Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-06-06T12:13:24Z No. of bitstreams: 1 Gabriela Cleveston Gelain_.pdf: 2822869 bytes, checksum: 6a55ac10919adbbf56ac2d7ead2111a7 (MD5) / Made available in DSpace on 2017-06-06T12:13:24Z (GMT). No. of bitstreams: 1 Gabriela Cleveston Gelain_.pdf: 2822869 bytes, checksum: 6a55ac10919adbbf56ac2d7ead2111a7 (MD5) Previous issue date: 2017-03-31 / UNISINOS - Universidade do Vale do Rio dos Sinos / Este trabalho tem o objetivo de entender o que os elementos subculturais e sujeitos que envolvem a subcultura Riot Grrrl dizem sobre a sua atualização no Brasil. Enquanto elementos subculturais estão os fanzines, blogs, shows, bandas e eventos como o Girls Rock Camp no país. Enquanto sujeitos, entendo as mulheres que estão em contato direto e envolvidas com a subcultura Riot Grrrl no Brasil, amostra composta por 67 entrevistadas de 11 estados brasileiros, entre 15 e 47 anos de idade. A partir de autores e autoras como David Hesmondhalgh (2005), Paula Guerra (2010), Dick Hebdige (1979), Paul Hodkinson (2011) como base, proponho discutir o porquê de tratar Riot Grrrl enquanto subcultura, e ainda as questões de invisibilidade feminina na música e nos estudos subculturais e sobre juventude. Quanto à metodologia, assumo, através de uma observação participante (online e off-line) e inspirada na etnografia virtual, a posição de pesquisadora insider (Paul HODKINSON, 2005; Adriana AMARAL, 2009). Por fim, não há um consenso sobre o que significa ser uma riot grrrl, nem sobre o que seria a subcultura hoje no Brasil, mas nesta complexidade de vozes, idades, estados e opiniões, a vontade de trazer outras mulheres para pensar os feminismos parece falar mais alto do que os diferentes estilos musicais, as dissidências ou preocupações em dar nome às inspirações que tomamos sobre as atitudes das primeiras e “originais” riot grrrls. / This work aims to understand what the subculture elements and people that involve Riot Grrrl show about their update in Brazil. As subculture elements I understand the fanzines, blogs, shows, bands and events such as Girls Rock Camp. As people are the women who are in direct contact and involved with the subculture Riot Grrrl in Brazil, a sample composed of 67 interviewees from 11 Brazilian states, between 15 and 47 years of age. From authors such as David Hesmondhalgh (2005), Paula Guerra (2010), Dick Hebdige (1979), Paul Hodkinson (2011) as a basis, I propose to discuss why to treat Riot Grrrl as a subculture, as well as invisibility issues about women in music and in subcultural studies, and also on youth studies. About methodology, I’ve assumed through a participant observation (online and offline) and inspired by the virtual ethnography, the position of an insider researcher (Paul HODKINSON, 2005; Adriana AMARAL, 2009). Finally, there is no consensus on what it means to be a riot grrrl, nor on what would be the subculture in Brazil today but in this complexity of voices, ages, states and opinions, the desire to bring other women to think feminisms seems to speak louder than the different musical styles, disagreements or concerns in naming the inspirations we take about the attitudes of the first and "original" riot grrrls.

Jeansmarknaden idag i Sverige är präglad av hög konkurrens med många olika aktörer somverkar där. De senaste åren har en speciell kundgrupp vuxit fram vilka kallas jeansnördar.Dessa konsumenter och deras syn på jeans är i dagsläget inte kartlagt vilket därförhuvudsyftet med studien. Under studien har vi kommit i kontakt med ett svenskt jeansföretagvid namn Pace Jeans som vi intervjuade och fick därigenom hjälp med att identifiera personersom kunde hjälpa oss att uppnå vårt syfte. Genom att ställa oss frågan hur företaget ser påjeansnörden och hur det här skiljer sig från hur den faktiska konsumenten är. Huvudfrågan fördenna studie är vem jeansnörden är och hur denne ser på jeans. Förhoppningen är att se hurväl det stämmer överens eller om fokusföretaget borde tänka om. Studien kan även användasav nystartade jeansföretag som vill närma sig jeansnörden då den visar på hur dennakonsumenten ser på jeans. För att kunna utföra den här studien har vi valt att använda oss aven kvalitativ metod där vi har gjort en strukturerad intervju med grundaren för det svenskajeansföretaget och även genomfört två stycken fokusgruppsintervjuer. Valet av dessa metodervar naturligt då vi vill få fram jeansnördens åsikter och beteende kring inköpet av ett parjeans.För att kunna kartlägga kunden använder vi oss av konsumentbeteendeteorier som bland annatgäller hur informationsökningen går till innan ett inköp och applicerar det på jeansnörden föratt kunna se hur dessa uppträder som konsumenter. Vi ställer oss även frågan om jeansnördenär del av en subkultur och hur en sådan då skulle se ut. Det kunde vi inte hitta något somstödjer i empirin, däremot fanns det likheter mellan dessa och hur en neostam är uppbyggd.En neostam är mindre rigid än en subkultur och tar dessutom in influenser från kulturen somfinns runtomkring den vilket vi kunde konstatera att jeansnörden gör.Som konsument är jeansnörden kvalitetssökande och har en god förkunskap för vilkamodeller och varumärken som den finner önskvärda. Kvalitet är det som jeansnörden sättersom det främsta vid ett inköp av ett par nya jeans. Det behov som framstår som det främstaför att jeansnörden väljer att klä sig i den typen av jeans den gör är att förverkliga sig självoch med jeansen vill dessa smycka ut sig själva. Därigenom minskar avståndet mellanidealjaget och det faktiska jaget och på så sätt får jeansnörden en bättre självbild.Det svenska jeansföretagets föreställningar om hur jeansnörden är kom vi fram till att det härtill en viss del stämmer överens. Vad vi kom fram till var att på produktnivå stämmer PaceJeans och jeansnördens syn på jeans överens väldigt bra.Gällande framtida forskning skulle vi vilja se en studie som svarar på frågan hur mankommunikationsmässigt bäst når denna kund?The denim market in Sweden today is tinged by competition with a lot of different players.During the last couple of years a new group of consumers have grown forth, these are calleddenim nerds. These consumers and their view on denim has not yet been studied. This is themain purpose of this study. During this study we have come in contact with a swedish denimbrand, which we have interviewed in order to identify their view on denim. The interwievhelped us to identify people who we came to phrase as denim nerds and accomplish thepurpose of this study. By asking the question how the denim brand views their costumer andhow well this view match with what we have found about the denim nerds. The main questionof this study is who is the denim nerd and what is their view on denim Our goal is to seewhether company is on the right track or if they need to reconsider their views. The study canalso be used by new denim brands who wants to approach these type of customer. In order toconduct this study we have used a qualitative method and we have done one structuredinterview with the founder of the swedish denim brand and also conducted two focal groupinterviews. The choice of these methods where natural because our goal was to find out thedenim nerds views and behaviour concerning the purchase of a new pair of denimjeans.In order to be able to study the consumer we have used theories concerning consumerbehaviourism, which among other things includes information search prior to purchase, andthen we have applied this on the consumer in order to see how they behave. We also askedourselves whether the denim can be labeled as a subculture, a question that we could notanswer based on our empirical study. On the other hand we found similarities between thedenim nerds and what an neo-tribe is made up off. A neo-tribe is less rigid in its structure andtakes influences from the surrounding culture which we found empirical evidence for in ourstudy.As a consumer the denim nerd is searching for quality and has good knowledge of thedifferent styles of denim jeans which they find interesting. Quality is the aspect which thedenim nerd puts in front of all other things when searching for a new pair of jeans. The needwhich drives the denim nerd to buy a new pair of jeans is above all other self-realisation andthe need to ornament oneself is also important. By doing so the gap between the self and idealself is lessened and denim nerd will get an improved ego image.The Swedish denim brand ideas about the denim nerd is according to the study somewhat inharmony with how the denim nerd acts and thinks, especially on product level. What wefound was that on product level Pace Jeans and the denim nerds view on jeans harmoniceswell.On future studies we would like to see a study which answers the question how this costumerbest should be reached? The study is written in Swedish. / Program: Textilekonomutbildningen

Cheng Wai Sum, Christine. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 133-135). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Background --- p.1-5 / Chapter Chapter 2 --- Literature Review and Research Methods --- p.6-24 / Chapter Chapter 3 --- Framework for Data Analysis and Interpretation: A Commercialization-Moralization Continuum --- p.25-33 / Chapter Chapter 4 --- The Commercializing Role of a Fan Club: Joey Yung International Fan Club --- p.34-66 / Chapter Chapter 5 --- The Moralizing Role of a Fan Club: Hong Kong Teresa Teng Fan Club --- p.67-97 / Chapter Chapter 6 --- A Dual-purpose Fan Club: Andy World Club (AWC) Limited --- p.98-119 / Chapter Chapter 7 --- Discussion and Conclusion References --- p.120-132

This thesis examines the evolution of feminist praxis within the riot grrrl movement, focusing on two specific riot grrrl demographics - founding riot grrrls in the early 1990s and currently active riot grrrls in southern California. This thesis argues that riot grrrl activism is still thriving but in diverse, strategically modified ways. Using José Muñoz’s concept of “disidentification,” it analyzes how contemporary riot grrrls have appropriated and adapted the original movement’s tenets to allow for greater accessibility and diversity.

Purpose: The aim of this bachelor thesis is to investigate the relationship of online subcultures, electronic trust, electronic word-of-mouth, and purchase intention towards a special event within selected Facebook Pages. Background: Given the increasing impact of social media platforms in communications not only between consumers, but also consumers and companies, this study takes a deeper look at the influence that companies can exercise on consumer’s purchase intention for a special event through these platforms. The background is based on previous researches and existent theories related to products, which are tested for a special event. Method: In order to fulfill the purpose of this study  a cross-sectional design is applied. A deductive approach is followed, and a quantitative method is used through the application of questionnaires in order to collect the empirical data necessary to answer  the given research questions. The questionnaires were distributed to the selected sample, which is anyone who “likes” the following Facebook Pages: Sweden Rock Festival, Göteborg Horse Show, Hultsfred, and Swedish Speedway Grand Prix. Conclusion: Based on the background a modest to strong relationship was expected  between the measured variables. This however has been disconfirmed by the results, thus showing a weaker relationship than has been previously tested with regards to a product. The main finding is that when it comes to special events, the organizer is seen as a more reliable source, thus it is more influential than fellow members of the Facebook Page.

The overall aim of the study was to examine work environment factors within the maritime industry. For this purpose a new measurement tool for work environment on board ships was developed. Further aims of the study were the examination of organizational culture, occupational stress and job satisfaction. 215 seafarers from 24 ships participated in the study. The response rate was at 35% for the whole sample. In order to investigate differences in organizational culture, a multivariate analysis was conducted, which revealed significant differences in organizational culture due to nationality and hierarchical position. In order to examine predictors of job satisfaction, multiple hierarchical block regression analysis were performed. Occupational stress and organizational culture emerged as significant predictors of job satisfaction. Especially relationships with co-workers and relationships with superiors emerged as predictive for job satisfaction. Social support and feedback from superiors showed the strongest predictive power for job satisfaction. The results in the study emphasize the importance of nationality and hierarchical position as important variables for measuring organizational culture. In addition, the importance of social relationships between co-workers and superiors are discussed. The aim of the study was to examine whether there were significant differences in organizational culture on board ships when looking at the variables nationality, hierarchical position and ship type. 215 Norwegian and Filipino seafarers from 24 ships participated in the study. The response rate was at 35% for the whole sample. Multivariate analysis revealed overall significant differences for the seven culture dimensions. In addition a significant difference of nation on the two factors (2) Working with the opposite gender and (3) Social support and feedback given by superiors emerged. Further multivariate analyses showed resulted in overall significant differences between hierarchical positions on organizational culture and especially on the factor (3) Emotional involvement in co-workers problems. The results emphasize the importance of including variables as nationality and hierarchical position when studying organizational culture within the maritime industry. The aim of the study was to examine the dimensions stress and organizational culture as predictors of job satisfaction within the specific conditions of the occupation of seafarers. In addition the impact of Social support and feedback given by superiors on job satisfaction was examined. 215 Norwegian and Filipino seafarers with different ranks from 24 different ships participated in this study. 97 of the respondents reported to be Officers/Managers and 87 of the respondents Ratings/Subordinates. The response rate was 35, 5 % for the entire sample. Multiple hierarchical block regression analysis were performed and revealed both stress and organizational culture as significant predictors of overall job satisfaction. Especially relationships with co-workers and relationships with superiors emerged as predictive for job satisfaction as a part of organizational culture. As predicted the factor Social support and feedback given by superiors had great predictive power for job satisfaction. The results emphasize the importance of organizational culture and especially relationships between the employees on board a ship.

published_or_final_version / English / Master / Master of Philosophy

Informacinė sklaida šiomis dienomis yra kaip niekad intensyvi ir įvairialypė. Komunikacinių kanalų gausa ir įvairovė sukuria galimybę aktyviai dalyvauti komunikaciniuose procesuose net pačioms mažiausioms ir uždariausioms visuomenės grupėms. Nuo to, kokiais visuomenės informavimo kanalais ir kokio pobūdžio informacija skelbiama apie tam tikrą grupę, gali priklausyti tiek jos visuomeninio įvaizdžio kaita, tiek tolimesnės raidos tendencijos. Elektroninės šokių muzikos subkultūra – viena iš įdomesnių sociokultūrinių grupių, kurios komunikacijos pobūdis su žiniasklaida ir yra šio darbo objektas. Darbe užsibrėžtas tikslas atskleisti žiniasklaidos ir elektroninės šokių muzikos subkultūros santykį, įvertinti šio santykio kiekybinius ir kokybinius pokyčius per dešimtmetį, išryškinti komunikacinius ypatumus bei išsiaiškinti komunikacijos privalumus ir trūkumus. Tyrimo hipotezės teigia, kad šiandien elektroninės šokių muzikos subkultūros ir žiniasklaidos bendradarbiavimas intensyvesnis nei prieš dešimtmetį, žiniasklaida subkultūrą reprezentuoja pozityviau, retesnis probleminis žinučių kontekstas. Užsibrėžtam tikslui pasiekti bei hipotezėms patikrinti išsikelti uždaviniai apžvelgti su subkultūra susijusius pranešimus naujienų portale Delfi.lt 2001m., 2002m. ir 2009m. spalio ir lapkričio mėnesiais bei naudojant interviu metodą apklausti ekspertus: elektroninės šokių muzikos subkultūros atstovus, žiniasklaidos priemonių redaktorius bei kultūros tyrimų specialistus. Teorinėje darbo dalyje... [toliau žr. visą tekstą] / Information spread nowadays is more intensive and miscellaneous than ever. Plenty of various communication channels enable even the smallest and most reserved society groups to participate in communication processes actively. The choice of certain communication channels and information, that should be published, may influence the changes of the group‘s public image as well as further development of it. Electronic dance music subculture is one of the most interesting sociocultural groups, therefore its communication with mass media has been chosen as the object of this paperwork. The goal of this paperwork is to reveal the relation between electronic dance music subculture and the media, to evaluate both quantitative and qualitative changes of this relation during the last decade, to highlight the most important features of the communication of this subculture, to find its main advantages and disadvantages. The hypothesis of the research suggests that the electronic dance music subculture is more visible in the media than it was a decade ago, that the problematic context of the messages is rarer, and the content of the messages is more positive and commercial. In order to achieve the chosen goal and to prove the hypothesis there were messages about the subculture, published in the news portal delfi.lt in October–November of 2001, 2002 and 2009, examined, and several experts – electronic dance music subculture members, media editors and culture researchers – interviewed. The... [to full text]

The academic study of comic books - especially superhero comic books - has predominantly focused on the analysis of these books as texts, as teaching and learning resources, or on children as comic book readers. Very little has been written about adult superhero comic fans and their responses to superhero comics. This thesis explores how adult comic book readers in New Zealand engage with superhero comics. Individual interviews and group conversations, both online and face-to-face, provide insights into their responses to the comics and the characters as well as the relationships among fans. Analysis of fans’ talk about superhero comics includes their reflections on how masculinities are represented in these comics and the complex ways in which they identify with superheroes, including their alter egos. The thesis examines how superhero comic book readers present themselves in their interactions with other readers. Comics ‘geekdom’, fans’ interactions with one another and their negotiation of gendered norms of masculinity are discussed. The contrast between the fan body and the superhero body is an important theme. Readers’ discursive constitution and management of superheroes’ bodies, and their engagement with representations of superheroes are related to analyses of multiplicity in individual identities and current theories of audience reception and identification.

Fault Lines positions a theory of gay male subjectivity as it relates to the Queer skinhead and its dissemination in gay male pornography. In narrating the transformation of the original skinhead as a subcultural youth type to its present re-signification as a fetish and sexual identity within gay male subculture, Fault Lines reveals a tripartite problem of fetishism, sadomasochism and fascism. Through an analysis of Bruce LaBruce's film Skin Gang / Skin Flick (1999) these problems are contextualised within a discourse of gay male pornography, broadening the investigation to consider how problems of masculinity, violence and race manifest within a distinctly gay male sexual imaginary. Examining the representational function of the Queer skinhead, Fault Lines seeks to speculate on how notions of a gay male subject and subjectivity can be established at the intersection of an aesthetic, political and social experience.