In this thesis I consider Henry Scheffer's Entrée de Jeanne d’Arc à Orléans, le 8 mai 1429 (1843) in relation to female audiences of the July Monarchy. As a part of the larger Galerie des Batailles in the Musée Historique instituted in 1837 by Louis-Philippe, Entrée de Jeanne d'Arc has been addressed relative to the political objectives of the monarchy. Limited scholarship surrounding the Galerie des Batailles has focused on its evolution from royal apartments in the château de Versailles to public museum. However, the broadening of audiences during the July Monarchy and potential points of engagement between viewer and artwork have remained largely overlooked, especially in relation to Scheffer's Entrée de Jeanne d'Arc. Though feminist scholars have addressed the formation of the female spectator in post-revolutionary France, women in the art world during the July Monarchy remain understudied. This thesis discusses the expanding of audiences to whom Salon artists and Louis-Philippe were trying to appeal. The emergence of books and periodicals directed towards women during the July Monarchy, as well as the renewed interest in historicism affected female viewers' interaction with Scheffer's Entrée de Jeanne d'Arc. Additionally, the unrecognized fervor surrounding women of the July Monarchy who sought to emulate noble women of the past reflects these opportunities for women viewers. The emergence of contemporary women who were associated with the historical heroine, including Marie d'Orléans, expanded women's understanding of their place in history and their engagement in political, religious, and literary change within the public sphere. I attempt to show how all of these overlooked contextual circumstances empowered the viewing position of the female viewer in relation to Scheffer's Entrée de Jeanne d'Arc.

Even though viewers typically experience multiple artworks at a time, philosophers have tended to parse visual art experiences into individuated experiences with singular objects, rather than incorporate the role exhibitions play in contextualizing objects over time. Since visual art experiences typically occur in the context of exhibitions featuring multiple artworks, whether in a museum, commercial gallery, or artist's studio, there are numerous problems associated with considering visual art experiences individuated experiences with single objects. I aim to show how this approach not only produces problems for the philosophy of art, but also perpetuates misunderstandings regarding the visual artist's practice, as well as its reception. My focus on reception poses problems for curators who relish curatorial authority. I prefer practices to products, since it establishes a relationship between each contributor's actions and his/her outcomes, which gain meaning over time, unlike products that arrive ready upon delivery, independent of directed consciousness. Rather than convey an activity particular to sight, the term "visual art experience" distinguishes this type of art experience from types such as theater, film, or musical performances. Such multi-sensorial perceptual experiences, whether indoors or outdoors, accompany one's experiencing artworks, monuments and buildings alike. The philosophical convention of treating artworks as singular objects has led philosophers to exaggerate: 1) the artist's intention (Arthur Danto), 2) artworks' atemporal features (Nelson Goodman), and 3) artworks' expressive/symbolic capacities (Robin Collingwood, Danto, Goodman, and Roger Scruton) inviting aestheticians to treat artworks like texts, penned by a lone author. One consequence of the "lone-author" view is that book reading is the prevailing analogy for visual art experiences, eschewing obviously coauthored analogies such as walking in the park, attending a sporting event, or dining with friends. Books whose advance readers and editor(s) influence their contents before being published are no less coauthored than typical nonart experiences. That exhibitions are coauthored has multiple implications for aesthetics, since it acknowledges the way visual art experiences involve multiple inputs: some combination of curator, spectators, exhibition, milieu, environment, and the facility. The curator typically works with other producer(s), whether artists or exhibition staff, to create some environment, a temporal surrounding comprised of thematically arranged artworks, specifically designed for spectators inhabiting a particular milieu, housed in some facility, which includes the physical surroundings, such as the gallery's conditions, its wall colors, lighting, and scale. This text explores all aspects of curatorial practice from exploration to reception. In differentiating curated exhibitions from non-curated exhibitions, I aim to explain how curators generate frames that visibilize each artwork's nonexhibited features, which seems so obvious in hindsight that particular frames later appear embodied from the onset. / Philosophy

Online gaming has over the years become very popular and during the global pandemic of 2019, gained an even larger amount of people indulging in the activity. All this online activity has led to a decline in in-person social interactions which have been researched to have negative effects on young adults. This thesis aims to find ways to promote more in-person social interaction with the help of games. An artifact in the form of a video game was created with active video game principles and pervasive game characteristics in mind, with the goal of achieving social interaction between players and spectators. Nintendo Joy-Con controllers are the main controller used and an external microphone to capture sounds is used to fulfill the prerequisites of pervasive games. A collection of five different minigames was created, all with different ways that noise can affect the gameplay. The results of the experiments showed that the artifact promotes in-person social interactions between players and spectators by making the spectators able to interact with the games.

Thesis (MComm)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: In social psychology, social scientists have become interested in explaining social behaviour: how and why individuals become attached and why they pursue on-going close relationships. The investment model was developed that suggests how attachment to a relationship is formed. It has been suggested that the investment model can be applied to a wide variety of interpersonal relationships. In the same way as a relationship is formed between two individuals, the attachment that supporters have to a sports team is also formed. To understand the psychological connection supporters have to a sports team, the Psychological Continuum Model (PCM) was developed. PCM suggests supporters first become aware of a sports team, then supporters may become attracted, this leads to attachment to the sports team and allegiance to the sports team may then occur. Past research has focused on different aspects of the PCM. However, very few studies have yet explained how supporters become attached to a sports team. This study combines the PCM and the investment model to assess how supporters become attached to a sports team. Understanding the psychological connection that supporters have to a sports team was required thus, the Psychological Continuum Model (PCM) was used. How supporters become attached (based on the PCM) to a sports team was further understood by the investment model variables. Thus, the PCM was adapted and applied with the investment model. The study comprised of a 2x2x2 full factorial experimental research design. For the purposes of the study, respondents were first made aware of the sport, fistball. Respondents completed a questionnaire that was used to measure their attraction and attachment to a fistball team. During the interview, respondents were shown one of eight treatments, in the form of a newspaper clip on a poster that was manipulated using the investment model variables. The eight posters comprised of fictitious fistball teams to avoid any bias that may have been formed had another sport been chosen. There were 36 respondents per treatment group, ensuring that respondents could be split between the different levels of supporters. A repeat group was also conducted to ensure the validity of the study. The realised sample comprised of 318 respondents. The target population was South African supporters in LSM groups 8 to 10. Judgement sampling was used as no sampling frame exists for supporters. Respondents were selected in shopping malls in Gauteng due to the culturally diverse nature of the province. The results revealed that based on the level of support, attachment to a sports team varies. The results suggested that low supporters have a higher attraction than high supporters. High supporters are already attached to a sports team, and are not necessarily interested in being attracted to a different sports team. It would be recommended to attract high supporters by having initiatives that involve teams, where supporters‟ attachment to the team already exists. High supporters were considered to be those who were attached to a sports team. To package and deliver products and/or services most effectively, sport marketers should appeal to high supporters‟ attitudes, as it is their attitude that guides their behaviour. Based on the findings, there is an opportunity for sport marketers to encourage low supporters to become attached to a sports team by using the investment model variables. By incorporating social psychology with sport consumer behaviour, a better understanding of sport supporters was attained. In the same way that a dating relationship has various stages of courtship that may eventually lead to marriage, the relationship that supporters have with a sports team also goes through stages which may lead supporters who show allegiance. The study reveals that, similarly to a dating relationship where an attraction to an individual first needs to be formed, the type of sport plays a role in attracting supporters to a sports team. Likewise, whether an individual pursues a relationship depends on the investment model variables, which is also the case for supporters. / AFRIKAANSE OPSOMMING: In die sosiale sielkunde stel sosiaal-wetenskaplikes toenemend daarin belang om sosiale gedrag te verklaar: hoe en waarom individue geheg raak aan sosiale objekte en waarom hulle voortgesette verhoudings nastreef. Die beleggingsmodel, wat aan die hand doen hoe gehegtheid deur middel van ʼn verhouding tot stand gebring word, is ontwikkel. Daar word voorgestel dat die beleggingsmodel toegepas kan word op ʼn wye verskeidenheid van interpersoonlike verhoudings. Op dieselfde wyse waarop ʼn verhouding tussen twee individue gevorm word, word die verbintenis wat ondersteuners met ʼn sportspan het, ook verwesenlik. Ten einde die psigologiese verbintenis tussen ondersteuners en ʼn sportspan te verstaan, is die Psigologiese Kontinuummodel (PCM) ontwikkel. Die PCM suggereer dat ondersteuners eerstens van ʼn sportspan bewus word, dan moontlik aangetrokke voel tot die sportspan. Dit lei tot ʼn gehegtheid en moontlik uiteindelik getrouheid aan die sportspan. Vorige navorsing het die soeklig op verskillende aspekte van die PCM laat val, maar baie min ondersoeke het al verduidelik hoe ondersteuners ʼn verbintenis vorm met ʼn sportspan. Hierdie studie kombineer die PCM en die beleggingsmodel om vas te stel hoe ondersteuners ʼn verbintenis vorm met ʼn sportspan. Die PCM is gebruik omdat dit nodig was om die psigologiese verbintenis te verstaan wat ondersteuners met ʼn sportspan tot stand bring. Deur die veranderlikes van die beleggingsmodel in ag te neem, is daar verder lig gewerp op hoe ondersteuners geheg raak aan ʼn sportspan (gebaseer op die PCM). Die PCM is dus aangepas en tesame met die beleggingsmodel toegepas. In die studie is gebruik gemaak van ʼn 2x2x2 volle faktoriale eksperimentele navorsingsontwerp. Vir die doel van die studie is respondente eers bewus gemaak van die sport vuisbal. Die respondente het ʼn vraelys voltooi wat gebruik is om hul aangetrokkenheid tot en gehegtheid aan ʼn vuisbalspan te meet. Tydens die onderhoud is agt afsonderlike behandelings aan die respondente vertoon, elk in die vorm van ʼn koerantknipsel op ʼn plakkaat wat gemanipuleer is met die gebruik van die beleggingsmodel se veranderlikes. Die agt plakkate het fiktiewe vuisbalspanne uitgebeeld om enige vooroordeel uit te skakel wat moontlik sou voorkom as ʼn ander sportsoort gebruik was. Daar was 36 respondente per behandelingsgroep om te verseker dat respondente tussen die verskillende vlakke van ondersteuners verdeel kon word. ‟n Herhalingsgroep is ook gebruik om die geldigheid van die studie te verseker. Die gerealiseerde steekproef het uit 318 respondente bestaan. Die teikenpopulasie was Suid-Afrikaanse ondersteuners in LSM-groepe 8 tot 10 aangesien hulle die meeste mediablootstelling ontvang het. Daar is gebruik gemaak van oordeelsteekproefneming, aangesien geen steekproefraamwerk vir ondersteuners bestaan nie. Respondente is in groot winkelsentrums in Gauteng geselekteer vanweë die kultuurdiverse aard van die provinsie. Die resultate het getoon dat, gebaseer op die vlak van ondersteuning, die vlak van gehegtheid aan ʼn sportspan varieer. Die resultate suggereer dat laevlakondersteuners meer geneë is om ʼn verbintenis te vorm as hoëvlakondersteuners. Hoëvlakondersteuners het reeds „n band met ʼn sportspan en voel nie noodwendig die behoefte om ʼn verhouding met ʼn ander sportspan te vestig nie. Daar word dus aanbeveel dat hoëvlakondersteuners aangetrek word deur inisiatiewe aan te bied waarby spanne betrokke is wat reeds vaste aanhangers het. Hoëvlakondersteuners is beskou as diegene wat ʼn verbintenis met ʼn sportspan het. Ten einde produkte en/of dienste op die effektiefste wyse te verpak en te lewer behoort sportbemarkers op hoëvlakondersteuners se ingesteldheid te fokus, aangesien dit hul ingesteldheid is wat hul gedrag rig. Volgens die bevindinge bestaan daar ʼn geleentheid vir sportbemarkers om, deur van die beleggingsmodel se veranderlikes gebruik te maak, laevlakondersteuners aan te moedig om hulle aan ʼn sportspan te verbind. Deur sosiale sielkunde met sportverbruikersgedrag te kombineer is ʼn beter verstaan van sportondersteuners bereik. Net soos daar tydens ʼn liefdesverhouding verskillende stadiums van hofmakery is wat uiteindelik tot ʼn huwelik kan lei, gaan die verhouding wat ondersteuners met ʼn sportspan het ook deur stadiums wat uiteindelik getroue ondersteuners kan oplewer. Die studie toon ook dat, net soos in ʼn verhouding waar individue eers net met mekaar uitgaan, en hulle later sterk aangetrokke raak tot mekaar, daar in sport ook ʼn dieper verhouding moet ontwikkel. Dit blyk dat die soort sport ʼn belangrike rol speel wanneer ondersteuners tot ʼn sportspan aangetrek word. Net soos by ʼn liefdesverhouding, hang die sportondersteuner se verbintenis ook af van die veranderlikes van die beleggingsmodel. produkte en/of dienste op die effektiefste wyse te verpak en te lewer behoort sportbemarkers op hoëvlakondersteuners se ingesteldheid te fokus, aangesien dit hul ingesteldheid is wat hul gedrag rig. Volgens die bevindinge bestaan daar 'n geleentheid vir sportbemarkers om, deur van die beleggingsmodel se veranderlikes gebruik te maak, laevlakondersteuners aan te moedig om hulle aan 'n sportspan te verbind. Deur sosiale sielkunde met sportverbruikersgedrag te kombineer is ʼn beter verstaan van sportondersteuners bereik. Net soos daar tydens 'n liefdesverhouding verskillende stadiums van hofmakery is wat uiteindelik tot 'n

Ma thèse s’intitule « Des âges au cinéma : la culture cinématographique des jeunes spectateurs ». Elle se consacre à l’étude de la socialisation au septième art sous la perspective privilégiée de l’âge, variable déterminante, sans néanmoins réduire la recherche à une analyse uni-factorielle.Pour mieux comprendre l’action de la variable d’âge, nous la décomposons dans une première partie en traitant de notions connexes essentielles ; l’individu, la mémoire, les interrelations sociales, le temps et le corps. L’âge n’est plus entrevu au singulier : il laisse place à une pluralité d’âges que l’on décompose en quatre échelles distinctes : l’âge que j’ai, l’âge des autruis matérialisés, l’âge de société, l’âge des objets. Preuve est faite que tout acteur et a fortiori tout spectateur croise ces échelles au quotidien pour se construire et pour construire le monde qui l’entoure. De fait, les façons dont nous appréhendons l’art en sont un exemple flagrant. Par entrecroisements constants d’échelles mis au jour grâce aux jugements, positions, réflexions émises en situation, les âges, leur conception et leur prise en compte se révèlent comme formateurs particuliers de goûts. Dans l’absolu, ces échelles peuvent se lire comme espace virtuel déployant tous les possibles. Néanmoins et en situation, leur entrecroisement est lié à une construction individuelle et collective, toujours parcellaire, et le croisement des échelles qu’exercent chaque acteur selon la mesure qu’il en fait, aboutissent finalement à des positions, des dispositions et des postures spectatorielles.La seconde partie de ma thèse est alimentée de cet état de fait et se focalise sur les structures socio-politiques de la socialisation au septième art. Elle dresse en premier lieu une étude approfondie de la réception du cinéma d’animation qui est l’un des genres initiatiques principaux de l’enfance, cela depuis des décennies. Cette partie s’attache ensuite à suivre l’avancée en âge, les interrelations qui lui sont corrélatives et significatives dans la socialisation au cinéma. Elle rend également compte de la mémoire que l’on garde de sa prime enfance ainsi que de ce que ce passé implique dans la socialisation actuelle de la jeunesse. Vers 11-12 ans, le cinéma est marqué par l’encadrement d’une censure qui va decrescendo avec l’avancée en âge. Dès lors qu’on grandit, non seulement nous dépassons progressivement des seuils, étant ipso facto amené à découvrir de nouveaux genres, mais nous les appréhendons à travers de nouveaux cercles sociaux : sont donc abordés les changements de structures relationnelles qui participent de cette socialisation et leurs implications. En termes génériques, l’initiation aux scènes de volupté cinématographique et au cinéma d’horreur nous sont apparus comme deux moments décisifs, déployant sous les yeux de la jeunesse de nouvelles épreuves amenant conjointement à de nouvelles réflexions sur le social. S’ensuit les derniers chapitres de la thèse où j’expose, à l’aide de mes enquêtes, comment se construit le goût à travers le discours, quels sont les critères pertinents de mesure de la qualité cinématographique à cet âge, mais également comment le cinéma s’avère un laboratoire social, mieux : un des laboratoires de la construction de soi et du monde.Cette thèse s’appuie sur les données d’une enquête qualitative. Elle déploie des méthodes variées : entretiens individuels, ateliers collectifs en collège et dans des locaux associatifs regroupant au total une soixantaine d’informateurs issus de France, de Belgique, du Luxembourg, de Hollande, d’Allemagne et du Maghreb. Mes informateurs privilégiés ont d’abord été les jeunes, suivis de près par leurs parents. Cette recherche et la construction de ses axes sont le fruit d’un mouvement ascendant – proche en cela de la méthodologie par induction d’Howard Becker –, c’est-à-dire partant des informateurs pour remonter vers la construction de concepts grâce au traitement progressif des données recueillies. / My thesis title is « ages and cinema : the cinematographic culture of young spectators ». This work deals with the seventh art socialization among youth and focus on the determinations of age – known as one of the most important sociological variable to understand societies – to select, taste and appreciate feature movies and series.In order to understand better its action, we decompose age between four different scales in the first part : individual age, socio-collective age, historical age and age of the objets surround us. This categories aren’t closed on themselves : they are combined by the actors to analyse and interprete arts and situations. Each temporality fragment known or imagined on each scale, lived or remembered by the actor can be mobilised as an appreciation’s tool. Theorising each age is a long work which necessits a better comprehension of individuality, memory, social interrelations, time, histories and body growth. We demonstrate that everybody embodies and crosses different fragments of different scales in everyday life to understand himself, the world surrounding and ultimately, the feature films content. Ways to understand, judge and appreciate art are a good field for studying temporal relations because arts objects are relatively preserved in time and tell about societies of the past. Each situation, person, object is structured by different kind of virtual or lived temporalities. When they are crossed according to the actor’s knowledge and his society position, they bring to different ways of art’s pleasure.The second part of my thesis shapes the first theorical one. It analyses the youth cinematographic culture. Thirty-four young spectators contributed to my sociological survey. They were aged from eight to fourteen years old. I studied the present socio-political structures in France and Europe leading to different forms of cinematographic socialisation. This part copes with the first feature movies rememberances – which are almost always composed by animation movies passed on by the parents – and their role in present art appreciation. At the age of the participants, the cinematography faces a global censure agreement : violent features are banished. Nevertheless, growing means to socialized with, that’s why two chapters of my thesis are consacred to the reception of more violent types of show at this ages, like the horrific gender for example which is often enjoyed by the youth. I try to understand how young people assimilate, step by step, the dark side of the world, the one which was previously hidded for their own safety. However, it is now a requirement of growth to mix with this forbidden shows. Peer reinforcement and autonomy help this initiation. They also bring to new cinematographic cultures as much as new social considerations. All this studies help us to understand how children and teenagers develop series and feature films’ taste by sharing it with friends or parents, depending on the content. This tell us about the developpment of quality classifications based on aesthetic, tales, relations, peers conversations, art memory, emotions and feelings. Finally, cinematographic culture appears to be a large social and aesthetical laboratory for the youth.This thesis is based on a qualitative survey. More specifically, I used a bottom-up method (Becker : 1988). The theories and the demonstrations are no less than the result of five years of several investigations’ technics on the field study. I began with individual consultations in France, Luxembourg and Belgium, then made collective groups in associations and schools. I created different questionnaires for the parents and the teenagers in aim to observe connections between their cinematographic cultures. This thesis claims interdisciplinarity.

The present study examined procedural and distributive justice outcomes of discipline in an athletic team setting. A 2 (Consistency of Punishment: consistent vs. conditional) x 2 (Violation Severity: moderate vs. severe) x 2 (Punishment Severity: moderate vs. severe) x 2 (Decision Maker: head coach vs. team captains) factorial design was used. Participants responded to four of the 16 hypothetical scenarios resulting from the design. Participants included 354 fans in attendance at a several university athletic events and students in psychology courses. The results indicated that consistent punishment was perceived as more fair to the punished athlete, teammates, and fans than was conditional punishment. Consistent punishment was perceived as more likely than conditional punishment to deter future misconduct by the punished athlete and teammates. The findings of the importance of consistency to fairness perceptions are consistent with the organizational justice literature and suggest that principles derived in traditional organizations may apply in athletic team settings. However, the current study did not find that severe punishment was more likely than moderately severe punishment to deter future misconduct by the punished athlete and teammates, which was inconsistent with the research literature on punishment. The present research indicated that inconsistencies in applying punishment based on status likely will have a negative effect on fairness perceptions in an athletic setting just as it does in an organizational setting. Intercollegiate athletics are unique in the sense that there are many outside observers, most notably fans, who pay close attention to athlete misconduct and its subsequent outcome. According to the present results, if coaches are interested in fan perceptions of fairness, punishment should be consistently applied according to team rules for all players regardless of their status on the team.

The focus of the thesis is how football clubs can increase their revenues through brand equity and different marketing activities. The purpose is to develop a professional attitude towards football brands among the Swedish clubs and to increase the awareness of aspects possible to improve. Due to current regulations the Swedish league differs in some aspects from other leagues in Europe. Therefore this thesis will provide guidelines of how Swedish football clubs could increase their revenues. The theoretical framework includes concepts such as brand equity, stakeholders and the European revenue model. In addition to this a general discussion about sport marketing and its differences from regular marketing will be provided. In order to answer the main research question; "How can Swedish football clubs increase their revenues through marketing activities in order to keep a competitive squad?" interviews with people associated to Swedish football have been conducted. Different aspects have been identified that will provide the Swedish football clubs with important insights of how to improve their revenue stream. Recommendations will be given of how to proceed with increasing the clubs revenues.

Scholarship on the cultural status of the child in America has taken diverse and fruitful forms, yet there exists a significant ellipsis within theories of filmic spectatorship regarding cinematic children. This study engages the child figure's relation to the cinematic apparatus and analyzes spectator responses to the child's presentation as a desiring subject and desired object. Within contemporary American culture, the child figure generates at once a mise-en-scène of desire and a mise-en-abime of potential stigmatization, self-abjection and shame. The vexed relation to the image of the child that characterizes the contemporary adult citizen and, more pointedly, the adult spectator, is a symptom of the contradictory discourses of childhood at play in contemporary American media and within its political bodies. The Columbine shootings, the murder of child beauty queen JonBenet Ramsey, the Catholic Church scandals, many well-publicized child abductions, and countless occurrences over the past decade have produced a climate of moral panic over children's endangerment. Yet, more than ever, the eroticization of children's bodies has inundated cinematic and other media productions, generating anxieties within the adult spectator concerning the propriety of gazing at children. Juvenile desires suggests that the dissonances produced by the contradictory signposts of moral panic and sexual objectification have too often given rise to a homophobically polarizing model of the adult spectator: one the one hand, the ostensibly heterosexual spectator whose relation to the child image is aesthetically distanced, moral, and nostalgic; and on the other, a perverse, likely homosexual spectator whose relation is libidinal, regressive, and genitally oriented. As a theoretical intervention and a reception study, this dissertation examines the term pedophilia as one both culturally over-determined and critically under-investigated. The deployment of the term pedophilia has the rhetorical effect of reducing the complex relations sustained among adult spectators and children to a space of inarticulate abjection or criminality. The dissertation proposes that a deconstructive queer theory can unsettle the recalcitrant association of pedophilia with homosexual pathology, and thereby afford a complex and nuanced account of the roles cinematic children play in generating visual and narrative pleasure across gendered and sexually oriented subject positions. / text

No description available.

Research paper (M.I.M.)--Victoria University of Wellington, 2008. / Includes bibliographical references.