Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1979. / Bibliography: leaves 236-247. / viii, 247 leaves 28 cm

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1986. / Bibliography: leaves [500]-528. / Photocopy. / Microfiche. / xix, 528 leaves, bound ill., maps 29 cm

Typescript. / Thesis (Ph. D.)--University of Hawaii, 1971. / Bibliography: leaves [166]-170. / x, 170 l graphs, tables

<p>This thesis aimed to explore the various legislative provisions that have affected traditional health practice in South Africa. The discussion is limited to the period dating from 1891 to 2004. The relevance of this period is that during the 19th and early 20th centuries traditional healing has gone through some turmoil as the governments of that period promulgated legislation, which curtailed the practice of traditional healing. This study focused on the art of traditional healing in a legislative context.</p>

This research is set in the context of a collaborative agreement between the Industrial Design Department, University of Canberra and the Faculty of Applied Art and Design at Ubon Rajathanee University in the northeast or Isan region of Thailand. In this thesis the textile production of the region was studied with an objective of evaluating the potential for product design process to positively influence production outcomes. Traditional textile production techniques could be lost because these processes are complex and slow, and the current environment, both physical and operational, is changing rapidly. Product design and the design process are relevant to the industrial development of Thailand and village textile production could benefit from structured design and manufacturing strategies that have a consumer focus and improved production outcomes. From a critical review of the relevant literature, it was found that village weavers valued the traditions of their craft and traditional patterns and colours were important in terms of cultural identity and village social organization. Product design process or more specifically, the Generic Design Process (GDP) was reviewed and a model developed that adapted the GDP to the prevailing research environment. The findings led to a program of field research including village interviews where the major issue of the devaluation of traditional natural material dyeing techniques was identified. Field experiments tested alternative dyeing techniques which were evaluated in a survey by village weavers. During the field research care was taken to adapt to the way in which village weavers lived and worked as the two activities were closely interrelated. The degree of skill and knowledge residing in the aging women, who constitute the majority of village weavers, in extensive and profound, and is often described as an example of local wisdom. The theoretical and experimental work has been related, with appropriate results and conclusions, to the potential for maintaining traditional natural dyeing processes albeit with different preservation techniques. The findings from this research suggests that product design processes are appropriate for village production and that the tradition of natural material colour dyes will survive, new colours were created and the potential for new trade in preserved colour dye products. Substantial databases of useful relevant information have been compiled and recommendations are made for future research.

George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.

George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.

This thesis examines the risk and internationalisation practices of International New Ventures (INVs) in the environmental sector. The purpose of the research is to make observations regarding the manner in which environmental INVs manage risk when internationalising.The literature review focuses upon the published literature that relates to INVs, risk and risk management, mode of entry and the environmental sector. Section one of the literature review provides the characteristics of what constitutes an INV. Section 2 provides a review of the risk literature, this allows the differences between Multi National Enterprise (MNE) and INV risk and risk management to be reviewed. Section 3 takes the international business risks mentioned in section 2 and relates them to the mode of entry literature (i.e. the internationalisation of firms). The final section of the literature review is used to justify the investigation into the water pollution and control sector of the environmental industry. The research question is 'What strategies do environmental INVs use when entering new international markets?' The research question is broken into five specific research questions and addressed using the Repertory Grid process. The Repertory Grid process is used as it can turn the tacit knowledge held by the participants into explicit knowledge. The results show areas of convergence and divergence between practice and academia. The results also suggest new issues that need to be considered when firms internationalise. This culminates in the observations made in regard to the way environmental INVs manage risk when internationalising.

The purpose and underlying motivation for this project was to examine the procedure of garment construction methods, by specifically choosing to abandon traditional rules and standards that are associated with mass production. I chose to explore domestic hand-craft made by women in New Zealand in their domestic situation, focusing on hand-stitched techniques from the past reflecting a nostalgic value which potentially contributed to the garment’s construction process. The project sought to utilize the re-using of materials by incorporating previously made hand-craft; and looked at the remaking of second-hand garments by means of deconstruction and reconstruction. Traditional hand-craft, in this context, refers to the use of craft forms not governed by principles of efficiency, mass production or technology, allowing the garments to contain unique ‘one of a kind’ hand-made qualities. My studio practice specifically focused on exploring the relationship between hand-craft and garment construction, by researching their application and integration into the garment’s structure, along with disrupting the orderly traditional production process. I was not focusing on the finished garment’s design. The project provided an opportunity to refocus my attention on the hand-made, as I perceived that the skills required to produce these were being extinguished by modern lifestyles. Exploration promoted new discoveries by exposing the construction process and revealing unpredicted combinations. The project explored these ideas, resulting in a range of women’s garments that revealed, as part of their construction, hand-work which offered a modern variation of nostalgia. This project comprised of 80% practical work and will be accompanied by an exegesis with a value of 20%.

The world today faces many challenges. Reducing poverty and protecting the environment are prominent amongst these challenges, and consequently both are high on priority lists for many national, international, governmental and non-governmental organizations. Since the 1980s there has been an increasing awareness that environmental protection must not fly in the face of social justice, especially in developing countries, and that a system can only truly achieve sustainability if it is socially just and economically sound, as well as environmentally secure. Likewise poverty reduction at the cost of the environment is worthless in the long term. This has given rise to much more holistic approaches to both conservation and poverty reduction policies and brought the rights of communities living in or near protected areas into the international focus. However, wether it is possible to conserve biodiversity and protect habitats successfully without undermining the livelihoods of local communities, or wether it is possible to offer development aid to an impoverished region without jeopardizing their local environment, is a question which has not been resolved. This study approaches this debate by examining the relationship between the livelihoods and natural resources of a rural village adjacent to a forest reserve on the Mambilla Highlands in Nigeria. A mixture of qualitative and quantitative techniques were employed during five months spent living on location to develop a picture of the situation as it currently exists, the environmental effects of development in the village to date, and the effects of these environmental changes on people’s livelihoods. Based on this research this thesis concludes that development in a region certainly increases the vulnerability of the environment. However, rather than concluding that this makes development and environmental protection conflicting agendas, this thesis argues that this period of vulnerability presents opportunities to develop true sustainability, as effective sustainable practices can develop from the experience of resource depletion. Additionally, examples of how knowledge sharing and dialogue between western scientists and indigenous communities has the potential to facilitate and accelerate this process are discussed.