Cette thèse rend compte des usages et des pratiques à l’œuvre dans les lectures publiques actuelles. Et plus précisément de leur réception par les auditeurs-spectateurs, pendant et après les lectures. Les sources et matériaux utilisés sont divers : ce sont en partie des récits de réception empruntés à la littérature classique ou contemporaine, et aux publications de chercheurs en sciences humaines et sociales. J’ai d’autre part utilisé mes propres récits, des narrations rédigées après avoir assisté à des lectures publiques à voix haute. J’ai donc construit mes matériaux à partir de ce que j’ai éprouvé au milieu d’une assemblée, au milieu des autres, au milieu d’autres corps. Je me suis autorisée et inspirée de la « pensée par cas » (ou « singularités »), une méthode qui suppose une pratique d’auto-observation inspirée de l’approche clinique. Elle écarte donc toute prétention au réalisme ou à l’objectivisme. Les lectures publiques sollicitent simultanément l’œil et l’oreille. La réception des auditeurs-spectateurs, qu’elle soit recueillie ou éprouvée en personne, apparaît souvent très individuée, peu normée.Un prologue fait retour sur trois périodes de la grande histoire de la lecture : récits de lectures à voix haute partant de l’Antiquité grecque et romaine jusqu’à une période récente. Les deux autres parties s’attachent ensuite à éclairer les rapports qui se nouent entre les acteurs présents à des lectures données en public, de nos jours. Rapports d’échange ou d’altérité, ou bien rapports de pouvoir, ils révèlent la manière dont se forment les réceptions individuelles - à partir des récits ou cas et de leur rapprochement avec d’autres corpus disciplinaires. Mais le matériau est hétérogène, labile, instable, parfois étrange. Aussi ce parcours ne va pas en ligne droite : il est sillonné d’allers et retours et de bifurcations ; emporté par des processus associatifs, arrêté ou suspendu par des détails sonores ou visuels, parfois infimes ; ou par la qualité du silence. Son tracé apparaît donc a posteriori.L’acte d’écouter-regarder lire au milieu d’une assemblée, et ses retentissements dans le for intérieur, incitent constamment à se déplacer mentalement, à sortir de soi ou à passer du « je » au « nous ». Le « nous » signifie que j’intègre en silence la présence du Lecteur sonore et des autres auditeurs-spectateurs, que je les associe à ma réception : l’individu dit « nous » (dans son intimité comme en société) en s’adressant ou en s’incluant aux autres. Les lectures publiques touchent à la fois l’individuel et le collectif ; voire questionnent le concept de communauté.Elles nous reconduisent naturellement à des relectures et s’offrent elles-mêmes comme forme singulière de relecture. Elles nous conduisent aussi à d’autres pratiques du partage grâce à l’usage de la voix haute ; à d’autres modes d’exister de la littérature, d’autres formes d’oralité (les groupes de lecture, la récitation, le témoignage, le cinéma). In fine, ce travail met au jour une expérience, et les « savoirs » singuliers qu’elle engrange et diffuse. Cette expérience peut être transmise, reprise, re-questionnée et discutée. Car les lectures publiques, censées nous immobiliser ou nous sidérer sur un fauteuil, nous engagent personnellement dans le rapport à autrui. Ce n’est pas le moindre enseignement de cette aventure. / This PhD thesis is an account of uses and practices at stake in public reading nowadays ; more precisely, of its reception by the listening audience, during and after the readings. The sources and material used are diverse : partly accounts of reception extracted from classical and contemporary literature, and publications by searchers in human and social science. I have also used my own accounts, narrative pieces I redacted after witnessing public readings. I thus have built my own material based on what I felt among an audience, among others, among other bodies. I have leaned on and inspired myself from “case thinking” (or “singularities”), a method which relies on practicing self-observation, based on clinical approach. Therefore, it excludes any claim to realism or objectivism. Public readings appeal to the eye and the ear at once. The reception by the listeners-spectators, whether it’s collected or felt in person, seems to be frequently personal, not very normalized.A prologue goes overs three periods of the great history of reading: accounts of readings aloud from Greek and Roman Antiquity to a recent period of time. The other two parts aim to highlight the connections that awaken between the actors during public readings nowadays. Those relationships of exchange, of otherness, or of power, reveal the way in which individual reception forms - from accounts or cases and relating them to corpuses from other subjects.But the material is a heterogeneous, labile, instable one; sometimes strange. Which explains that the journey isn’t straight: it is criss-crossed by comings and goings and branching roads; drawn as it was by associating processes, stopped or paused by sound or visual details, sometimes minute; or by the quality of silence. As a result, its course appears a posteriori.The act of listening-watching read among an audience, its repercussions onto the inner self, are a constant incentive to move mentally, get out of oneself or switch from “I” to “we”. “We” means I silently integrate the person who reads aloud and the other listeners-spectators into my reception: the individual says “we” (in their intimacy as well as in society), addressing themselves to or including themselves with others. Public readings concern the individual as well as the collective level; and even question the concept of community. They naturally drive us to rereads and offer themselves as a singular form of reread. They also drive us to other practices of sharing through the use of voicing : to other ways of existing for literature, to other forms of oral performance - reading groups, recitation, account, cinema.

In this Thesis, influenced by Geert’s and van der Tuin’s (2016) diffractive reading of Beauvoir and Irigaray, I propose the methodology of  diffractive watching and watching diffractively as another tool for film analysis while engaging in an exploration of the potentials and limitations presented in the process. I find the concept of diffraction to be of significant merit within feminist new materialist research and to that end, I am interested in assessing the concept’s versatility and in verifying its methodological value.  Therefore, in my analysis,  I aspire to explore  diffractive watching  as a set intention and methodology and watching diffractively as an active process and the different implications that will result  if diffractive watching is  applied as a lens and/or employed as a tool. Moreover, I consider the mapping of the films’ cartographical account to be a constituent part of diffractive watching which in this case functioned as the starting point for the analysis.  To illustrate the becoming of this methodology, I take two films, i.e., Bladerunner (1982) and Bladerunner 2049 (2017) as my case study.

In the last decade Video on Demand (VOD) services are becoming the centre of audiovisual entertainment consumption. American company Netflix is currently the biggest player on the market. Thanks to growing base of viewers it has become big competitor even for big hollywood studios. Those studios don't want to lose the track in this new, popular segment of on-line entertainment, therefore they are also coming out with their own platforms. Viewer's habits on VOD services has many specifics, for example in ways of consumption or in choosing the content. The subject of this thesis is to capture allround behaviour of czech user on VOD platforms.

Uppsatsen undersöker vad binge-watching är för ett fenomen, och närmare vad som gör en TV-serie binge-värdig. Kopplingar mellan element som är förknippade med att göra en serie beroendeframkallande, främst cliffhangers undersökas på en djup nivå. Medan tiden har förändrats har tekniken också förändrat hur det ses på program från när de först visades till hur de konsumeras idag, från att titta på en svartvit box-TV till att titta på en gigantisk smart-TV med inbyggd video-on-demand. Olika berättarmetoder från “monster of the week”till något som har en berättelse som är tänkt att förbli sammanhängande från början av serien förklaras i denna texten, och paralleller dras mellan teknikerna och fenomenet binge-watching.

This paper gives critical attention to the nature versus caution porch conversation in Zora Neale Hurston's Their Eyes Were Watching God, arguing that this is a legitimate addition to the anthropological discussion of nature versus culture. Addressing literary critics as well as scholars of the environmental humanities and of multispecies studies, I argue that Hurston's nature-caution discussion is a helpful epistemology which Hurston employs throughout her novel to suggest a single, unified way of understanding the human and nonhuman.

Compliance is a key feature for the management of non-consumptive wildlife viewing, as it can link management measures to performance and aid in developing recommendations that promote sustainable practices. Whale watching is a prominent wildlife viewing industry that is steadily rising in demand around the world. Managing vessel-cetacean encounters and operator behaviour (both commercial and recreational) is key to limiting impacts on cetaceans, yet the scale of regulatory compliance is often poor or unknown. Although efforts exist to regulate whale watching, challenges arise for the assessment of compliance in marine environments, as they are inherently spatially vast, lack physical boundaries, and can involve mobile stressors (i.e. vessels) and species. Chapter 1 reviews the shift in paradigms from consumptive to non-consumptive activities and highlights challenges for those tasked with managing the growing wildlife tourism industry, and in particular, whale watching. After reviewing a suite of measures prevalent around the world, this chapter then focuses on the Salish Sea’s approach to managing whale watching. This area epitomizes a major whale watching hub and displays complex, multi-jurisdictional and constantly evolving measures. Due to a lack of knowledge in this region, Chapter 2 shifts from theory to practice and assesses regulatory compliance with marine mammal distance regulations from 2018 to 2019 in the Salish Sea. Although compliance was nearly 80%, key drivers including vessel and species type were found to significantly influence non-compliance. Recreational vessels were non-compliant 41.9% of the time and 74.2% of non-compliant encounters occurred around killer whales across both years. The findings of the study demonstrate that case-specific investigation of compliance is necessary as each region is unique in its approach to management. Lastly, recommendations are proposed that can benefit marine managers and policymakers to enhance the performance of measures and subsequently minimize risk to cetaceans. / Graduate

Once upon a time there was a beautiful cinema in Stockholm called Draken. This story is about her, a lost public space that once boasted many qualities and expectations. Sadly, today, she is nothing more than a large storage facility where Stockholm residents can rent a few extra square meters. The awakening of Draken highlights the importance of adapting to changing behaviors in the context of cinemas and screen watching, to update the cinema room and to revive these public spaces for future use. The proposal focuses on contemporary behaviors of interacting with moving images, such as watching movies, dancing, sing-alongs and gaming, among others. By creating a narrative around it, and a spatial dramaturgy in the interior, I aim to tell an alternative story where Draken in the future is transformed into an atmospheric and thriving place for social interaction and screen viewing

Observation of marine animals in their environment – whale-watching – has grown greatly in recent years, bringing risk to the animals. Of particular concern are harmful impacts on marine mammals, some of which are endangered. As a result, regulations have been developed for their protection, but these conservation measures require enforcement across a broad geographic region, which is difficult due to limited monitoring resources. A ship-borne information transmission system called AIS – Automatic Identification System – can provide information-rich marine vessel movement data that can be used to passively monitor vessels engaged in viewing wildlife, aiding regulatory bodies with compliance enforcement. Few studies explore the use of AIS data to determine when vessels are engaged in wildlife-viewing, and as such little guidance exists on how to implement classification models appropriately. The objective of this thesis is to use AIS data to evaluate the accuracy and utility of existing classification models to detect vessels engaged in observing wildlife, and determine whether information about species being observed can be extracted. Using a control set of observed cetacean encounter data, three classification models were statistically assessed. From this, a hidden Markov model was chosen for detailed analysis in the vicinity surrounding Vancouver Island, B.C., Canada. The resulting analysis concluded that a hidden Markov unsupervised classification approach was feasible for detecting vessel behaviours and differentiating species type. These findings suggest AIS can aid managers and the commercial whale-watching industry in making informed decisions regarding conservation regulations and their compliance. / Graduate / 2022-08-12

With an ageing population, there is a need for elderly to be involved in the technology changes and be involved in finding ways for it to fit them and their needs. Virtual reality is one example of new technology that can be used to engage and help elderly. This, in combination with devising an experience with co-watching and co-location, there is potential to have something where watching creates value for the user. The aim of this thesis was to look at how co-located and co-watched 360-degree films in a head mounted device was experienced by elderly and which implications could be drawn in terms of arranging and executing 360-film sessions. The data was collected through non-participant observation and semi-structured interviews. Drawing from a thematic analysis two main themes emerged:Enriching the everyday life through new and reminiscing experiencesTogetherness while co-watching depends on external social factors From there, the results are discussed and summarized into six key implications; the role of the administrator, the group composition, value of watching, enhancing the cowatching experience, decrease weight of head mounted devices and the importance of content, to consider in future work. / I en värld med en åldrande befolkning, finns det ett behov av att inkludera äldre människor i hur tekniken förändras och hitta lösningar för tekniken att passa dem och deras behov. Virtual reality är ett exempel på ny teknik som kan användas för att engagera och hjälpa äldre, och detta i kombination med utformningen av en upplevelse med samtittning och samlokalisering finns det potential för att själva tittandet skapar värde för användaren. Syftet med denna uppsats var att se hur samtittande och samlokalisering i en head mounted device vid tittandet av 360-graders filmer upplevdes av äldre människor och vilka slutsatser som kunde dras beträffande arrangemanget och verkställandet av 360films sessioner. All data samlades in via icke-deltagande observation och semistrukturerade intervjuer. Genom att tematiskt analysera all data kunde två huvudteman fastställas:Berika vardagen genom nya och andra minnesvärda upplevelserGemenskapen under samtittande beror på yttre sociala faktorer Därifrån är resultatet av studien diskuterat och sammanfattat i sex viktiga slutsatser att ta hänsyn till i framtiden; rollen som sessionsledare, gruppsammansättningen, värdet i att titta, förbättra upplevelsen av samtittandet, minska vikten på head mounted devices och betydelsen av innehållet i filmerna.

This research seeks to examine how authors represent Black/African-American beauty in children’s literature. To conduct my research, I have chosen to review Natasha Tarpley’s I Love My Hair and Carolivia Herron’s Nappy Hair in conjunction with Zora Neale Hurston’s young adult novel Their Eyes Were Watching God. The objective of my thesis aims to highlight the emphasis authors place on Black/African-American children’s hair and the cultural differences in their perceptions of Afro-beauty. Today, society expends extensive time and interest in outward appearances through media: television, radio, digital media, and fashion magazines. As a result, Black/African-American adolescent and teen girls become overly concerned with their beauty and face extreme pressure to fit into the dominant cultures definition of beauty: ‘lighter skin, slender nose, slim body frame, and straight hair.’ Black/African-American girls who fall short of the prescribed characteristics of beauty become psychologically impaired with their self-confidences; sometimes refusing to embrace their own features or invest extensively in beauty care products to conform to the dominant beliefs of beauty. I have provided a summary of the focused literature for the benefit of readers who not have had the opportunity to read the previously mentioned texts along with a sample lesson plan.