modelo teórico-metodológico centrado em três categorias: corpo sem formas, baseado no imaginário social sobre os riscos da gordura/sedentarismo à saúde; modelagem midiática dos corpos, com a formação/estimulação de uma imaginação sobre os esforços em busca dos pesos e medidas da saúde; e corpo prêt-à-porter, considerando a apresentação da imagem de uma estética saudável pronta para exposição/consumo. Com base nisso, foi possível compreender que o imaginário midiático dissemina uma noção de saúde cujas imagens e conteúdos estão materializados nas formas dos corpos. / This dissertation addresses the television as an imaginary technology that promotes health in the biopolitics to spread the caring with the body and appearance. The study was based to understand how the imaginary media uses the association between body care and the responsibility of individuals to produce a specific health appearance, that we call the imaginary health. Starting from the comprehensive sociology, we use the concept of biopolitics in Foucault and imaginary notions of Maffesoli and Durand as a theoretical and methodological basis for the analysis of the empirical material: the reality shows Medida Certa and Além do Peso, televised by TV Globo and TV Record respectively. The confluences of the Foucault system body and the reflections of the social imaginary allowed understanding the appearance as an anthropological structure that puts the body into communication. Thus, to analyze the corpus, we identified the forms of the imaginary media by proposing a theoretical and methodological model based on three categories: body without forms, based on the social imaginary about the risks of fat / inactivity to health; media modeling of the bodies, with formation / stimulation of an imagination on the efforts in search of weight and health measures; and prêt-à-porter body considering the presentation of the image of a healthy aesthetic ready for exposure / consumption. Based on this, it was possible to understand that the media imaginary spread a sense of health whose images and contents are materialized in the shapes of bodies.

This thesis aims to attempt to clarify whether the principle of TV reality shows in general and also specific gender reality show Wife Swap could be a variation of the modern technologies of discipline or a special case of media confession which influences the audience through a TV reality show while presenting the positive norms. Furthermore, based on discourse analysis of interviews with various actors and actress of selected TV Part of Wife Swap it aims to understand and uncover their motivation to participate in this gender reality show, as well as to analyze strong attitude of the audience towards the controversial name of this reality show. The theoretical basis of the work are based on the idea of Foucault new technologies of discipline (the Panopticon principle), internalization of norms and the concept of pastoral power, and Judith Butler's concept of formation of repetitive body. In the end, the thesis considers not only the identified discourses that constitute the motivation of participants of this television gender show, but also a discussion of the research possibilities and limits in an environment that is defined by dominant discursive dichotomies.