The intention has been to look at the school system in South Africa and specifically at arts and culture in grade 10 to 12. I have visited a number of classes and interviewed the teachers working at the art centre PJ Olivier in Stellenbosch. By doing this I wanted to get to know the system and to understand the intentions that the curriculum describes. I have all through the study related the areas I’ve looked at to the curriculum to see how well the intentions are implemented. I have also compared everything with the Swedish school system. The curriculum has good intentions but the country has a lot to do before they reach the goals with a school system where everybody is included and where there is ”ubuntu” (Zulu word for humanity or I am what I am because of what we all are). In the curriculum I have seen a lot of similarities to the Swedish school system. The intentions and the goals are very much alike. I have realised that South Africa is a country with a lot of complexity and this shows in the school system and in the way the teaching is performed. Arts and culture has a part to play even if the subject is small. In many areas in South Africa, Europe and the western world is the role model for how things should be done. In art it is significant and it leads to self-neglect.

Recently, financial holding companies have been reported through various media channels for their sponsorships to art groups. For example, Taishin financial holding company contributed millions of dollars to support the performance The Phantom of the Opera in Taiwan in 2006. And Cathay Financial Holdings supported Cloud Gate Dance Theatre of Taiwan with 14 outdoor performances within the past five years. Both examples show how these companies emphasize on subsidizing art and culture activities. However, why these companies decide to sponsor, and how they choose suitable art and cultural activities? The main purposes of this study are: to discuss the current situation that the financial holding companies sponsorship for art activities and to provide art groups and sponsors suggestions with the acknowledgement of support through relationships. To achieve these goals, a thorough literature review and case interview was conducted. The researcher took examples of four financial holding companies which own Wen-hsin Awards, analyzed the motivation behind the sponsorship, the content of sponsorship package, and evaluated the outcomes of the sponsorship. Finally, the behavior model of financial holding companies to sponsor arts and culture activities is made. The results showed that the key factors to motivate sponsors¡¦ behavior are the company¡¦s social responsibility, benefit for business, and the proprietors¡¦ personal love for arts. It is also found that these four companies are interested in sponsoring the certain visual or performing art groups which hold exhibitions or large shows yearly; and mostly they do not pay much attention to evaluating their sponsorship outcomes.

Ancient Egypt is renowned for its extensive use of beauty products, but the image of Ancient Egypt modern media presents to consumers today barely expresses the importance of these products and practices. This paper details the production, application process, and function of these products and describes their importance in relation to modern society. The four functions of cosmetics (Religion, Aesthetics, Status, Health) are used to examine why beauty rituals are important to the Egyptian society, and modern beauty trends are contrasted with those of Ancient Egypt. Culture and industry movements and their catalysts explain the connection between past and present beauty ideals and standards. Overall, this paper determines Ancient Egypt’s profound impact on the modern beauty culture.

The purpose of this ethnographic case study was to explore the construction and alteration of Roanoke Virginia's cultural imaginary, as well as the engagement of marginal groups and their concerns in those processes. This research examined these issues through the experiences of key actors involved with the creation of Roanoke's first city-wide arts and cultural plan and the creation and growth of the Roanoke-based Marginal Arts Festival (MAF). Cities around the globe are increasingly engaged in transnational projects of place identification, reconfiguration, and attraction: attracting capital, residents, workers, tourists and attention (Cronin & Hetherington, 2008; Hague, 2005; Jensen, 2005, 2007; Pine & Gilmore, 1999; Zukin 1995). Moreover, cities undertake various kinds of identity projects: on-going, dynamic processes through which spaces are produced and reproduced by conscious strategies of place making and identity building (Nyseth & Viken, 2009). Such initiatives are concerted efforts to establish or extend a particular idea, or imaginary, of a city. This study focused on one kind of urban identity endeavor that has become widespread during the past two decades: the effort to shape and market a creative, culture-rich place, to project a specific urban cultural imaginary. This analysis also responded to a straightforward problem, that of the manner through which people, in places pursuing arts and culture as a primary focus for development, come to terms with differing understandings of art and its role in development. This study identified four principal future paths for the analysis of cultural imaginaries and the practice of cultural development: studying and supporting civic tinkering activities, recognizing the relevance of localized imaginaries and urban identity projects, valuing full participation in the project of the city, and conducting place-specific and critical analyses. / Ph. D.

Thesis (MA)--Stellenbosch University, 2013. / Please refer to full text for abstract.

本論文旨在對台灣區企業施行藝文理念行銷活動作實證研究，以建立企業藝文理念行銷行為模式之觀念架構，並以Sull之關鍵成功因素模式，求得企業藝文理念行銷之關鍵成功因素。本研究選定誠品書店、裕隆汽車、Agnes b.、圓神出版事業機構、以及荷蘭銀行等五家施行藝文理念行銷的企業作深度訪談，除提出企業藝文理念行銷修正後之觀念架構，並發現當理念行銷以「藝術文化」為主題時，應將Kotler主張的參與形式重新定義。 本研究另針對藝文理念行銷的構面影響提出命題，概述如下：企業主題推廣仍為企業建立品牌、知名度塑造時的基本方式，但現有的趨勢漸漸向聯合議題推廣靠攏；企業最在意藝文夥伴與其形象及目標市場是否相合，最重視企業夥伴或公部門夥伴的資源多寡；企業藝文理念行銷動機強調經營者興趣與認同者，活動類型較為多元，最重視議題的獨特性，較不重視議題與產品的關聯性；藝文理念行銷動機強調短期自利或長期自利的企業，活動類型較單一固定，最重視議題的社會顯著性與產品關聯性；另，對議題性質的謹慎選擇搭配靈活的時間運用、整合行銷傳播、本身及合作夥伴的資源分享，為台灣企業施行藝文理念行銷最重視的共同關鍵成功要素。 本研究並對實務界提出以下建議：1. 具通路特質的企業，可善用體驗行銷並持續性舉辦長期或短期活動；2. 注重與合作夥伴目標市場的分享以擴大市場；3. 掌握整合行銷傳播的關鍵為：快速的內部溝通及不輕易更改的核心策略。

Thesis (MPA.) -- University of Limpopo, 2013 / Refer to document

Thesis (Ph. D.)--University of California, San Diego, 2002. / Vita. Includes bibliographical references (leaves 347-362).

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 96-101). Also available in electronic format on the Internet.

Thesis (Ph.D.)--The Pennsylvania State University, 2001. / Adviser: Kang Liu. Includes bibliographical references (leaves [248]-263)