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The aim of this study is to seek fundamental uses and gratifications of a social networking website, Facebook as a case, and the possible advantages and the challenges of utilization of Facebook for instructional activities. The research study encompassed four main steps / the analysis of uses &amp / gratifications of Facebook, the analysis of Facebook utilization possibilities for instruction, the interviewing for two preceding steps, and the realization and analysis of a course on Facebook. In the study both qualitative and quantitative data were gathered through questionnaires, interviews and open-ended questions. The qualitative data was analyzed according to qualitative data analysis techniques and quantitative data was analyzed using SPSS software. The results showed that Facebook which is perceived as a usable tool has a potential utilization for instructional activities. As quite new context, the participants seemed concerned about participating any learning activity on Facebook. Most of the participants in all steps of the study emphasized that Facebook should be a supplementary material for instructional activities. It is concluded that individual differences and alternative methods must be studied for better integration of Facebook into education.

Facebook’s status as the world’s largest social networking platform is well documented. However, studies focusing on Facebook are largely limited to how individuals and businesses use the platform and not on how Facebook expands globally and affects markets and competition in foreign countries. Although international communication scholars have scrutinized the international expansion of major media corporations like Time Warner, Disney and News Corp., analysis on Facebook remains scarce. This thesis seeks to fill in the gap in scholarly research by conducting a meso-level (i.e. organizational level) analysis of Facebook’s expansion into developing countries through the theoretical lens of networks. The network perspective was chosen because it has previously facilitated the most comprehensive analysis of the globalizing strategies of media corporations. This paper simultaneously serves as a test of the applicability of theories of networked globalization and the Network Society to the global expansion of ICTs, and in particular, social-networking websites.

The aim of the present study was to explore the ways adolescent females, age 14 through 17, utilized social networking websites such as MySpace and Facebook for communication, self-presentation and identity development purposes. Uses and gratifications theory served as a framework for identifying the participants' motivations for heavily using these websites, which allow users to post pictures, interests and updates for their friends to view and interact with online. Using a qualitative method, one preliminary focus group and ten in-depth interviews were conducted, totaling fifteen female participants between the ages of 14 and 17. Interview questions covered topics such as peer interactions through social networking sites, posting personal content to their profile pages, self-presentations through pictures and text, creating and maintaining friendships through these sites, and negative and positive feedback received through comments. Results indicated that the participants frequently used social networking websites for five main gratifications: Information Sharing, Convenient Communication, Self-Expression, Friendship Formation and Social Support.

在WEB 2.0時代的帶動下，社群網站已然成為時下流行文化，個人創作者紛紛投入社群網站的經營，觀察近年來幾個事件，社群網站對於創作者的發展確有推波助瀾之效，為有助於創作者對社群網站的運用，本研究針對個人創作者與社群網站兩者之間的關係與影響，進行分析、研究。 因此，本研究採取質性研究，以多重個案分析，一個創作者即為一個個案。以貼近一般大眾閱讀口味的類型為主，選取文學小說、兩性家庭、生活風格三大類。從近三千位華文創作者中，首先挑選上百位創作者公開的社群網站，再從個人創作到作品出版的五大步驟與歷程：（一）創意的產生與發展；（二）作品的呈現方式；（三）作品的傳遞與管道；（四）作品的行銷與推廣；（五）創作者個人品牌的建立與累積，觀察、分析三種不同類型創作者的社群網站在這五大面向的內容與作為，比較各個創作者社群網站經營的異同，以期找出社群網站經營之道與影響力。 經過分析與研究，歸納出以下結果：（一）個人創作運用社群網站有助於創意的產生與發展，意見的回饋對於創作的方向更能掌握，呈現的方式越趨多樣化，朝多媒體發展，也能藉社群網站累積人氣、增加知名度、建立個人品牌。（二）社群網站提供創作者固定的據點，使他們易於被看見與聯繫；不同類型的創作者以各自擅長的方式在此展現自我，營造自我特性。創作者活用社群網站此項工具，並著重回歸到創作的核心能力。 本研究提供後進創作者經營社群網站的策略擬定與具體建議，並給予和創作者息息相關的出版產業一些意見，以及對於社群網站研究有興趣者參考，可擴及將創作者延伸至文創產業或相關產業的應用研究。 / Driven by web 2.0, social networking websites have become part of the pop culture. Creative writers have been jumping on the bandwagon running their own social networking websites. From the observation of recent events, it has confirmed that social networking websites did have helped promote the creative writers. In order to improve the use of social networking websites for the creative writers, this research analyzed and studied the relationship and influence between the creative writers and social networking websites. This research comprised of multiple qualitative case studies – one creative writer forming a single case – and focused on three popular genres, literature and fiction, relationships as well as lifestyle. First of all, hundreds of Chinese creative writers’ public social networking websites out of approximately 3,000 were selected. The next step was observing and analyzing the content and behaviors of the creative writers of these three genres on social networking websites during the five primary activities in the publishing process: the development of ideas; the presentation; the delivery channels; marketing and promotion; the branding and reputation of the author. This research was to find out the key success factors and influence of social networking websites through the comparison between those creative writers’ websites. Following the analysis and studies, the conclusion was drawn as follows: 1.Social networking websites are beneficial for the development of ideas. Online feedback provides the directions for writing. It diversifies the presentation especially the use of multi-media. Meanwhile social networking websites also help boost the awareness and popularity of the writers and ultimately build the personal branding up. 2.Social networking websites provide a stable platform for writing where the writers can be easily seen and contacted. Creative writers of various genres express themselves in their own specialist ways, shape their own USPs (unique selling propositions) and re-focus on the pivotal skills – writing – through the wise use of social networking websites as a tool. This research provides the subsequent creative writers with the strategies and advice on how to operate social networking websites. It also provides suggestions to the publishing industry that is closely linked with the creative writers. For researchers who are interested in social networking websites, this research may be applied to cultural and creative industry or other related industries.

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No description available.

À partir de 2007 en France, les museogeeks, des étudiant·e·s, professionnel·le·s de la culture et des technologies de l’information et de la communication, et amateurs de musées débattent des liens entre « numérique » et musées, en ligne puis lors de rencontres régulières. Petit à petit les professionnel·le·s des musées intègrent ces idées et proposent des actions sur les réseaux socionumériques (Facebook, Twitter, etc.) en mettant en avant la participation des publics en ligne. Loin d’être nouvelle, la démarche d’intégrer de plus en plus fortement les publics aux actions muséales s’ancre dans les Nouvelles Muséologies qui se déploient à partir des années 70. Ainsi l’approche adoptée n’est pas seulement d’interroger le renouvellement de ces idéologies par le biais des discours accompagnant les technologies numériques et internet mais en l’articulant avec les enjeux professionnels et institutionnels des professionnel·le·s des musées. La principale question de recherche est la suivante : comment les pratiques professionnelles des musées permettent la participation des publics ? La thèse s’appuie sur trois enquêtes distinctes et une longue période d’observation participante. D’une part, il s’agit de l’analyse de deux types de projets dits participatifs: des concours photographiques sur les réseaux socionumériques et Muséomix, un évènement créé par une partie de ces museogeeks, ayant comme slogan « people make museum » et dont le but est la fabrication de dispositifs numériques pendant 3 jours. D’autre part, les caractéristiques socio-professionnelles des community managers ont été interrogées à partir d’une enquête par questionnaires (n=206) et par entretiens semi-directifs.Il en ressort que ces projets dits participatifs ne renouvellent pas véritablement la place accordée aux publics dans une optique de co-construction des savoirs. Dans un contexte qui met en tension des enjeux institutionnels croissant liés aux stratégies numériques en termes de communication, de médiation culturelle et de visibilité et leur place ambiguë dans les pratiques professionnelles, les discours des professionnel·le·s sur les publics leur permettent d’asseoir leurs actions. Ainsi, la thèse n’entend pas seulement montrer un hiatus entre des discours et ce qui est produit par les professionnel·le·s. Elle appuie l’idée que l’argument de la participation des publics est, d’une part, une des seules modalités d’action légitimes pour ces professionnel·le·s qui ne sont pas reconnu·e·s pour leurs compétences scientifiques mais également l’horizon qui donne du sens à leurs pratiques dans un contexte politico-économique très contraignant. / In 2007 in France were founded the “museogeeks”. These groups of students and professionals in the areas of culture, information technology and communication, as well as museum hobbyists, gathered online to discuss the ties binding the digital area and museums, before pursuing the debates in real life on a regular basis. As these new ideas sank in, museum professionals began to develop actions on social networking websites (Facebook, Twitter…), focusing on involvement of online audiences. An approach tending to involve the audience is far from being new, as we can see with the Nouvelles Muséologies in the 1970’s. Thus, the intention is not only to question the renewal of museum ideologies through digital technologies. It is to link it with professional and institutional issues. The main research topic is then : how do museums’ professional habits allow the audience’s involvement ? The thesis is based on three distinct surveys and a long period of participant observation. For starters, we will deal with the analysis of two types of participatory projects : photo contests on social networking websites, and Muséomix, an event launched by a part of the museogeeks, around the motto “People make museum”, with the intent of creating digital devices on three-day periods. Then, we will examine socio-professional features of the community managers who were interrogated via a questionnaire based-survey (n=206) and semi-structured interviews. The study brings out that these so-called participatory projects do not really revitalise the place allowed to the audience in the process of knowledge co-construction. Under the current circumstances, many institutional issues are at stake. When adapting communications strategy to cultural mediation and acquiring visibility despite the ambiguous space allowed to digital technologies, the official line held by museum professionals about the audiences tend to legitimate their actions. In this way, the thesis does not only intend to reveal a gap between words and actions produced by the professionals. It supports the idea that using the argument of audiences’ involvement is one, if not the only, way to justify the deeds of a professional community which is not recognised for its scientific skills ; it is also a perspective that gives sense to their new habits in a very restrictive socio-economic context.

網路社群媒體平台可能是數位發行的年代中至目前為止最具有威力的媒體平台。整合Facebook、部落格、微網誌、影音社群、SNS（Social Networking Service ），即時通訊等的網路社群媒體平台，可與真實資料的他人免費、不受時空限制的合作、共同參與、分享彼此資源資訊，使得訊息發送、情感聯繫不但更加緊密並快速營造如朋友社群般的關係影響力，再加上無線網路環境和數位化載具的快速進展，智慧型手機IPAD等滿足了大家的多元即時性，網路社群媒體平台串聯出的威力和影響力，已成為傳統媒體之外的另一個發聲利器，其威力甚至有時要比傳統媒體還要強烈，影響還要深遠！ 本研究旨在探討網路社群媒體平台之於表演藝術團體的價值，表演藝術團體如何運用網路社群媒體平台來進行營運，以及其關鍵的成功因素等議題，盼能引起大眾及表演藝術團體對網路社群媒體平台的了解與重視。研究選擇國內已經在網路社群媒體平台上活躍使用的表演藝術團體個案進行深度訪談及觀察探究，並輔以國外表演藝術團體網絡上的實地觀察和研究，以及次級文獻資料的蒐集佐證，進行分析探討。 本研究將「網路社群媒體平台」的角色定位為「表演藝術團體營運推展的有力夥伴，以體驗經濟形式共同創建表演藝術團體的營運產值」，研究問題及研究發現如下： 研究問題一：網路社群媒體平台之於表演藝術團體之價值為何？ 對應結論一：其價值有二點，包括： 一、網路社群媒體平台與表演藝術團體是虛擬的A型團隊合作關係。 二、網路社群媒體平台是表演藝術團體另一個微型的線上舞台，也是體驗經濟的延伸實踐。 研究問題二：網路社群媒體平台如何幫助表演藝術團體營運？ 對應結論二：其營運協助有五點，包括： 一、網路社群媒體平台讓表演藝術團體有更多的自主性及主導權來宣傳其創作作品，如同自己開了一家不用成本的二十四小時專屬媒體頻道。 二、網路社群媒體平台可協助表演藝術團體擴展精準觀眾群，並讓彼此之間關係互動更即時熱絡和緊密。 三、網路社群媒體平台可以協助本土的表演藝術團體更容易國際知曉增加國外粉絲。 四、網路社群媒體平台的免費及低學習門檻特性，讓非營利組織的表演藝術團體節省了大部分網路軟硬體設備及網路專業訓練的成本，甚至行銷宣傳經費。 五、網路社群媒體平台已成功協助表演藝術團體販售周邊商品，票券和募款。 研究問題三：表演藝術團體運用網路社群媒體平台營運的關鍵成功因素？ 對應結論三：關鍵成功因素，包括： 一、表演藝術團體運用五感體驗及說故事的力量鼓動並掌握群眾的互動和黏著度。 二、創意、主題策畫、知識涵度並以觀眾服務角度勤發布的真誠內容仍是吸引群眾擴充增加、協同、分享並每日追隨的重要因素。 三、明星偶像效應勢不可擋，表演藝術團體中靈魂級人物的訊息和親自上陣互動仍是令群眾瘋狂黏著並串聯分享的主因。 四、表演藝術團體對社群網路媒體平台的媒體特性、功能及操作技巧的了解以及主事者的全力支持是其推展營運最重要成功關鍵。 / In the digital publishing era, the media platforms of social networking websites have probably been the most powerful figure by far. By integrating the social networking websites of Facebook, blogs, microblogs, video-sharing websites, SNS (Social Networking Service), people can join and share resources and information and get from people their substantial cooperation that is free and unlimited by time and space.The delivery of messages can be speedier, and relation closer; moreover, the effect as that produced within a community of friends can thus be developed.Due to the highly advanced WiFi and digital devices, smartphones and tablet computers meet the need for diversity and instantaneity.The power and influence gained by integrating media platforms of social networking websites has become efficiently instrumental for one to be heard, and its force can reach far greater and deeper than the traditional media! The research aims at exploring issues concerning what the value media platforms of social networking websites can have on performing arts groups, how to run the groups through those platforms, and the key factors of success, in order to draw the attention from and increase the understanding of the public. The subjects chosen in this study are performing arts groups that have been active in media platforms of social networking websites in Taiwan. In-depth interview and observation will be used in exploring each case. Foreign performing arts groups will also be observed at the scene and studied; besides, the documentation of secondary materials will be collected, analyzed and discussed. Topic 1 What is the value of media platforms of social networking websites to performing arts groups? Conclusion 1 There are two valuable facts: 1.The relation between media platforms of social networking websites and performing arts groups belongs to virtual "Type A" cooperation. 2.Media platforms of social networking websites function as an alternative micro "online stage" of performing arts groups, and that is also the realization of the extension of experience economy. Topic 2 In what ways can media platforms of social networking websites help operate performing arts groups? Conclusion 2 There are five ways: 1.Media platforms of social networking websites allow greater independence and control for performing arts groups in promoting their works, as if they own a channel exclusive for themselves, broadcasting non-stop and without cost. 2.Media platforms of social networking websites can help broaden the targeted audience, and make the interaction between them closer. 3.Media platforms of social networking websites can help local performing arts groups increase their visibility overseas and thus the number of foreign fans. 4.The free-of-charge feature and highly accessibility of media platforms of social networking websites allows the non-profit performing arts groups to save much of the cost of hardware, software and training, even the promotion. 5.Media platforms of social networking websites have successfully assisted performing arts groups to sell merchandise and tickets, and to raise funds. Topic 3 What are the KSF (Key Success Factors) in the employment of media platforms of social networking websites by performing arts groups? Conclusion 3 The KSF are: 1.The force created by performing arts groups using sensory experience to tell stories can encourage and control the interaction and attachment of the audience. 2.Creativity, theme planning, knowledge imparted, and the sincere and diligent posting of messages that are service-based, audience-centered, still serve essentially to attract the public that may increase in number and be willing to cooperate and share with each other day after day. 3.Stars are invincible! The messages and presence of, and the interaction with the key figures of performing arts groups can make the audience crazy and thus get closer to share. 4.The understanding of the characteristics, functions, operating skills of media platforms of social networking websites by performing arts groups, plus the full support from the person in charge, is the crucial factors of success.