Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 280-286).

Although a sizable subcategory of the nonprofit museum sector, historic house museums have received limited attention in discussions of best practices, most notably in topics of administration, funding, and risk management. Historic house museums serve as a cornerstone of American and international cultural tourism for their accessibility and low, or free, attendance costs. This research argues for historic house museum operations, rather than its period of restorative preservation, as the focus of inquiry. The subjects of this research are three sites that were the products of late nineteenth-century industrialization in the American Midwest, a region under-studied in current literature. Past scholarship on historic houses has been dedicated to preservation methodology and interpretation. No study of house museums attends to business and legal concerns as well as architectural history and preservation. Utilizing archives, interviews, and financial documents in the analysis of three case studies, I argue that historic house museums provide an illuminating lens onto issues of professional practice facing museums in the twenty-first century. This dissertation focuses on three historic house museums constructed after the 1876 Centennial and before the turn of the twentieth century. Chapter One offers the history of the Pabst Mansion in Milwaukee, a German Renaissance Revival structure built in 1892 for brewing magnate Captain Frederick Pabst, and provides a discussion of community funding and post-recession heritage tourism. Chapter Two details the story of the Driehaus Museum in Chicago, a Renaissance Revival mansion built in 1883 for banker Samuel Nickerson and now funded primarily by investor Richard Driehaus. This chapter illuminates the issues of single-donor funding, the problematization of definitions of the historic house museum, and modern development of private art collections. Chapter Three is dedicated to the Samuel Cupples House in St. Louis, a Richardsonian Romanesque residence constructed in 1890 for manufacturing magnate Samuel Cupples and now owned by Saint Louis University, and delves into topics of institutional stewardship and university management of cultural resources. The conclusion proposes a diversification of scholarship concerning historic house museums that embraces financial management to ensure operational sustainability.

The central theme of the thesis is how clothing and, to a lesser degree, fashion affected the lives of women in the period from 1919 to 1949. The practical impact of clothing on women is rarely assessed to the same degree as other essentials of life such as food and housing, yet obtaining, maintaining and renewing clothing stocks were issues of the utmost importance to women, particularly those from low-income households, in the inter-war period and the Second World War. The first half of the thesis concentrates upon the role of clothing in the home and in popular culture in the inter-war period. Of particular importance is the role of clothing in the household budget, a subject which has received limited attention from social historians. In households with limited incomes, finding the means to purchase clothing was problematic, and women often resorted to unconventional methods of saving and spending. The role of clothing in middle-class households is examined as well, with an emphasis on the many varieties of shops which supplied ready- to-wear clothing, as well as souces of made-to-measure clothing. And, while antiquarian and sociological studies of fashion abound, little has been written on the practical impact of fashion in the lives of ordinary people. With the development of a mass market after the First World War, the influence of fashion was extended to most of the social classes. Rather than re-examining the changing modes themselves, it is useful to study the impact these fashions had upon people: in the way they regarded and treated one another; and in the way they perceived themselves. The study of the inter-war years thus offers a foundation from which to examine the role of clothing in the Second World War. The price of clothing and footwear rose steeply in the early months of the war, but stabilised once rationing and austerity measures took hold. The ways in which women budgeted, saved for and purchased clothing are discussed, with an emphasis on how these methods differed from pre-war habits. Although the development and implementation of government initiatives is described, the latter portion of the thesis concentrates on the practical effects of such schemes in the day-to-day lives of the British people. The role of fashion in the wartime economy is addressed as well. Austerity programmes stalled any extreme changes in fashion, people wore the same clothing year after year, and uniforms were almost universal. Nevertheless, issues of fashion and style remained important to the public, who in any case were encouraged to maintain high standards of dress and appearance as a sign of patriotism.

Thesis (D.P.H.)--University of Michigan.

The Diploma thesis on "The Significance of Public, Cultural and Economic Diplomacy in Terms of Czech-Korean Bilateral Relations" is dedicated to the both official and informal relations between the two countries, the Czech Republic and the Republic of Korea. At first, the author focuses on the history of international relations and defines all related factors. This is followed by a comprehensive definition of each of the types of state diplomacy. The Thesis is also expanded by selected methods that enable to assess the overall perception of countries by the rest of the world. The primary objective of the thesis are Czech-Korean bilateral relations in the historical as well as contemporary context. Their development has certainly undergone significant changes within the last 25 years. The mutual relations are defined by strong differences, but also by surprisingly analogous aspects in the historical, political, cultural or economic fields. It can be assumed that the interfaces encourage further cooperation between the government, the business community and the public, too, creating productive and strategic partnerships with the impact on national economy.

Ce mémoire consiste en une analyse des stratégies de l’offre et de la demande de l’industrie québécoise de la production télévisuelle francophone pour la jeunesse et plus précisément, pour l’auditoire des 12-17 ans. Cette industrie tendrait à investir davantage dans l’importation que dans la production d’émissions pour cet auditoire, dû à la faible écoute de ses productions par leur auditoire cible. Afin de mieux saisir les enjeux politiques, économiques et sociaux qui entourent l’industrie de la production télévisuelle pour la jeunesse, nous proposons d’explorer et de comparer l’offre télévisuelle destinée aux 12-17 ans et leur consommation télévisuelle. Cette analyse quantitative et statistique de l’offre et de la consommation se fait en trois étapes : (i) l’analyse de la structure de réception (émissions à succès, écoute des filles et des garçons, temps passé à l’écoute), (ii) l’analyse de la structure de programmation (mode de diffusion, genres télévisuels, origine des émissions, thématiques des émissions), et (iii) l’analyse de la structure thématique (thématiques associées aux épisodes et des personnages). De ces analyses, divers constats apparaissent. Tout d’abord, les jeunes consomment ce que les télédiffuseurs diffusent à leur intention, malgré l’accès limité à cette offre. De plus, plusieurs tactiques semblent être mises en œuvre afin de rentabiliser la diffusion de ces émissions, principalement la rediffusion. Finalement, ces émissions destinées aux adolescents se distinguent de celles offertes au grand public, non seulement par le public qu’elles tentent de rejoindre, mais aussi par les thématiques qu’elles abordent et la manière dont elles les abordent. / This research is an analysis of the supply and demand for Québec's French-language television production for youth and more specifically the 12 to17 years old demographic. As a result of low audience figures, the industry has a tendency to invest heavily in imported programs rather than the production of local programs. To better understand the political, economic and social issues surrounding the industry of television production for Youth, we propose to explore and compare the television supply aimed at 12 to 17 year-old and their television consumption. The quantitative and statistical analysis of supply and consumption is achieved in three ways: (i) the analysis of the receiving structure (programs with top ratings, differences between boys and girls and time spent), (ii) the analysis of the structure of programming (schedules, genres, country/province of production, main themes of programs) and (iii) the analysis of thematic structure (themes associated with episodes and characters). From this analysis, several findings emerge: Young people view what producers broadcast for them, despite the limited access to this supply. In addition, several tactics seem to be implemented to sustain the economics of the distribution of these programs, mainly multiple screening. Finally, these programs, aimed at adolescents, are fundamentally different from those for older audiences, not only by the audience they are trying to reach, but also by the themes they address and how they approach them.

Ce mémoire consiste en une analyse des stratégies de l’offre et de la demande de l’industrie québécoise de la production télévisuelle francophone pour la jeunesse et plus précisément, pour l’auditoire des 12-17 ans. Cette industrie tendrait à investir davantage dans l’importation que dans la production d’émissions pour cet auditoire, dû à la faible écoute de ses productions par leur auditoire cible. Afin de mieux saisir les enjeux politiques, économiques et sociaux qui entourent l’industrie de la production télévisuelle pour la jeunesse, nous proposons d’explorer et de comparer l’offre télévisuelle destinée aux 12-17 ans et leur consommation télévisuelle. Cette analyse quantitative et statistique de l’offre et de la consommation se fait en trois étapes : (i) l’analyse de la structure de réception (émissions à succès, écoute des filles et des garçons, temps passé à l’écoute), (ii) l’analyse de la structure de programmation (mode de diffusion, genres télévisuels, origine des émissions, thématiques des émissions), et (iii) l’analyse de la structure thématique (thématiques associées aux épisodes et des personnages). De ces analyses, divers constats apparaissent. Tout d’abord, les jeunes consomment ce que les télédiffuseurs diffusent à leur intention, malgré l’accès limité à cette offre. De plus, plusieurs tactiques semblent être mises en œuvre afin de rentabiliser la diffusion de ces émissions, principalement la rediffusion. Finalement, ces émissions destinées aux adolescents se distinguent de celles offertes au grand public, non seulement par le public qu’elles tentent de rejoindre, mais aussi par les thématiques qu’elles abordent et la manière dont elles les abordent. / This research is an analysis of the supply and demand for Québec's French-language television production for youth and more specifically the 12 to17 years old demographic. As a result of low audience figures, the industry has a tendency to invest heavily in imported programs rather than the production of local programs. To better understand the political, economic and social issues surrounding the industry of television production for Youth, we propose to explore and compare the television supply aimed at 12 to 17 year-old and their television consumption. The quantitative and statistical analysis of supply and consumption is achieved in three ways: (i) the analysis of the receiving structure (programs with top ratings, differences between boys and girls and time spent), (ii) the analysis of the structure of programming (schedules, genres, country/province of production, main themes of programs) and (iii) the analysis of thematic structure (themes associated with episodes and characters). From this analysis, several findings emerge: Young people view what producers broadcast for them, despite the limited access to this supply. In addition, several tactics seem to be implemented to sustain the economics of the distribution of these programs, mainly multiple screening. Finally, these programs, aimed at adolescents, are fundamentally different from those for older audiences, not only by the audience they are trying to reach, but also by the themes they address and how they approach them.