Indulgent and desirable, luxury both boasts and seduces. Luxury is an elaboration on the essential, manifest in forms of etiquette and exclusion. Films index both reality and fantasy. They reflect, denounce, and exaggerate, making them invaluable cultural documents. Post-World War Two, the ease of air travel, mass production of goods, and foreign influence changed the face of luxury. By examining the films To Catch a Thief (1955), La Dolce Vita (1960), and Breakfast at Tiffany’s (1961) – all three from the era of this shift in luxury – this essay excavates this change, by examining the narrative, objects, and architecture of selected scenes.

This study aims to reevaluate Ahmed Midhat&rsquo / s treatises on Ottoman society by revealing his exceptional objectives, which recently have been used in contemporary interdisciplinary studies concerning the 19th century Ottoman social transformation. In view of that, the thesis is formed as a re-reading of Ahmed Midhat&rsquo / s etiquette book, titled Avrupa Adab-i MuaSereti yahud Alafranga, according to some recent debates like that of occidentalism, geographic mapping of culture and civilization, the question of cosmopolitanism and elitism, everyday life practices. The most important aim of this thesis study is to expose the ability and the tool-kit of an Ottoman intellectual, who claims himself belong to the Ottoman Nation, making use of the knowledge of the west for domestic politics and arguments in order to propose and create a genuine, self-governing and permanent Ottoman culture. Besides the knowledge of the west, Ahmed Midhat&rsquo / s Alafranga represents a very significant literary form that demonstrates the modern change in the intellectual production in Europe. In that perspective, exposing his motivations behind writing an etiquette manual, a literary form which is related to the modern idea of creating a mechanism of self-control for the individuals, and at large for the society itself, is significant the ways in which these motivations represent the ideas of a Tanzimat intellectual on the modernization of the Ottoman society, considering his sympathy for the Hamidian worldview and modernization projects.

Thesis (Ph. D.)--University of California, Berkeley, 2000. / Includes abstract. Typescript. Includes bibliographical references (leaves 341-362).

published_or_final_version / Education / Doctoral / Doctor of Philosophy

Indulgent and desirable, luxury both boasts and seduces. Luxury is an elaboration on the essential, manifest in forms of etiquette and exclusion. Films index both reality and fantasy. They reflect, denounce, and exaggerate, making them invaluable cultural documents. Post-World War Two, the ease of air travel, mass production of goods, and foreign influence changed the face of luxury. By examining the films To Catch a Thief (1955), La Dolce Vita (1960), and Breakfast at Tiffany’s (1961) – all three from the era of this shift in luxury – this essay excavates this change, by examining the narrative, objects, and architecture of selected scenes.

The aim of this study is to investigate politeness phenomena within the Hindu sector of the South African Indian English speaking community. The study focuses on the understanding of politeness within the target community and whether this understanding has changed over the past generation. It also examines if males and females exhibit and value politeness differently. Finally the study investigates which of the existing Western/non-Western models of politeness are relevant for describing the politeness phenomena in the target community. This study is conducted through the realizations of the speech acts of requests and apologies, focusing on the variables of age, status and social distance. In order to achieve triangulation, qualitative and quantitative methods of data collection were used. These comprised interviews with cultural/religious leaders, discourse completion tasks, interviews with families and a ranking scale. My findings reveal that the understanding of politeness phenomena within the target community is more in keeping with that in other non-Western cultures than in Western cultures. Females are found to exhibit more polite behaviours than males. Further, in general the understanding of politeness over the past generation has remained more or less constant. / Thesis (M.A.)-University of Natal, Durban, 2001.

O objetivo geral desta pesquisa é estudar os dispositivos de atuação dos agentes no campo das artes através dos vernissages, estes eventos sociais aglutinadores que servem não apenas para inaugurar uma determinada exposição, mas também como palco para a construção de capital simbólico e social, necessários para o funcionamento do próprio campo. Pretendemos analisar a atuação dos convidados no espaço expositivo e os conceitos associados à experiência pessoal de cada agente do campo artístico, a partir de entrevistas; por fim, pretendemos mostrar a importância dos vernissages para o mundo da arte. Por que o vernissage é importante? Sua existência traz, de antemão, um poderoso instrumento de divulgação e de coesão social – o convite privado e público que faz a seu público: um chamamento. Desta forma, pretendo apresentar um estudo relevante para uma melhor compreensão sobre o funcionamento do campo artístico, dos papéis dos diversos agentes nesse campo, mostrando que os vernissages podem ser, em boa medida, um importante instrumento para a própria construção do público de arte. / The general aim of this study is to investigate the mechanisms of the action of agents in the art world through vernissages (art openings), social events that bring people together, not just to open a particular exhibition, but also as the stage for the construction of symbolic and social capital necessary for the operation of the art world itself. It aims to analyse the behaviour of guests in the exhibition space and the concepts associated with the personal experience of each agent on the art scene conducted through interviews; and finally it aims to show the importance of these vernissages for the art world. Why is the vernissage important? Its existence is a powerful anticipatory instrument for publicising and for social cohesion – the private and public invitation that is created for its audience: a convocation. I intend to present a study that is relevant for a better understand of the running of the artistic field, and of the roles of the various players in the field, showing that vernissages may be, in large measure, an important instrument for the actual construction of art public.

This study identifies the need for intercultural business communication competence and contends that a course in this field is of particular relevance to South African organisations. The aim of this study is to identify, through needs analysis, the specific intercultural business communication requirements of lscor managers with regard to Japan. The requirements are identified in such a way that they may be used as the criteria for an intercultural business communication course. Quantitative and qualitative research methods were used in the study. The results of the research indicate that managers generally lack knowledge of various communication aspects relating to Japan. Participants also indicated a high degree of culture shock in terms of specific intercultural factors. The findings of the study form the content topics around which a course in intercultural business communication may be developed. The relative value of the topics to specific managers is also identified. / Communication Science / M.A. (Communication)

O objetivo geral desta pesquisa é estudar os dispositivos de atuação dos agentes no campo das artes através dos vernissages, estes eventos sociais aglutinadores que servem não apenas para inaugurar uma determinada exposição, mas também como palco para a construção de capital simbólico e social, necessários para o funcionamento do próprio campo. Pretendemos analisar a atuação dos convidados no espaço expositivo e os conceitos associados à experiência pessoal de cada agente do campo artístico, a partir de entrevistas; por fim, pretendemos mostrar a importância dos vernissages para o mundo da arte. Por que o vernissage é importante? Sua existência traz, de antemão, um poderoso instrumento de divulgação e de coesão social – o convite privado e público que faz a seu público: um chamamento. Desta forma, pretendo apresentar um estudo relevante para uma melhor compreensão sobre o funcionamento do campo artístico, dos papéis dos diversos agentes nesse campo, mostrando que os vernissages podem ser, em boa medida, um importante instrumento para a própria construção do público de arte. / The general aim of this study is to investigate the mechanisms of the action of agents in the art world through vernissages (art openings), social events that bring people together, not just to open a particular exhibition, but also as the stage for the construction of symbolic and social capital necessary for the operation of the art world itself. It aims to analyse the behaviour of guests in the exhibition space and the concepts associated with the personal experience of each agent on the art scene conducted through interviews; and finally it aims to show the importance of these vernissages for the art world. Why is the vernissage important? Its existence is a powerful anticipatory instrument for publicising and for social cohesion – the private and public invitation that is created for its audience: a convocation. I intend to present a study that is relevant for a better understand of the running of the artistic field, and of the roles of the various players in the field, showing that vernissages may be, in large measure, an important instrument for the actual construction of art public.

O objetivo geral desta pesquisa é estudar os dispositivos de atuação dos agentes no campo das artes através dos vernissages, estes eventos sociais aglutinadores que servem não apenas para inaugurar uma determinada exposição, mas também como palco para a construção de capital simbólico e social, necessários para o funcionamento do próprio campo. Pretendemos analisar a atuação dos convidados no espaço expositivo e os conceitos associados à experiência pessoal de cada agente do campo artístico, a partir de entrevistas; por fim, pretendemos mostrar a importância dos vernissages para o mundo da arte. Por que o vernissage é importante? Sua existência traz, de antemão, um poderoso instrumento de divulgação e de coesão social – o convite privado e público que faz a seu público: um chamamento. Desta forma, pretendo apresentar um estudo relevante para uma melhor compreensão sobre o funcionamento do campo artístico, dos papéis dos diversos agentes nesse campo, mostrando que os vernissages podem ser, em boa medida, um importante instrumento para a própria construção do público de arte. / The general aim of this study is to investigate the mechanisms of the action of agents in the art world through vernissages (art openings), social events that bring people together, not just to open a particular exhibition, but also as the stage for the construction of symbolic and social capital necessary for the operation of the art world itself. It aims to analyse the behaviour of guests in the exhibition space and the concepts associated with the personal experience of each agent on the art scene conducted through interviews; and finally it aims to show the importance of these vernissages for the art world. Why is the vernissage important? Its existence is a powerful anticipatory instrument for publicising and for social cohesion – the private and public invitation that is created for its audience: a convocation. I intend to present a study that is relevant for a better understand of the running of the artistic field, and of the roles of the various players in the field, showing that vernissages may be, in large measure, an important instrument for the actual construction of art public.