Thesis (Ph. D.)--University of Chicago, Department of History, June 2000. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

This thesis is intended to be the first detailed account of the craftsmanship, iconography and background of the Balinese shadow play. The theatre has an important place in Balinese culture both as it is seen to be the original art form and also as it is an essential part of religious rites. The stories upon which the plays are based are taken mainly from the Hindu epics, the Mahabharats and Ramayana. The characters, most of who are derived from the epics, are first introduced. This is a relevant background for understanding the iconography. The thesis then turns to look at the making of the puppets. From this it emerges that complex cultural and ritual regulations underpin the craft. This leads into the largest section of the work which deals with an examination of the principles underlying the depiction of the mythical characters and their significance in terms of both the texts and the oral tradition. It is evident that the puppets are composed of standard parts which carry a more or less defined meaning. There is one important class of figures which stand out by the uniqueness of their depiction, but do not exist in the epics at all. These are the servants who are studied in some detail. It is useful further to stand back and survey a collection of puppets as a whole. This reveals complex forms of connections with social institutions and cultural beliefs. A study of the Iconography is incomplete however without an examination of the performance itself in which the puppets are seen as part of a more elaborate system including other dramatic elements. This provides the means by which cultural ideas are portrayed both through the visual form and the spoken word to the Balinese.

Thesis (Ph. D.)--Ohio State University, 2003. / Title from PDF t.p. (viewed on Apr. 30, 2006). Advisor: Vincent Roscigno, Dept. of Sociology. Includes vita. Includes bibliographical references (p. 138-150).

Thesis (Ph.D.) -- University of Western Sydney, 2001. / Thesis presented in fulfilment of the requirements of the Doctorate of Philosophy (Applied Communications), University of Western Sydney, 2001. Bibliography : leaves 452-498.

The purpose of this study was to investigate empirically the political talk show phenomenon in Taiwan. Specifically, the study examined the perceived influence of political talk shows on the Taiwanese audience themselves (first-person effect) and others (third-person effect), the attitudinal antecedents of the perceived influences, and attitude toward restrictions on political talk shows. Data were collected from a convenient sample of 1053 adult Taiwanese citizens via an online survey. The results supported the hypothesized relationships between attitude toward political talk shows and perceived influence of the shows on self and others. Results also supported the looking glass perception hypothesis whereby the perceived influence of political talk shows on oneself was projected onto that of others. The perceived influences on self and others were unrelated to attitude toward restrictions, however.

This thesis called "Television game shows and quiz shows in the Czech republic between 1989 - 2004" deals with the historical development of television game shows and quiz shows in the Czech republic in the first 15 years since the so- called Velvet revolution in 1989. The first, theoretical part outlines some basic terms related both to television game shows and quiz shows and to television entertainment in general. The second part summarizes television competitions in Czech TV stations in the given period from the historical point of view.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-06T12:50:58Z No. of bitstreams: 1 Rafael Fonseca de Araújo.pdf: 9767748 bytes, checksum: 9ba35e483f432ff6315a1d92099ab469 (MD5) / Made available in DSpace on 2017-04-06T12:50:58Z (GMT). No. of bitstreams: 1 Rafael Fonseca de Araújo.pdf: 9767748 bytes, checksum: 9ba35e483f432ff6315a1d92099ab469 (MD5) Previous issue date: 2017-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis presents a Multi-­dimensional (MD) analysis (Biber, 1988 et seq.) of a Corpus of American Reality TV Shows (CARTS). Reality television can be described as unscripted television shows with non-­professional actors being observed by cameras in preconfigured environments (Kavka, 2012) and despite of being a relatively new TV genre is a cornerstone of contemporary US television programming, since according to some critics it has remade television culture (Murray and Quellette 2004). The major goal of the study was to provide a lexical-­grammatical description of the verbal language of Reality TV shows by investigating a corpus of 780 texts taken from 39 popular American Reality TV shows, totaling over 6 million tokens. The specific goals were to compare CARTS against the four dimensions of general English register variation as well as against the five dimensions of American television register variation (Berber Sardinha;; Veirano Pinto, in press). CARTS texts were classified into four main program types (Competition, Documentary, Talent and Professional, and Transformation) and into 13 sub-­program types, namely, celebrities, dating, gamedoc, docusoap, hidden cameras, reality sitcoms, business, cooking, fashion, performing, expert guidance, self-­improvement and social experimental. The corpus was balanced so that each major category had the same number of texts. CARTS was tagged for part of speech with the Biber Tagger and analyzed by the Bibber Tag Count which calculated the normalized frequencies of the 128 linguistics features considered in the research. The results present the additive MD analysis by showing how reality TV shows are similar or different from others spoken and written English registers (from Biber seminal 1988 study), as well as how the various manifestations of Reality TV compare to television registers on US. Since there is no precedent for studies within Corpus Linguistics dedicated to researching the lexical-­grammatical profile of Reality TV Shows in a multidimensional perspective, this research intends to fill this gap / O presente trabalho apresenta uma Análise Multidimensional (BIBER, 1988 et seq.) do Corpus of American Reality TV Shows (CARTS). Reality TV shows podem ser descritos como programas de televisão sem roteiro, com atores não profissionais sendo observados por câmeras em ambiente pré-­configurados (KAVKA, 2012) e apesar de ser um gênero de televisão relativamente novo é considerado um marco na programação da televisão nos EUA, uma vez que reinventou a cultura da televisão (MURRAY e QUELLETTE, 2004). O principal objetivo do estudo é fornecer uma descrição dos padrões léxico-­gramaticais da linguagem verbal dos Reality TV shows. Os objetivos específicos foram comparar o CARTS com as cinco principais dimensões de variação da Língua Inglesa (BIBER, 1988 et seq.), bem como em contraste com as quatro dimensões de variação de registro da televisão norte-­americana (BERBER SARDINHA e VEIRANO PINTO, no prelo). O CARTS é formado por 780 textos extraídos de 39 reality TV shows norte-­americanos populares, totalizando cerca de 6 milhões de palavras. Os textos do corpus foram classificados em quatro principais categorias Competição, Documentário, Talento e Profissão, e Transformação que, por sua vez, foram subdivididas em 13 subcategorias nomeadas: celebridades, namoro, jogo-­documentário, novela-­documentário, câmeras escondidas e portáteis, reality sitcom, business, culinária, moda, artistas de palco, orientação de especialistas, melhoria pessoal e experimento social. O corpus foi balanceado para que cada categoria tivesse a mesma quantidade de textos, etiquetado gramaticalmente com o Biber Tagger e processado pelo Biber Tag Count que calcula a frequência normalizada das 128 variáveis linguísticas consideradas no estudo. Os resultados da Análise Multidimensional demonstram como os reality TV shows se assemelham ou se diferenciam dos demais registros da Língua Inglesa propostos por Biber (1988) em seu estudo seminal, tal como as várias manifestações de Reality TV se comparam aos registros da televisão norte-­americana. Uma vez que não há precedentes de estudos, dentro da Linguística de Corpus, dedicados à investigação do perfil léxico-­ gramatical dos reality TV shows em uma perspectiva multidimensional, a presente pesquisa pretende preencher esta lacuna

This thesis analyses the content of three Arab satellite television talk shows and their reception by women in Jordan. It aims to assess the role of talk shows in the Arab public sphere by engaging with different conceptualisations and criticisms of the public sphere theory, starting with Habermas (1989) influential work. The thesis argues that once the criticisms of the criteria that underpin Habermas original theory are taken into consideration, and alternative conceptualisations by different traditions of democratic theory are considered, contemporary popular media genres like talk shows can be re-evaluated for their role in the public sphere. The thesis aligns itself with conceptualisations of the public sphere as an on-going and continuous process, rather than a concluded state, and argues through the analysis that this process transpires and continues in different contexts, within and beyond the media. Through its theoretical and empirical engagement, the thesis hopes to contribute to research on Arab television genres and its audiences, and their implications for investigations of the Arab public sphere. The thesis employs a multi-method approach to analyse the three talk shows Kalam Nawaem [Soft talk], Ahmar Bel Khat Al Areed [In Bold Red] and Sireh Winfatahet [An Open Case] and their audiences as two contexts where engagements with the public sphere continually take place. First, it uses thematic analysis to examine the content of the talk shows in terms of the issues they discuss and their relation to the Arab public sphere. Second, it also uses formal analysis to examine the structural features of the shows in order to demonstrate how these aspects collaborate to further shape the function of these shows in the public sphere. Third, the thesis analyses the audience research conducted through focus groups with women in Jordan, in order to study audiences perceptions of these shows and their role in the public sphere. The thesis proposes different ways in which these shows discussions can be consequential to the Arab public sphere, and the ways in which these transnational shows and discussions are watched and deciphered by audiences at a national level. Finally, the thesis reflects back on what it has achieved, its methodological limitations and alternatives, as well as future work that can be pursued on this topic.

Orientador: Francisco Machado Filho / Banca: Regilene Aparecida Sarzi Ribeiro / Banca: Nirave Reigota Caram / Resumo: O estudo da Hiperpublicidade evidencia a conquista por espaços cada vez maiores de se fazer e estudar publicidade, diante dos múltiplos aspectos contemporâneos à aplicação de marcas vem ganhando força no mercado televisivo, em particular nos programas de reality show. Na televisão, destina-se diversas possibilidades de trabalhar a publicidade diante dos produtos oferecidos, entre eles o reality show, um formato de entretenimento que tem apoio de marcas patrocinadoras. A pesquisa busca identificar a estratégia de posicionamento na divulgação dos prêmios destinados ao vencedor do Masterchef Brasil Profissionais transmitido pela TV aberta na Rede Bandeirantes, para tal, versa de um estudo exploratório e de uma análise de conteúdo para a terceira temporada do programa. Os resultados demonstram que o reality show emprega uma estratégia de posicionamento da marca dentro da mensagem persuasiva propagada com os prêmios destinados ao vencedor do Masterchef Profissionais, além de produzir, por esse conteúdo, valores humanos relacionados ao perfil de competidor profissional, em uma possibilidade de transformação sociocultural com a Hiperpublicidade presente. / Abstract: The study of Hyperpublicity evidences the conquest by ever larger spaces of doing and studying advertising, in view of the multiple contemporary aspects of the application of brands has been gaining strength in the television market, particularly in reality show programs. On television, several possibilities are used to work advertising in front of the products offered, among them the reality show, an entertainment format that has support from sponsoring brands. The research seeks to identify the strategy of positioning in the dissemination of the prizes destined to the winner of Masterchef Brasil Profissionais transmitted by the open TV in the Bandeirantes Network, for such, it is an exploratory study and a content analysis for the third season of the program. The results demonstrate that the reality show employs a strategy of brand positioning within the persuasive message propagated with the prizes destined to the winner of the Masterchef Professionals, besides producing, for this content, human values related to the profile of professional competitor, in a possibility of sociocultural transformation with present Hyperpublicity. / Mestre