Thesis (MBA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This study forms part of the GHACT economic impact study by the University of Stellenbosch. It is an investigation into the evaluation of the Hermanus Whale Festival, which forms an integral part of the Greater Hermanus tourism industry. The study highlights that the tourism industry of Greater Hermanus is faced with important challenges in managing its events as part of the tourism industry to benefit all. The ultimate success of events depends on leadership, co-ordination and team spirit between organisers, the host community and the sponsors. Upon the investigation into event evaluation and after consultation with the stakeholders it is recommended that the festival organisers must take the lead in future evaluations and co-ordinate the evaluation process. The festival organisers will have to involve all stakeholders as they offer a useful resource for event evaluation. The study includes the visitor survey, completed during the festival, which explored visitor characteristics, expenditure and perceptions. Based on all findings that the study has highlighted, it is recommended that the festival organisers must develop a festival strategy in co-ordination with all stakeholders. Further more, it is imperative that the festival management has insight into its target market and therefore uses market research to build market intelligence. This will be a useful input in developing the strategic direction as well as the marketing function to support the achievement of the festival's goals and objectives. The document concludes with argumentation for the implementation of market research and strategy and outlines the process for developing such a strategy. / AFRIKAANSE OPSOMMING: Hierdie studie vorm deel van die GHACT ekonomiese impak studie van die Universiteit van Stellenbosch. Dit ondersoek die moontlike evaluering van die Hermanus Walvisfees, wat 'n belangrike onderdeel is van die "Greater Hermanus" toerisme bedryf. Die studie beklemtoon dat die bestuur van feeste, as deel van die toerisme bedryf, 'n belangrike uitdaging is vir die "Greater Hermanus" toerisme bedryf. Die sukses van die feeste is afhanklik van leierskap, koordinering en spangees tussen die organiseerders, die gasheergemeenskap en die borge. Na ondersoek van die fees evaluering en na konsultasie met verskeie rolspelers, is voorgestel dat die fees organiseerders die leidende rol moet neem in toekomstige evalueringsprosesse en dit ook moet koördineer. Die feesorganiseerders moet al die rolspelers in die proses betrek om van hulle waardevolle hulpbronne gebruik te maak. 'n Opname van besoekers tydens die fees wat ingestel is om definitiewe kenmerke, uitgawes en indrukke te bepaal, vorm 'n belangrike onderdeel van die navorsing. Gebaseer op al die bevindinge van die studie word aanbeveel dat die feesorganiseerders 'n strategie vir die fees moet ontwikkel in koordinering met die belanghebbende rolspelers. Verder is dit noodsaaklik om die mark te analiseer deur gebruik te maak van marknavorsing, met die einddoel om sodoende markintelligensie te ontwikkel. Dit sal 'n waardevolle inset wees vir die ontwikkeling van 'n strategiese rigting, sowel as vir die bemarkingsfunksie en om so die fees se doelwitte te bereik en te ondersteun. Die studie skets die proses vir strategie ontwikkeling en sluit af met die argument vir die implimentering van marknavorsing en strategie onwikkeling.

就文學角度而言，「詩經」是古代歌謠之總集；從經學立場來說「詩經」是儒家治平 的寶典。前者偏重其抒情本質，後者則強調其政治意涵。同指一部古籍，或以為喜恕 哀樂之所發，或以為倫理政教之所本，其中似有不能相容之處。推考其實，則事或不 盡然。蓋文學束質中，早已隱含抒情與美刺二元因子之同時並存，爾後彼此之消長起 伏，則隨時世而有所遷移；「詩」自不例外，其與歷史文化發展之因緣，亦有清楚的 脈絡可尋。 從先民節慶祭祀場合的激烈舞踊謳呼，到早期歌謠的吟唱諷誦，顯示一自然演化的趨 勢；此一淵源關係，可以從現存詩篇所殘留之原始樂舞痕跡裡，得到充分說明。 從里巷的文學性歌謠，發展至貴族的政治性詩篇，則有其人為制作之深意在：或於宗 廟祀享之時，為樂工瞽矇所歌奏；或於燕飲酢之餘，為君臣賓主所吟唱；或於應對周 旋之際，為大夫卿士所稱引。要皆藉以為表意之媒介，使用之時機固不盡同，但均不 色帶有濃烈之政治色彩。以此下逮戰國之世，更衍成儒者興觀群怨，事父事君之教； 於時，「詩」之媒介性格又為之丕變。 推「詩」之所以自民間進入貴族，復於此上層社會中呈現種種不同之面貌，一則由於 此一表意媒介本身性格即允許相當之彈性；再則，當時特有之政治及文化背景，亦直 接、間接地促成此一改變。本文的研究，即欲就「詩經」、「左傳」、「國語」及相 關之文獻史料中，探索「詩」從歌謠世界步上政治舞台之過程，並掌握此一媒介在歷 史文化潮流底下所發生的性格演變。

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L’étude de cas qui compose ce mémoire de maîtrise cherche à expliquer sous l’optique sociologique la pérennité des relations conflictuelles qu’entretiennent le festival permanent Uzeste Musical et le village du même nom, peuplé de 450 habitants et dans lequel il se déroule depuis plus de 35 ans. Fondée sur une enquête de terrain mêlant approche ethnographique et entretiens semi-dirigés au sein de ce village du sud ouest de la France, l’analyse combine in vivo une description ethnographique du conflit à différents éléments théoriques susceptibles d’en rendre raison. Principalement, le recours à la théorie des champs et des sens pratiques de Bourdieu et à celle, pragmatique, de Boltanski et Thévenot, permet de saisir dans le discours des différents acteurs du conflit les raisons pour lesquelles un festival de jazz comme celui-ci se révèle être à bien trop d’égards étranger aux structures et à la culture d’un tel village pour s’y faire pleinement accepter. Il permet également de rendre compte de la manière par laquelle ces mêmes acteurs tendent à redéfinir un conflit – dont la longévité pourrait a priori sembler insoutenable – en des termes qui leur sont familiers, posture qui leur permet alors de relativiser une conflictualité qu’ils assimilent à l’histoire ordinaire de leur village et avec laquelle ils sont ainsi en mesure de composer. / This master’s thesis is a case study that uses a sociological perspective to seek the reasons of the persistent conflict between the Uzeste Musical festival and a village of 450 inhabitants going by the same name, and last for the past 35 years. Based on a fieldwork, it combines an ethnographical approach and semi-structured interviews within this southwest village of France. The analysis mixes in vivo an ethnographical description of the conflict to different theoretical elements. The field and the practical sense theory of Bourdieu, in addition to the Boltanski & Thévenot’s pragmatic theory will help us understand the true implication of this problematic cohabitation. Through discussions with the different actors of the conflict rise the very reasons why this jazz festival seems foreign to the structures and the culture of the village, thus not being accepted by its inhabitants. Furthermore, it demonstrates the way the actors will try to redefine the conflict itself with familiar terms, even thought the latter seems unsustainable. This position allows them to put the conflict into perspective like it was always a part of the village’s history, thus redefining a way to cope with this problematic cohabitation.

The purpose of this study is to provide an introduction and analysis of Harvest Festival, a work for piano four hands by Taiwanese composer Yann-Jong Hwang. This work incorporates elements of traditional Taiwanese music that is largely unfamiliar to performers and listeners beyond the border of Taiwan. With the exception of Professor Hwang’s own journal article on this piece, this project is the only study of Harvest Festival available in the United States or Taiwan. This research will be meaningful to both performers and piano teachers as an encouragement to include Yann-Jong Hwang’s work within their concert repertory. This document examines the background of Yann-Jong Hwang; briefly introduces Taiwan, the Amis tribe, and the Harvest Festival event; provides a structural analysis of all four sections of Harvest Festival; and concludes with an appendix consisting of a complete score of Harvest Festival.

Work in February 1948 and the organization of the Czechoslovak sport unification with the situation in the Czechoslovak sport in 1945 -, 1957. During these years, the Czechoslovak Republic tumultuous political developments, which has translated well to the situation in Czechoslovakia physical education and sport. A major milestone occurred in 1952 when the death largest sports organization of the Czechoslovak Sokol and lead to the liquidation of the Organization, which referred to prvorepublikou democracy, which was in disfavor of the new political leaders of Czechoslovakia. The whole process of unification of Sport is finished in 1957, the establishment of the Czechoslovak Union of Physical Education and Sport, which had existed until recently.

Le carnaval, symbole de la culture festive de l’Europe du Moyen Age, a aujourd’hui largement disparu. L’impact de la Réformation a souvent été questionné, sans être étudié : quel rôle Luther et les siens ont-ils joué dans cette évolution? Dans l’Empire, le carnaval est d’abord utilisé comme un instrument au service de l’entreprise de déstabilisation et de désacralisation de l’Église romaine. Dès 1520, Luther lui emprunte un langage bas, propice à la satire et cohérent avec le principe du sacerdoce universel. Les carnavals moquent l’Église comme un élément malsain de la société, et favorisent la révolution religieuse en présentant le retour à l’ordre comme celui de la réforme de l’Église folle. Pourtant, à mesure que la puissance de destitution du carnaval se révèle et que les clercs protestants se mettent à le définir comme la fête de la fausse Église, les Églises luthériennes basculent contre le carnaval. Dès lors, prédicateurs et réformateurs cherchent des solutions pastorales et liturgiques pour le supplanter. Théoriquement, ces efforts sont épaulés par l’action des autorités temporelles. Mais il faut du temps pour que celles-ci s’approprient leur charge, et surtout pour qu’elles considèrent le carnaval comme un élément nuisible à la société, à rebours des traditions de diplomatie et de cohésion civique qu’il assumait jusqu’alors. Ce combat contre carnaval, qui mène peu à peu à son interdiction par les Églises luthériennes, exprime le refus d’une culture profane préexistant à la Réformation. La lenteur et la difficulté à éradiquer le carnaval s’expliquent à la fois par son ancrage coutumier et son aspect protéiforme. / Carnival, which was emblematic of the festive culture in mediaeval Europe, has disappeared to a large extent today. The question of the impact of the Reformation has often come up without being studied: what part did Luther and his followers play in this evolution? In the Holy Roman Empire carnival was first used as a means for destabilizing the Roman Catholic Church and taking away its sacred aura. As early as 1520 Luther adopted its low-level language, which was most suitable for satire and consistent with the principle of universal priesthood. Carnivals make fun of the Catholic Church as an unwholesome component of society and favor the religious revolution in presenting the restoration of order as the fruit of the reformation of a « foolish » Church. However,as the carnival subversive power was being revealed and the Protestant clerics started defining it as the feast ofthe false Church, Lutheran churches turned against it. Since then, preachers and reformers did try and find pastoral and liturgical ways of supplanting it. In theory, these efforts were supported by the action of the temporal authorities. But the latter were a long time taking on their responsibility and moreover considering carnival very harmful to society, against its traditional diplomatic and civic cohesion role. This long-term fight against carnival which leads progressively to its banning by the Lutheran churches expresses the refusal of a profane culture preexisting to Reformation. The reasons why it took such a long time to eradicate carnival are both its rooting inancient custom and its protean character.

Nesta etnografia, a devoção ao Divino Espírito Santo é abordada por um trilha menos explorada. Em vez de se postar no centro do arraial em homenagem ao Santo, segue-se em viagem com a bandeira e os cantadores da folia do Divino em seu giro peditório de casa em casa na zona rural e urbana. A antropologia da experiência é eleita como princípio de composição para um giro teórico em que a experiência dos devotos e a do Divino Espírito Santo são os principais aspectos a serem discutidos. / In this etnography, the Holy Spirit devotion is approched by a less explored trail. Instead of staying fixed in the center of the festival in honour of the Holy Spirit, the researcher goes into journey with the \"bandeira\" and the singers of the \"folia do Divino\" in their begging peregrination house to house in urban and rural areas. The anthropology of experience is elected as the composition principle for a theoretical journey in which the experience of the devotees and that of the Holy Spirit are the most important aspects to be discussed.

Made available in DSpace on 2016-04-25T20:21:42Z (GMT). No. of bitstreams: 1 CSO - Ana Flavia N Nascimento.pdf: 5408779 bytes, checksum: 34573493d0d4b2f61af407b0f6ed5c31 (MD5) Previous issue date: 2006-10-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This essay presents an attempt to a further understanding of a social phenomenon known as psychedelic trance global movement which has been gaining more and more incomers in the whole country through ritualistic festivities focused on an electronic music style psychedelic trance which stimulates dancing and the altered states of consciousness. This theorical discussion implicates in penetrating the gaps within empirical scientific knowledge and expresses itself through complex articulation, the manifestations of psychedelic trance festivals, which create and recreate an altered universe that involves art and psychedelic esthetics, within nature, as the backdrop for ecstatic collective experiences. The research had guidelines such as: Is there an order in such a virtually caotic atmosphere being constructed? What does this movement reflect upon current time? Which are the symbols and myths involved in this movement? Which are the beliefs and the values that guide psychedelic imagery? What needs are implicit in this new festive manifestation? What does this complex ritual express in the planetary era? The camp research was performed in a series of psychedelic trance festivals that took place in Brazil, between year 2003 and 2006. I took part as an observer in eight festivals, in which I gathered interviews and collected material. The research also encompassed the electronic net Internet the main means of communication used by the participants of such festivities / Esta dissertação apresenta a tentativa de compreender um fenômeno social conhecido como movimento global do transe psicodélico, que vem ganhando cada vez mais adeptos em todo o país por meio de festividades ritualísticas centradas em um estilo musical eletrônico psychedelic trance que estimula a dança e os estados alterados de consciência. A discussão teórica implica penetrar nas brechas do cânone científico e expressar, por meio da articulação complexa, a manifestação dos festivais de transe psicodélico, os quais criam e recriam um universo lúdico que envolve arte e estética psicodélica em meio à natureza, como cenários para experiências extáticas coletivas. A pesquisa teve como guia algumas questões, tais como: Será que nesse ambiente de desordem existe uma nova ordem sendo construída? O que esse movimento reflete nos tempos atuais? Quais são os símbolos e mitos relacionados ao movimento? Quais são as crenças e os valores que norteiam o imaginário do grupo? Que necessidades estão implícitas nessa nova manifestação festiva? O que expressa esse complexo ritual na era planetária? Foram pesquisados os festivais de transe psicodélico que aconteceram no Brasil entre 2003 e 2006. Participei, como observadora, de oito festivais, nos quais realizei entrevistas e colhi material. A pesquisa também abrangeu a rede eletrônica Internet , principal meio de comunicação utilizado pelos participantes desses festivais

Made available in DSpace on 2016-04-26T14:56:07Z (GMT). No. of bitstreams: 1 CSO - Ana Flavia N Nascimento.pdf: 5408779 bytes, checksum: 34573493d0d4b2f61af407b0f6ed5c31 (MD5) Previous issue date: 2006-10-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This essay presents an attempt to a further understanding of a social phenomenon known as psychedelic trance global movement which has been gaining more and more incomers in the whole country through ritualistic festivities focused on an electronic music style psychedelic trance which stimulates dancing and the altered states of consciousness. This theorical discussion implicates in penetrating the gaps within empirical scientific knowledge and expresses itself through complex articulation, the manifestations of psychedelic trance festivals, which create and recreate an altered universe that involves art and psychedelic esthetics, within nature, as the backdrop for ecstatic collective experiences. The research had guidelines such as: Is there an order in such a virtually caotic atmosphere being constructed? What does this movement reflect upon current time? Which are the symbols and myths involved in this movement? Which are the beliefs and the values that guide psychedelic imagery? What needs are implicit in this new festive manifestation? What does this complex ritual express in the planetary era? The camp research was performed in a series of psychedelic trance festivals that took place in Brazil, between year 2003 and 2006. I took part as an observer in eight festivals, in which I gathered interviews and collected material. The research also encompassed the electronic net Internet the main means of communication used by the participants of such festivities / Esta dissertação apresenta a tentativa de compreender um fenômeno social conhecido como movimento global do transe psicodélico, que vem ganhando cada vez mais adeptos em todo o país por meio de festividades ritualísticas centradas em um estilo musical eletrônico psychedelic trance que estimula a dança e os estados alterados de consciência. A discussão teórica implica penetrar nas brechas do cânone científico e expressar, por meio da articulação complexa, a manifestação dos festivais de transe psicodélico, os quais criam e recriam um universo lúdico que envolve arte e estética psicodélica em meio à natureza, como cenários para experiências extáticas coletivas. A pesquisa teve como guia algumas questões, tais como: Será que nesse ambiente de desordem existe uma nova ordem sendo construída? O que esse movimento reflete nos tempos atuais? Quais são os símbolos e mitos relacionados ao movimento? Quais são as crenças e os valores que norteiam o imaginário do grupo? Que necessidades estão implícitas nessa nova manifestação festiva? O que expressa esse complexo ritual na era planetária? Foram pesquisados os festivais de transe psicodélico que aconteceram no Brasil entre 2003 e 2006. Participei, como observadora, de oito festivais, nos quais realizei entrevistas e colhi material. A pesquisa também abrangeu a rede eletrônica Internet , principal meio de comunicação utilizado pelos participantes desses festivais