This research was to explore the¡§Correlation among participating motivation, job satisfaction and sustained willingness to serve of volunteers of cultural institution.¡¨Kaohsiung Public Library is presented as a case study in this research. The questionnaire is the main method. Meanwhile, interviews with volunteers are also offered for providing more evidence and new thinking toward this issue. There are four objectives to serve as guidelines for this research. ¡]1¡^To understand the status quo of the backgrounds of volunteers of cultural institutions and their participating motivation, job satisfaction and sustained willingness to serve. ¡]2¡^To explore the differences of participating motivation, job satisfaction and sustained willingness to serve of volunteers of different background. ¡]3¡^To explore the correlation among participating motivation, job satisfaction and sustained willingness to serve.¡]4¡^To predict the influence of participating motivation and job satisfaction on the sustained willingness to serve. The questionnaires were distributed to 235 volunteers, including 172 current and 51 quitted, in 10 branch libraries of Kaohsiung Public Library. There were 223 valid questionnaires . Usable rate was about 95¢M. After analyzed, the results of this research are as follows¡G ¡]1¡^The background of each volunteers of Kaohsiung Public Library shows a great amount of similarities with one another. ¡]2¡^As for the overall participation motivation, the highest one is self-growth. Different age, whether they have religious beliefs would make obvious difference on the participating motivation. ¡]3¡^As for the overall job satisfaction, the highest one is self-growth. Different age, occupations , whether they have religious beliefs and status would make obvious difference on the job satisfaction. ¡]4¡^Volunteers in Kaohsiung Public Library have strong willingness to continue to serve in the future. Different age, occupations and whether they have religious beliefs would make obvious difference on sustained willingness to Serve. ¡]5¡^The study results show significant positive correlation between a volunteer¡¦s participation motivation and job satisfaction, participating motivation and sustained willingness to serve, and job satisfaction and sustained willingness to serve. ¡]6¡^¡§self-growth satisfaction¡¨can predict the level of sustained willingness to serve. In compliance with the above-mentioned results, the researcher provides authorities, institutions, and future researchers with constructive suggestions.

Live performing arts are one of the most important heritages, defining the cultural identity of a society. Since live performing arts are cultural services, the process of experiencing them is pivotal in forming satisfaction on the customer side. Achieving customer satisfaction is crucial for non-profit cultural institutions operating under the Swedish cultural model. An investigation of the achieved level of customer satisfaction and a comparison to customer expectations is therefore necessary for offering cultural services, which meet customer expectations. Since service quality and hence customer satisfaction can be controlled via the elements of the services marketing mix, the authors focused on investigating the marketing mix of Programbolaget i Jönköping (PJ). The authors wish to investigate to what extent PJ’s current audiences are satisfied with the quality of the services marketing mix provided by PJ, what customers expect from it and what managerial implications can be advised to improve the service. The authors use a mixed methods approach. Quantitative data about customer satisfaction is collected via a questionnaire, which applies a five point Likert scale. Descriptive and non-parametric statistics are used in the data processing. Semi-structured interviews with PJ and customers are conducted to obtain information about the nature of PJ and customer expectations. The conclusions drawn from this study are that the overall level of satisfaction with PJs services marketing mix among PJ’s customers is satisfying, while deviations between the different elements exist, where the elements price, promotion and product score lowest. It is also found that some parameters of the marketing mix have significant levels of importance for customer groups. Customer expectations regarding the services, which scored low, were investigated through interviews. Based on the conducted statistical tests and the expectations of the customers, recommendations regarding PJ’s services are made in order to increase customer satisfaction.

Viešojo sektoriaus kultūros įstaigos pastarąjį dešimtmetį tapo aktyvios kultūros produktų rinkos dalimi. Juntama konkurencija su privačiu sektoriumi skatina didinti veiklos efektyvumą. Aktuali tampa kultūros sektoriaus modernizavimo, tinklo optimizavimo tema. Įstaigų vadovai kelia darbuotojams aukštesnius kokybės tikslus nepaisant to, jog valstybės lėšų kultūros sektoriui skiriama nepakankamai. Lietuvos kultūros sektoriaus institucijų vadybos procesai, vertinant iš visuotinės kokybės vadybos pozicijų, tebėra tradiciniai – trūksta orientacijos į galutinį vartotoją, išlieka nepagrįstai dideli ir produkcijos kokybei neadekvatūs įstaigų administravimo kaštai, neaiškūs tikslai, atliekamos funkcijos neapibrėžtos kokybės kriterijais. Kultūros įstaigos turi motyvacijos valdyti veiklos kokybę, tačiau joms trūksta žinių, metodinių gairių. Plačiai nagrinėjama kultūros produkto kokybės (meninės vertės) tema, bet kultūros įstaigų valdymo klausimais tebėra mažai tyrinėti. Nepavyko rasti įrodymų apie kokybės vadybos metodų taikymo inicaityvas Lietuvos viešojo sektoriaus kultūros įstaigose. Šio darbo tikslas atskleisti kokybės vadybos metodų taikymo galimybes ir poreikį siekiant gerinti viešojo sektoriaus kultūros įstaigų veiklą. Iškeltos dvi susijusios hipotezės, jog viešojo sektoriaus kultūros įstaigų vadyba vadovaujasi kokybės vadybos principais, metodais, priemonėmis (1), o kokybės vadybos metodai gali būti taikomi siekiant gerinti viešojo sektoriaus kultūros įstaigų veiklą (... [toliau žr. visą tekstą] / Public sector cultural institutions became active members of the cultural production market in the last decade. The competition they experience with the private sector prompts them to improve efficiency. As such, the issue of the sector‘s modernization and network optimization become topical. In view of the inadequate resourses state management has at its disposal, this sets high quality objectives to their staff. From the viewpoint of Quality Management the way in which cultural institutions are currently managed, appears traditional in the sense that there is still lack of customer focus, unreasonable demand on administration assets, uncertain objectives, goals and criteria to assess them. Cultural institutions are highly motivated to operate the quality of their main activities, but they need theoretical and methodical support. There are many publications dealing with the quality of cultural productions as far as the artistic value is concerned. However, governance issues seem to be uncommon to examine. An extensive search showed that there are today no public reports on initiatives to apply the Quality Management approach to public sector cultural institutions in Lithuania. So, the main aim of this work is to demonstrate the possibility to apply the Quality Management approach to public sector institutions in order to improve their activities. With reference to the findings of this work, public sector cultural institutions are encouraged to apply the Common Assessment... [to full text]

Reconnection of the city structure of Michalovce, which appears to be historical and contemporary at the same time. The resolution of the problem with parking in the town. New cultural institution hand in hand with public space. The addition of city functions, the revitalization of the city park’s character and creation of the option for living in the town.

Esta dissertação tem por objetivo analisar artística e historicamente as exposições dos artistas Tunga e Regina Silveira concebidas especialmente para o Centro Cultural Banco do Brasil (CCBB) de São Paulo. Buscamos confrontar/comparar duas obras de Tunga e de Regina Silveira analisando-as criticamente a partir de documentos e projetos pertencentes aos arquivos do CCBB, que permitiram uma avaliação dos resultados pretendidos e alcançados pelos artistas. De maneira mais ampla, buscamos contribuir para o debate e a reflexão acerca da produção artística atual nas artes visuais brasileiras, especialmente no caso do Centro Cultural Banco do Brasil de São Paulo com as exposições de Tunga e Regina Silveira, de forma a provocar a discussão do papel do artista e da atuação das instituições culturais na sociedade contemporânea. / This dissertation aims to examine artistically and historically the exhibitions of artists Tunga and Regina Silveira designed specifically for the Centro Cultural Banco do Brasil (CCBB) in São Paulo. We seek to confront/compare two art works of Tunga and Regina Silveira critically analyzing them from project documents and files belonging to the CCBB, which allowed an evaluation of the results intended and achieved by the artists. More broadly, we seek to contribute to the debate and reflection on the current artistic production in the visual arts in Brazil, especially in the case of Centro Cultural Banco do Brasil in Sao Paulo with the exhibitions of Tunga and Regina Silveira, in order to provoke discussions about the artists role and the activities of cultural institutions in contemporary society.

Made available in DSpace on 2016-04-27T16:32:31Z (GMT). No. of bitstreams: 1 Juliana Hojas da Silva.pdf: 714513 bytes, checksum: 2cc9d4cef8881af942292a260cb369a7 (MD5) Previous issue date: 2011-08-17 / This research has selected as its main issues the relationship between the school and the cultural institution, and also the role that the school plays in forming the cultural habits of the individuals. Based on the programme known as Culture is Curriculum (Cultura é Currículo) of the Secretary of Education of the State of São Paulo, which proposes to articulate the curricular contents of primary and secondary education with cultural productions. There was the analysis of the segment of the Cultura é Currículo known as Places to Learn: The School Leaves the School (Lugares de Aprender: a escola sai da escola). The Lugares de Aprender programme promotes the access of students and teachers of Brazilian state schools to museums, centres, art institutes, culture in general and parks. The main problem of the research is established thus: are the fundamental principles and educational actions, as proposed by the Lugares de Aprender programme, guaranteed in the documents of the Ministry of Education (MEC) and the Secretariat for Education of the State of São Paulo (SEEP), and do they meet the needs for expansion of culture? The main aim of this research study is to check how the Lugares de aprender programme expresses (if this is indeed stated) the concept of culture as found in curriculum documents. The specific aims are those of identifying what pedagogical proposals are incorporated into the text of the programme, and what issues are valued, and then analyse and compare the documentation produced by the Lugares de aprender: a escola sai da escola programme with the parameters, proposals and curricular guidance for secondary education. The analysis was carried out based on the core concepts of cultural capital, culture and curriculum, through the works of Bourdieu, Eagleton and Sacristán. The comparison between the curricular documents selected and the proposal made by the Lugares de Aprender programme show differences in the role that the teacher should perform and also the principle of autonomy as present in the Brazilian General Education Law (LDB). The proposal made by the Lugares de Aprender programme presents a structure that does not allow the schools or the teachers to have an active participation in the Lugares de Aprender programme, restricting their own functions and also those of the executors of this proposal / Esta pesquisa elege como tema a relação escola , instituição cultural e o papel que a escola exerce na formação de hábitos culturais dos indivíduos. A partir do programa Cultura é Currículo da Secretaria de Educação do Estado de São Paulo nos propomos verificar a relação entre a proposta e os conteúdos curriculares do Ensino Médio. Analisou-se o segmento do Cultura é Currículo denominado Lugares de Aprender: a escola sai da escola. O programa Lugares de Aprender promove o acesso de alunos e professores da rede estadual de ensino a museus, centros, institutos de arte, cultura e parques. Estabelece-se como problema de pesquisa: os fundamentos e ações educativas propostos pelo programa Lugares de Aprender estão garantidos pelos documentos do Ministério da Educação (MEC) e da Secretaria de Educação do Estado de São Paulo (SEESP) atendendo as necessidades de ampliação da cultura? O objetivo geral da pesquisa é verificar de que forma o programa Lugares de aprender expressa (se estiver expresso) a concepção de cultura encontrada nos documentos curriculares. Os objetivos específicos são: identificar quais propostas pedagógicas estão incorporadas no texto do programa e quais os temas valorizados; analisar e confrontar a documentação produzida pelo programa Lugares de aprender: a escola sai da escola com os Parâmetros, Propostas e Orientações Curriculares do Ensino Médio. A análise foi realizada com base nos conceitos de capital cultural, cultura e currículo através das obras de Bourdieu, Eagleton e Sacristán. A pesquisa é de natureza empírica construída a partir da análise qualitativa dos documentos. A comparação entre os documentos curriculares selecionados e a proposta do programa Lugares de Aprender indicaram diferenças com relação ao papel que o professor deve desempenhar e ao princípio de autonomia presente na LDB. A proposta do programa Lugares de Aprender apresenta uma estrutura que não permite as escolas e aos professores participarem ativamente do programa Lugares de Aprender restringindo sua função a de executores desta proposta

Notre thèse explore la communication numérique des institutions culturelles via les réseaux sociaux, se penche en particulier sur la médiation de la mémoire sociale des musées d'ethnologie via facebook. L'objectif est de questionner la façon de médiation culturelle sur les réseaux sociaux : comprendre le processus de co-construction de la mémoire sociale issu de la dynamique des interactions numériques entre producteurs et récepteurs. Nous nous penchons sur la médiation et l’intermédiation de la mémoire sociale dans le cas de trois musées d’ethnologie. À partir d'une approche pluridisciplinaire en SIC, le musée d’ethnologie est envisagé comme institution culturelle, un média et un espace de médiation sociale et culturelle. En passant de la communication de masse à une communication numérique, créant une dynamique de coproduction de sens et de mémoire, les musées passent de la médiation à l'intermédiation culturelle. Notre démarche compréhensive et herméneutique, s'intéresse aux acteurs produisant les discours sur facebook, musées et internautes. Corpus constitué par une triangulation méthodologique. Nos analyses thématique, sémantique et cognitivo-discursive montrent que le musée d'ethnologie comme lieu ouvert de savoirs et d'idée, où les internautes sont des publics et acteurs. Les réseaux sociaux, outils de médiation et d'intermédiation de la mémoire sociale permettent une dynamique de coproduction de connaissances. L'originalité de la thèse est l'étude de la dynamique de médiation numérique dans des contextes sociohistoriques et sociopolitiques variés. Permet l'élargissement de la problématique de la médiation et la communication à l'intermédiation et la coproduction. / Our thesis explores the digital communication of cultural institutions via social networks, and focuses in particular, on the mediation of the social memory in museums of ethnology via facebook. The objective is to question the way of cultural mediation on social networks : to understand the process of co-construction of social memory resulting from the dynamics of digital interactions between producers and receivers as Internet users. We focus on the mediation and intermediation of social memory in the case of three ethnology museums. Based on a multidisciplinary approach in SIC, the ethnology museum is considered as a cultural institution, a media and a social and cultural mediation area. By moving from mass communication to digital communication, creating a dynamic of co-production of meaning and memory, museums are moving from mediation to cultural intermediation. Our comprehensive and hermeneutic approach, is interested in the actors producing the speeches on facebook, museums and Internet users. Corpus constituted by a methodological triangulation. Our thematic, semantic and cognitive-discursive analyzes show that the ethnology museum is an open place of knowledge and ideas, where Internet users are public and actors. Social networks, as tools of mediation and intermediation of the social memory allow a dynamic of co-production of knowledge. The originality of the thesis is the study of the dynamics of digital mediation in various sociohistorical and socio-political contexts. That is allows the expansion of the problematic of the mediation and communication to the intermediation and co-production.

Esta dissertação tem por objetivo analisar artística e historicamente as exposições dos artistas Tunga e Regina Silveira concebidas especialmente para o Centro Cultural Banco do Brasil (CCBB) de São Paulo. Buscamos confrontar/comparar duas obras de Tunga e de Regina Silveira analisando-as criticamente a partir de documentos e projetos pertencentes aos arquivos do CCBB, que permitiram uma avaliação dos resultados pretendidos e alcançados pelos artistas. De maneira mais ampla, buscamos contribuir para o debate e a reflexão acerca da produção artística atual nas artes visuais brasileiras, especialmente no caso do Centro Cultural Banco do Brasil de São Paulo com as exposições de Tunga e Regina Silveira, de forma a provocar a discussão do papel do artista e da atuação das instituições culturais na sociedade contemporânea. / This dissertation aims to examine artistically and historically the exhibitions of artists Tunga and Regina Silveira designed specifically for the Centro Cultural Banco do Brasil (CCBB) in São Paulo. We seek to confront/compare two art works of Tunga and Regina Silveira critically analyzing them from project documents and files belonging to the CCBB, which allowed an evaluation of the results intended and achieved by the artists. More broadly, we seek to contribute to the debate and reflection on the current artistic production in the visual arts in Brazil, especially in the case of Centro Cultural Banco do Brasil in Sao Paulo with the exhibitions of Tunga and Regina Silveira, in order to provoke discussions about the artists role and the activities of cultural institutions in contemporary society.

戒嚴時期的國民黨與當今的中國共產黨政權對於媒介的控制都放在一個高處管理，兩岸出發自類同的列寧式黨國體制之下，對於文化事業單位的管理方式看似又都嚴密控管，但為何台灣中影得以在1980年代衝撞國民黨黨國體制;而中國中影卻始終產出主旋律電影來為黨喉舌，而這種為黨服務的主旋律電影在市場化下的產量和品質又為何會忽高忽低? 本文藉由對兩岸中影的文獻與數據，來判別這兩種威權體制究竟有何差異，這種政權差異又會如何體現在台灣與中國大陸電影產業當中? 將兩岸中影放在政權性質架構下再做比較，看出黨國體制的對外關係、控制文化事業單位、菁英政策與箝制媒體的力道與方式的不同。 本文研究觀點是台灣中影歷經從硬威權時期轉向軟威權時期，這過渡的區段少有研究台灣民主化學者去關注當中變數，而是將重點放在軟威權時期研究，本文以中影公司案例作為這區段的變數研究;而中國中影則處在後極權發展型國家當中，黨的利益與部門利益形成兩股消長力量。本文再藉由體制的比較，發現台灣中影之所以能突破黨國鐵幕，軟威權政體除了提供政治社會風氣轉型背景之外，很大原因是來自於國民黨的扶持政策與人事決策誤判所導致。當今中國中影在媒介條塊管理與雙重領導體制下，文化事業單位不但無力抗拒上層，外界媒體也無法給予聲援。本文最後提供三種研究意涵:一是黨國體制下的電影產業對政權性質理論的回饋補充;二是台灣中影走向「新電影風潮」給中國電影民主化的啟示;三是發展中與落後國家的電影產業仍然需要有國家的大力扶持，而台灣脫離黨國體制後，缺乏黨國給予的持續補貼，最後禁不起商業的競爭而走向落寞。對照當今中國中影集團，雖有中共黨國的持續保護而壯大，但卻壓抑了電影創作者與整個電影市場的更快發展。 / This thesis study how the KMT under martial law and the Chinese Communist Party today control their cultural institutions ,and the domestication and resistance of the Central Motion Picture Corporation(CMPC) and the China Film Group Corporation(CFGC) controlled by the two parties. Due to people's ideology could influenced by movies, the two authoritarian parties always control their film institutions by funding, personnel and administration affairs. However, the CMPC were still able to publish some radical movies when the parties cannot prevent the managers of culture institutions to ally with non-state-owned film institutions.

in English This study of the Institut Français (IF) and the Russian centre of science and culture (RCSC) is significant because it reveals different models of functioning for a cultural centre in an international global context. The main purpose of the paper was to analyse the differences between the two cultural centres (IF and RCSC) and figure out in which way these differences influence the development of the cultural centres abroad. According to our main goal we operate within conceptual and theoretical framework: the national culture and soft power (as reasons of the development of national cultural centres), the globalization (as a condition of their development), the nation branding (as the result of their functioning). Moreover, this paper supports the hypotheses that national cultural centres abroad define their cultural strategies whilst facing the realities of other countries and that the roles of managers of cultural centres are fundamental. This work is divided into three main chapters. The first explains why the IF and RCSC centres were created by analysing the history of their transformations. We examine the reasons for the increasing amount of national cultural centres to provide the most efficient soft power. The second chapter addresses the question of where they are located. We...