Erasmus University Thesis Repository
Not a member yet
49263 research outputs found
Sort by
De ziel van het ding: de giften van Sartre
No full textDeze scriptie betreft het ethische werk van Jean-Paul Sartre. Aan het einde van Het zijn en het
niet belooft hij dat een ethisch boek zou volgen, dat nooit is verschenen. In zijn Cahiers pour
une morale probeert hij het wel te doen met het concept van de gift dat hij net als Mauss, op
wie hij zich baseert, verkeert interpreteert. Herstel van die interpretatie in een Sartreaanse
ontologie leidt tot de mogelijkheid van een concrete ethiek, die verder wordt uitgewerkt
middels verschillende voorbeelden uit Sartres oeuvre. Het gaat erom een vrijgevige houding
aan te nemen, die mensen wederzijds bevrijdt
Framing Nepal on The Global Stage
No full textThis research contributes to the emerging study of international co-productions and their impact on smaller film industries, focusing on the underexplored context of Nepal. Despite a growing interest in global film flows, most academic attention remains fixed on dominant industries such as Hollywood, Bollywood, or select East Asian markets. Nepal's film sector, by contrast, operates at the margins, shaped by limited state support, poor distribution infrastructure, and reliance on foreign partnerships. This study explores how co-productions influence the visibility, agency, and global positioning of Nepal's cinema.
Through qualitative research, including twelve in-depth interviews with Nepali filmmakers, producers, and cultural professionals, the study investigates how filmmakers navigate creative and operational decisions in co-productions. The findings suggest that while co-productions open doors to funding and visibility, they also introduce conditions that shape content and limit narrative autonomy. Filmmakers often adjust their storytelling to meet the expectations of international funders and festival circuits, which tend to prioritize themes such as poverty, trauma, or conflict. These adaptations help secure funding but can narrow the diversity of stories that reach global audiences.
The research also reveals how global platforms like Netflix or Amazon rarely invest in Nepali content due to the country's small market size and limited digital infrastructure. Even when local films appear on these platforms, they often remain invisible, unpromoted, undubbed, and without marketing support. This aligns with existing theories about structural gatekeeping, media asymmetry, and platform-driven visibility.
While Nepal's industry continues to operate through informal networks and personal credibility, this research highlights the pressing need for formal support systems. The absence of co-production treaties, tax incentives, or national film funds forces local filmmakers to rely on patchwork solutions. Yet, despite these constraints, the research captures the resilience and ambition of a generation of Nepali filmmakers committed to reaching global stages on their own terms.
Overall, this thesis provides insights not only into the mechanics of co-productions but also into the lived realities of cultural negotiation in a resource-limited context. It extends theories on global media flows (Thussu, 2007), platform power (Poort, 2021), and informal distribution (Lobato, 2012) to a rarely studied national cinema. It also brings Bhaskar's view about how uncovering deeper structures can inform social transformation into light.
While the study offers rich, grounded insights, limitations include the absence of foreign producer perspectives, a small sample size, and a limited focus on gender dynamics. Future research could explore comparative cases in other emerging markets or delve deeper into sectors like animation and documentary filmmaking in Nepal. This study lays the groundwork for understanding how global collaborations unfold in lesser-known film industries and what is at stake when storytelling travels across borders
Fruit for Thought
No full textThis thesis investigates how the cultural significance of Maurizio Cattelan's artwork Comedian, a banana duct-taped to a wall, was discursively constructed through media coverage, public responses and institutional practices between 2019 and 2025. Instead of treating the artwork as a static object with fixed meaning, this study analyzes how its interpretation emerged through intersecting dynamics of audience engagement, humor and media spectacle.
Using qualitative thematic analysis of 51 English-language news articles, the research traces the artwork Comedian's transformation from a viral provocation into an institutionalized artwork and multimillion-dollar commodity. The analysis is structured around three thematic pillars: audience reception and participatory performance; the discursive function of humor and satire; and the commodification of the artwork through media spectacle and institutional ritual.
The findings demonstrate that the artwork Comedian's cultural significance was not defined by the artist or the art world alone, but co-produced through circulation, interpretation and performance across audience, journalistic and institutional spheres. This study contributes to media and cultural theory by showing how artistic value is not only assigned, but actively negotiated through tone, framing and affective engagement. It highlights how irony, laughter and spectacle operate as central forces in the re-construction of meaning and legitimacy in contemporary art discourse
Voices that Matter: Effects of CSR and CSA on Word-of-Mouth in Indian Start-ups- A quantitative approach
No full textIn an era where society increasingly expects brands to play a meaningful role in not only social issues but also political matters, Indian start-ups are exploring CSR-related initiatives from the very beginning. Corporate social advocacy (CSA), a term that is both new and familiar in the West, is also making its way to Indian brands, which are vocally taking a stance on political issues in the country to build authentic relationships with their audience. This study investigates how start-ups' involvement in social issues influences electronic word-of-mouth (eWOM) among consumers. Specifically, it examines whether the perceived authenticity and perceived agility of an Indian start-up mediate this relationship based on the social issues being pursued through electronic word-of-mouth. Drawing on significant theories and existing literature regarding consumer-brand relationships, the study proposes and tests a conceptual model where start-ups' CSA/CSR involvement predicts eWOM through two mediators: perceived authenticity and agility. This research was conducted through a quantitative method with an experimental survey and further discusses the major impacts by testing and analyzing key variables such as perceived authenticity, perceived agility, and positive eWOM across three levels of engagement with social issues. A conceptual framework was developed based on the existing literature on consumer-brand relationships and stakeholder theory. This research hypothesizes that higher levels of CSA/CSR engagement by start-ups lead to more positive eWOM, mediated by consumers' perceptions of the brand's authenticity and agility. A between-subjects experimental design was used, employing quantitative methodology. A total of 155 participants were randomly assigned to one of the three levels of engagement. They were then presented with a fictional start-up brand named Noorani, followed by a structured questionnaire measuring the main variables. Results for this study were obtained from statistical analyses, including mediation analysis using the PROCESS macro for SPSS, which indicated that perceived authenticity and agility significantly mediated the relationship between CSA/CSR engagement and eWOM. Specifically, the start-up Noorani, which was measured, showed marginally significant results for the CSR-related level of engagement. The findings of the study indicate and offer valuable insights for Indian brands navigating relevant social and political issues and meeting the needs of a socially aware market. The study also contributes to the growing discourse on social issues in India, suggesting that opportunistic involvement may backfire if not aligned with core brand values
INNOVATION IS A QUALITATIVE CATEGORY
No full textAs cultural economics adapts economic concepts to their concrete application in the creative and cultural industries, certain gaps in understanding are observed. The discrepancy is also present between academic and real-life contexts. In the case of experimental forms of music in event and festivals, the concept of innovation is often used in the value statements of organisations. However, it seems to differ from the meaning attributed by research. While innovation is mainly understood through the prism of technological and economic factors like price, other branches in literature argue for the quasi-impossibility of defining and assessing innovation through traditional economic tools.
To solve this, an argument can be made for qualitative exploration through a value-based approach that delves holistically into the perceptions and experience of concerned actors and encourages a clear establishment of envisioned and realised values. This thesis aims to thus to answer the following research question: How do cultural intermediaries articulate and put innovation into practice in experimental forms of music and events? The role of intermediary - ranging from active audience member to producer and cultural works, such as programmers or marketeers - ensures a reliability towards their perceptions and opinions. While in-depth interviews were conducted on a sample of intermediaries from the local Dutch experimental music scene and data collected, the insights were further studied through a grounded theory approach and a thematic analysis.
Relating to the field of experimental music and using the lens of experimentation as a process and apparatus, the findings highlighted that innovation, although still highly contested and regarded as over-used in its deployment for both form and content of music, it constitutes a social construct in which there is room for intermediaries to assign their own meaning and for a new dialectic of innovation. Resistance to such concepts is transformed then a catalyst for the meaning-making. This way, they can strategically orient the obtention of subsidies in a way that fits their interpretation and use of innovation. Nonetheless, intermediaries argue for the necessity of integrated and collective shaping of innovation through knowledge-sharing, co-creation of its conditions and open discussions to address the appearing gap between concrete and conceptual negotiations.
We conclude then that, despite alignment with academic observations on definitional lacks, principles of experimentation present in the music ecosystem of our respondent brings a new explorative angle to innovation. Through which cultural and creatives industries can free themselves from neoclassical ideals of progress that sets obstacles for experiential forms of arts where cultural outcomes are unknown, demands uncertain and market success inapt for grasping social and societal dimensions
Football's Visual Language: Tifos as Expressions of Collective Identity
No full textIn recent decades, European football has undergone a fundamental transformation, shifting from a community-rooted cultural phenomenon into a globalized entertainment industry shaped by commercialization and institutional branding. Amid this transformation, supporter groups have increasingly asserted themselves as symbolic custodians of club identity, resisting top-down efforts to redefine what football clubs represent. This thesis investigates the symbolic role of tifos, large-scale choreographed displays created by football supporters, as visual expressions of identity and acts of resistance in the context of modern football's commercialization. It responds to two guiding questions: How do tifos created by football supporters function as visual articulations of club identity? And in what ways do they serve as resistance against the commercialization and rebranding of football clubs? Set against a backdrop where football clubs are increasingly treated as global brands, subject to logo simplification, stadium renaming, and market-driven redefinitions of tradition, the study examines how fans respond through visual performance. Despite the growing visibility of tifos in contemporary football culture, academic research has largely overlooked their communicative and cultural significance. This thesis addresses that gap by reframing tifos as strategic performances through which supporters articulate meaning, affirm identity, and contest institutional authority. Methodologically, the study combines semiotic analysis with hybrid thematic coding. A sample of approximately 50 tifos from European clubs (2010-2025) was analysed to uncover both literal and symbolic meanings, using a two-step process: first, identifying denotative and connotative elements in the visuals; second, coding these meanings through a thematic analysis. The findings reveal that tifos serve as complex visual interventions through which supporters co-author the identity of their club. They do so by referencing regional belonging, historical memory, and political values, often in direct opposition to top-down rebranding or institutional narratives. Tifos are not random or decorative; they are intentional acts of cultural authorship. Through slogans, symbols, and historical imagery, supporters reaffirm continuity, express ownership, and project resistance. Academically, this study contributes to the field of football studies by positioning tifos as rich, underexamined media forms. Societally, it highlights the ongoing negotiation between fans and institutions over who has the right to define what a football club represents. As commercial forces reshape the sport, tifos remain one of the few remaining spaces where fans visually reclaim authorship, reminding both clubs and broader audiences that identity is not a marketable asset but a living memory protected by fans
Women in the F1 Academy
No full textThis thesis explores gender representation in the media coverage of the F1 Academy feature articles. Media representation plays an essential role in how the public views and what they define as norms in society, most often by reifying traditional gender roles, and for that reason, this research examines how the official website of the F1 Academy's feature articles represents female drivers and team members and what is revealed about their live in motorsport as women. The research question to be responded is "how do feature articles on the F1 Academy's official website portray female drivers and team members?". With reflexive thematic analysis by Braun & Clark (2006, 2020), this study analyzes articles from 20th of March 2024 to 20th of December 2024, that include interviews, driver profiles, behind the scenes, and career reflections which were all sourced from F1 Academy's official website. By iterative theme development and inductive coding, five themes are uncovered and developed: 1) Evolving pathways of women's participation in motorsports, 2) Family and male mentorship in the F1 Academy, 3) Identity, aesthetics and expression as a driver, 4) Strategy to change & collective belonging, and 5) Optimism, progress & the future. The findings show that despite F1 Academy's media coverage showing alterations in visibility and legitimacy of women in the sport, gendered framing persists. Female drivers and team members are frequently depicted through narratives of relational support, particularly highlighting the influence of male family members; through aesthetic and stylistic choices, matters that do not directly correlate to racing; and through emotional storytelling that foregrounds personal struggles and triumphs. Secondly, symbolic victories and media exposure are often valued more than actual visible structural change, making genuine inclusion of women in a male-dominated sport difficult to achieve. The thesis speaks to the endemic tension between visibility and equity, exemplifying how increasing numbers in media does not always eliminate prevalent stereotypes. In so doing, critically analyzing the presentation of female subjects in the official media of the F1 Academy, the study provides relevant insights into how gendered stories are negotiated within contemporary motorsports media, offering a foundation for future research and reflection on how (motor)sporting institutions would create more meaningful forms of inclusion through media representation without resorting to stereotypes
News media framing of conflict from different perspectives: A comparative analysis of Al Jazeera and Times of Israel news coverage of the Israeli-Palestinian conflict from October 7th 2023 to January 2025.
No full textThis MA thesis offers a comparative framing analysis of English-language news coverage of the Israeli-Palestinian conflict by Al Jazeera and The Times of Israel from October 7th 2023 to January 2025. In doing so, it focuses on three case studies of key events; the October 7th 2023 Hamas attacks on Israel, the International Court of Justice's interim ruling on South Africa's genocide case against Israel, and the January 2025 ceasefire agreements. Using framing theory, particularly Entman's four framing elements and concepts of selection and salience, this thesis analyses how both newspapers differ in their framing when reporting on the same events. Using a qualitative analysis, the research shows distinct differences in the way in which the two newspapers define problems, diagnose causes, make moral judgments, and suggest remedies. What is evident is that Al Jazeera particularly emphasises Palestinian suffering and lays the responsibility of this suffering on Israel and 'Israeli aggression'. The Times of Israel on the other hand, puts more of its emphasis on Israeli suffering during the October 7 Hamas attacks and the hostages being held in Gaza. Hamas and its 'terrorist' character is the main party held responsible by the Times of Israel for the suffering during the war. This thesis contributes to the field of framing theory and conflict journalism by addressing underexplored perspectives in English-language Israel-Palestine conflict news coverage, advocating for 'peace journalism' and a direct practical implementation of Entman's framing theory
Intrinsic motivation vs. monetary incentives
No full textThis thesis explores the dynamics of a collaboration between an artist and a corporation.
The aim is to understand how both parties can mutually benefit from these collaborations.
While the existing literature has addressed the motivations from corporations, such as branding,
Corporate Social Responsibility (CSR), or innovation, and also focused on the cultural value
of the artistic input, it largely neglects to research the experiences and intrinsic motivation of
the artists.
Through a qualitative approach, based on ten in-depth semi-structured interviews with
participants from both the artistic and corporate worlds, this study researches the motivations,
expectations, and outcomes of these collaborations.
The findings of this research reveal a significant tension between artistic autonomy and
the interests of the corporation, especially around the commodification of art and the
preservation of the artist's intrinsic motivation. Even though corporations mention artistic
freedom as important, in reality, corporations focus more on the priorities of their business,
which can potentially lead to crowding-out of the creative motivation of the artist.
Retrospectively, artists value collaborations for the visibility and engagement with their
audience, but only when the collaboration aligns with their vision and values.
The study concludes that a successful and meaningful collaboration, especially if it is
mutually beneficial, depends on a balance. This balance needs to be focused on the commercial
and creative objectives, between formal agreements and mutual trust, and individual and shared
values. This thesis then offers practical implications for both sectors that can contribute to the
ongoing academic discourse in cultural economics, with a particular focus on valuation,
accessibility, and the ever-evolving role of corporations as cultural actors