No description available.

No description available.

Syfte: Syftet med studien är att analysera och undersöka hur ett företags varumärke stärks genom sponsring samt på vilket sätt. Vi kommer även att göra en jämförelse mellan huvudsponsorer och mindre sponsorer.Metod: Vi har använt oss av en kvalitativ metod, det vill säga intervjuer. Vi har intervjuat en sponsoransvarig från de tre sponsorerna vi har valt samt en representant från Rosa Bandet kampanjen.Resultat och slutsats:Ett företags varumärke stärks genom sponsring beroende på vilka förutsättningar företagen har. Med det menas alltså samarbetets styrka mellan sponsorgivare och sponsortagare. Ju mer en sponsor bidrar med, desto mer utrymme får den hos sponsortagaren och därmed stärks varumärket mer. Graden på styrkan beror på hur välanpassad varumärket är inom A-ERIK modellen. / Purpose: The purpose of this study is to analyze and investigate how a company’s brand is strengthened by the sponsorship and in which way. We will also make a comparison between a main sponsor and smaller sponsors.Method: We have used a qualitative method, i.e. interviews. We interviewed a sponsor charge by the three sponsors, we have chosen and a representative from the Pink Ribbon Campaign.Results and Conclusion: A company’s brand is strengthened by the sponsorship depending on what conditions the companies have. This means the strength of cooperation between donors and sponsor takers have. The more a sponsor helps the more space it takes, thus strengthening the brand more. The degree of strength depends on how appropriate the brand is in the A-ERIC model.

Dissertation--Stockholm, 1995. / Bibliogr. p. 236-247.

Reproduction de : Thèse de doctorat : Musicologie : Lyon 2 : 2002. / Thèse : 2002LYO20004. Titre provenant de l'écran-titre. Bibliogr.

Diss. Stockholm : Tekn. högsk., 1999.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.

Akademisk avhandling--Filosofie--Uppsala, 1993. / Résumé en anglais.

Submitted by EDER WILKER BORGES PENA null (ederwbp@gmail.com) on 2017-07-19T02:55:36Z No. of bitstreams: 1 Satierik Musique. Da natureza da música humorística em Erik Satie.pdf: 13436858 bytes, checksum: 8c1e22998db1245a7682bec3d2880ad8 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-07-19T18:33:59Z (GMT) No. of bitstreams: 1 pena_ewb_me_ia.pdf: 13436858 bytes, checksum: 8c1e22998db1245a7682bec3d2880ad8 (MD5) / Made available in DSpace on 2017-07-19T18:33:59Z (GMT). No. of bitstreams: 1 pena_ewb_me_ia.pdf: 13436858 bytes, checksum: 8c1e22998db1245a7682bec3d2880ad8 (MD5) Previous issue date: 2017-07-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O seguinte trabalho tem por objetivo abordar a natureza da música humorística em Erik Satie, sua aplicação, função e caráter estético. Para isto, através de sua obra musical, seus escritos, estudos acadêmicos realizados sobre o compositor, relatos e críticas musicais da época, buscou-se, inicialmente, reconstruir a lógica pessoal e composicional do compositor, ambas inerentes. Em seguida, a fim de tornar possível uma análise adequada do humor em suas obras, procurou-se, através da reflexão existente sobre o tema no âmbito da filosofia, atribuir uma definição clara e prática da natureza do humor, do riso, assim como, determinar a gênese de sua má reputação. A partir disto, com base no conceito de humor e em textos musicológicos sobre a música humorística, desenvolvemos um aparato técnico de reconhecimento e aplicabilidade do humor no âmbito da música. Com este referencial teórico em mãos, fez-se possível a análise da aplicação e função do humor em quinze conjuntos de peças humorísticas do compositor: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d’un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; e Sonatine Bureaucratique. Em seguida, através de artigos humorísticos publicados por Satie e de críticas publicadas acerca do compositor, foi realizada uma análise comparativa da função de contracrítica ao cânone e à tradição desempenhada pelo humor de Satie. Desta forma, pôde-se desmistificar o caráter superficial e inofensivo e a ideia de excentricidade, amadorismo e insensatez que trespassa sua prática humorística, tanto musical quanto textual. Por fim, através de todo o trabalho desenvolvido, averiguou-se a hipótese inicial, na qual a obra de Satie, em função do eleito aspecto do humor, entre outros, é, de fato, um experimentalismo avant la lettre em seu caráter estético. / The following work aims to approach the nature of Erik Satie‟s humorous music, its application, role played and aesthetical disposition. In order to do this, we sought, initially, through his musical works, writings, academical studies about the composer, reports and musical criticism at the time, to rebuild his personal and compositional logic, both inherent. Thereafter, for the purpose of making an appropriated analysis of humor in his works, we searched, through the existing reflection on the subject in the field of philosophy, to ascribe a clear and practical definition upon the nature of humor, laughter, as well as to determine the genesis of its bad reputation. Thus, based on the concept of humor and in musicological texts about humorous music, we developed a technical apparatus of recognition and application of humor in the musical‟s scope. With that theoretical referential in hands, it was made possible an analysis of the application and function of humor in fifteen groups of humorous pieces written by the composer: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d‟un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; and Sonatine Bureaucratique. Subsequently, through humorous articles published by Satie and critics published on the composer, we made a comparative analysis of the countercriticism role played by Erik Satie‟s humor against the canon and tradition. Thus, we could demystify the superficial and innocuous character and the idea of eccentricity, amateurism and insanity which trespass his humorous practice, the musical and textual as well. Last, but not least, throughout all the work developed, we verified the initial hypothesis in which Satie‟s oeuvre, due to the elected aspect of humor, among others, is, indeed, an experimentalism avant la lettre in its aesthetical disposition.

This paper intends to show the application of the Marxist theory of social evolution to the reconstruction of Magyar proto-history and it examines critically this application. E. Molnar, a Hungarian Marxist proto-historian, published a book under the title A Magyar Nep Ostortenete (proto-History of the Magyar People). This work is shown to represent a Marxist response to the ideological importance of proto-historical studies in Hungary. The argument developed in this paper is as follows: 1. The study of proto-history has been important in Hungary scientifically as well as ideologically. Molnar's attempted reconstruction of Magyar proto-history is a most important Marxist response to the scientific and ideological importance of Hungarian proto-historical studies. 2. The application of this Marxist theory of social evolution makes for bad anthropological theory. Molnar is forced by his Marxist persuasion to look for traces of proto-Communistic social organization in the proto-history of the Magyars, and his attempt to do so results in the formulation of some hypotheses that are not borne out by available evidence. 3. American anthropology is not a unified, and codified set of officially endorsed theories as Molnar implies. Even among American evolutionist anthropologists one finds significant differences in approach and emphasis. At the same time, some aspects of American evolutionist anthropology are seen as capable of providing better ways of approaching the problem of proto-historical reconstruction than Molnar's own Marxist doctrine. Molnar's argument is presented in some detail in this paper. His arguments are outlined and commented upon. His linguistic, physical anthropological, archeological and ethnographic material is discussed and interpreted, and his dependence upon Engels and Soviet anthropologists is indicated. The final conclusion of the paper is that the Marxist theory of social evolution as interpreted by Molnar is based on a set of a priori laws which are not validated by the available evidence. / Arts, Faculty of / Anthropology, Department of / Graduate