Cette thèse examine les dimensions symboliques des politiques de tourisme culturel et patrimonial. Elle est fondée sur des enquêtes multisites (ville et village de Touraine, salons et congrès de tourisme) et sur l'étude de la littérature institutionnelle et promotionnelle locale, nationale, européenne et internationale. Je n'envisage pas le tourisme culturel comme un " secteur touristique " : ses pratiques sont marginales d'un point de vue financier et l'expression " tourisme culturel " ne permet pas de les appréhender dans leur complexité. Je considère le tourisme culturel comme une notion institutionnelle et je m'interroge sur son succès sémantique. La doctrine du tourisme culturel instituée par les institutions internationales se présente comme le bon flux, opposé au tourisme de masse. Pour les professionnels de la culture et du tourisme, les congrès et les salons de tourisme culturel constituent un lieu commun de production et de diffusion des normes de discours et d'exposition. Afin de faire venir le tourisme, les collectivités créent des réseaux, rebaptisent leur territoire, adaptent l'histoire, fabriquent des images identifiantes. Ma thèse est que les politiques de tourisme culturel participent d'un désir de reconnaissance par une altérité qui, pour être efficace, doit rester abstraite. L'altérité touristique est artificielle et normative comme le sont les identités représentées. Toutefois, certaines personnes parviennent à bricoler les images produites pour inventer leur communauté. La recherche évoque également les relations ambiguës entre tourisme et ethnographie. Je suggère de lever cette part d'ombre afin de permettre une anthropologie politique du tourisme, phénomène devenu un élément majeur de nos représentations du monde.

Scholarly attention to late eighteenth- and early nineteenth-century French art has focused on the importance that Johann Joachim Winckelmann attributed to the male nude figure in his definition of ideal beauty, and the impact of his work on debates over the 'beau idéal' in French art and art criticism. In contrast, Winckelmann's extensive interest in the detail of ancient costume, the folds of drapery, and the teleological and aesthetic significance that he ascribed to them, has been underplayed. The role played by costume and drapery as components of the 'beau idéal' in French art and aesthetics has also not been fully explored. This thesis examines the way in which costume and drapery formed an important component and embodiment of ideal beauty in the work of Winckelmann and in late eighteenth- and early nineteenth-century French artistic circles, providing new insights into the arguments over the meanings of Truth, Beauty and Nature in this period. The thesis proposes that ideal beauty in late eighteenth- and early nineteenth- century France was conveyed in works of art through the accurate rendering of costume and the expressive qualities of drapery in combination with the perfect form and contour of the nude body. The first part of the thesis sets up a proposition that costume and drapery formed part of the definition of ideal beauty in the work of Winckelmann. Highlighting the significance of Winckelmann's work on costume and drapery in French art theory, it demonstrates how the definition of ideal beauty in France also incorporated the accurate rendering of costume and the aesthetic impact of drapery. In demonstrating the significance of costume and drapery to both Winckelmann and French theorists it is proposed that the application of a meta-historical approach of costume and drapery to French art theory can provide new understandings and readings of the definition of ideal beauty, the hierarchy of the genres and the broader aesthetic concerns of late eighteenth- and early nineteenth- century French art. The second part of the thesis applies the proposed hermeneutic of costume and drapery to a small selection of theoretical work on the nature of ideal beauty and on a significant collection of Salon criticism. With this approach to the primary material this thesis demonstrates how French artists were able to express the 'beau idéal' within the traditional academic conventions and hierarchies, and negotiate the sense of public unease over the use of nudity in contemporary art.

Diploma thesis "Comparison analyses of national newspaper supplements Salon, Kavarna and Orientace" analyses supplements of national, daily released newspapers: Pravo (Salon), Mlada fronta DNES (Kavarna) and Lidove noviny (Orientace). Essential methods used in this work are quantitative analysis, applied to specified moths during years 2006-2008, and chronological analysis of chosen issues during years 1998, 1999, 2000 and 2005. Based on them, various evaluations of supplement main characteristics, specific features and differences were observed. Most important characteristics investigated in the work are: supplement content and graphic conception, placement within the carrying newspaper, structure of published literature forms, themes and sub-themes. There can be also found summary of each supplement history, list of its typical authors and internet version description. Author of this thesis also introduced related overview of Czech literary and cultural magazines (Literarni noviny, Host, Divoke vino, Revolver Revue, Tvar nebo A2) and briefly stated profiles of main national newspapers. To gain supplement readers characteristics, approximate sociological questionnaire was processed among university students.

This dissertation studies the musical activities of the Venezuelan pianist and composer Teresa Carreño (1853-1917) during her formative years in Caracas. It examines the sources that pertain to her musical environment, early piano training, and first compositions in the context of the growth in Caracas of the practices of recreational sociability, the increasing influence of virtuosic music, and the tradition of private concert-making sponsored by devoted music amateurs. This study argues that Teresa Carreño’s musical upbringing occurred in a social and cultural context in which Enlightenment-framed ideologies of civilization and social progress, shaped in fundamental ways the perceptions of the value of music and women in society, and their role in the newly-founded republic. This study is aimed at reconstructing Teresa Carreño’s musical activities in Caracas as a means for elucidating the values, aspirations, and contradictions of Caracas’s musical culture and how these were articulated within the broader context of the nation-building process that was shaped and promoted by the progressive intelligentsia since the early nineteenth-century.

Many barber salons and other small businesses in the United States fail to succeed beyond the first 5 years. The factors responsible for the low survival rate of salons may include the limited training and education levels mandated by state certification requirements. The purpose of this multiple case study was to identify business strategies successful barber salon owners use to overcome the business management and staffing challenges associated with a small pool of skilled barbers and the high turnover in a low wage profession. The theory of transformational leadership served as the conceptual framework. The data collection included interviews of 3 successful barber salon owners who met the study participation eligibility criteria of licensed, registered, operating a salon business in the Indiana region for more than 5 years, and over the minimum age of 25 years. The 4 themes emerging from the interview data analysis were (a) barber salon operating structures, (b) salon leadership and managerial strategies, (c) licensed barber skill enhancement, and (d) salon operating strategies effectiveness and sustainability. The data analysis also involved the triangulation of the primary research against secondary data from the Small Business Administration and barber industry reports. The expertise and knowledge shared by the interviewees could serve the quest of barber salon businesses in the Indiana region to overcome the profitability and financial sustainability challenges of this industry. The study findings may potentially contribute to positive social change by improving the economic standing and welfare of barber salon owners and professionals in the community.

African American beauty salons across the country have historically served as settings for social interaction, political activism, and community organizing in the African American community. These settings often offer opportunities for intimacy between cosmetologists and their clients. Research findings suggest that the unique bonds between women in salons can be a viable option when providing health intervention and education to large numbers of women. Data indicates that salon campaigns and promotions which focused on health issues such as stroke and diabetes education, breast and cervical cancer awareness, healthy living, and smoking cessation, have been efficacious in changing unhealthy habits or increasing knowledge. There are a plethora of social and health issues that could also benefit from this culturally sensitive platform. In particular, abused African American women face multiple barriers when accessing services offered by legal, medical, and social services. These barriers can impact the help seeking behaviors of victims/survivors. Developing strategic interventions that address the ways in which these women seek help as well as increasing access to services is essential. The purpose of this qualitative study was to understand how African American cosmetologists and salons might be used in domestic violence advocacy and education. Theories framing this research included intersectionality and the social ecological framework (SEF). The interrelatedness of intrapersonal, interpersonal, community, and societal factors within each framework was used to understand how women experience violence and how the social phenomena in African American salons might provide alternative means of intervention to reach and empower marginalized, abused women. Eleven licensed, African American cosmetologists in three separate salons were recruited. Their perceptions (thoughts, feelings, beliefs, and opinions) about domestic violence advocacy and experiences with clients were collected and analyzed. In-depth interviews with each cosmetologists recreated their daily encounters in the salon and provided information about their relationships with clients. These findings were triangulated by salon observations and survey instrumentation. Common patterns and themes from this data were identified and coded. The findings were reported using rich, descriptive narratives provided by the cosmetologists.

Objectives: The aim of this study was to determine if exposure to volatile organic compounds can lead to DNA damage and impaired DNA repair capacity. Nail cosmetics is a fast growing industry around the world where employees and clients are subjected to various chemical substances which may be harmful to their health: such as formaldehyde, toluene, acetone, xylene, ethylmethacrylate, methylmethacrylate and n–buthyl acetate. These chemicals have the potential to be harmful to their health and exposure to these chemicals should be actively controlled. Formaldehyde is classified as a human carcinogen by the IARC, whereas, toluene and xylene are group three carcinogens, classified in 1999 (not classified as carcinogenic to humans), and various studies have linked DNA damage and impaired DNA repair to the above mentioned substances. Methods: Fifteen nail technicians were monitored by means of personal air sampling, measuring formaldehyde, toluene, xylene, acetone and ethylmethacrylate exposure. Fifteen unexposed subjects were chosen and matched for age and smoking habits with the exposed group. Heparinised blood samples were obtained from each test subject with which the Comet Assay was performed on lymphocytes to determine DNA damage and repair ability. Results: Exposure to ethylmethacrylates and methylmethacrylates leads to DNA damage. Methylmethacrylate causes DNA damage by specifically targeting pyrimidine (fpg) bases. N–buthyl acetate, xylene and acetone exposure impaired DNA repair capacity. The exposed group showed signs of Class III and Class IV DNA damage, whereas the control group had little Class III damage and no indication of Class IV damage. The overall DNA repair ability of the nail technicians was slightly impaired when compared to that of the control group, which is in concurrence with previous studies. Smoking habits and age did not show significant influences on the level of DNA damage and repair when compared with the control group. Conclusion: Exposure to volatile organic compounds such as ethylmethacryale and methylmethacrylate may lead to DNA damage and altered DNA repair in some individuals, although further studies are recommended. / Thesis (M.Sc. (Occupational Hygiene))--North-West University, Potchefstroom Campus, 2011.

Objectives: The aim of this study was to determine if exposure to volatile organic compounds can lead to DNA damage and impaired DNA repair capacity. Nail cosmetics is a fast growing industry around the world where employees and clients are subjected to various chemical substances which may be harmful to their health: such as formaldehyde, toluene, acetone, xylene, ethylmethacrylate, methylmethacrylate and n–buthyl acetate. These chemicals have the potential to be harmful to their health and exposure to these chemicals should be actively controlled. Formaldehyde is classified as a human carcinogen by the IARC, whereas, toluene and xylene are group three carcinogens, classified in 1999 (not classified as carcinogenic to humans), and various studies have linked DNA damage and impaired DNA repair to the above mentioned substances. Methods: Fifteen nail technicians were monitored by means of personal air sampling, measuring formaldehyde, toluene, xylene, acetone and ethylmethacrylate exposure. Fifteen unexposed subjects were chosen and matched for age and smoking habits with the exposed group. Heparinised blood samples were obtained from each test subject with which the Comet Assay was performed on lymphocytes to determine DNA damage and repair ability. Results: Exposure to ethylmethacrylates and methylmethacrylates leads to DNA damage. Methylmethacrylate causes DNA damage by specifically targeting pyrimidine (fpg) bases. N–buthyl acetate, xylene and acetone exposure impaired DNA repair capacity. The exposed group showed signs of Class III and Class IV DNA damage, whereas the control group had little Class III damage and no indication of Class IV damage. The overall DNA repair ability of the nail technicians was slightly impaired when compared to that of the control group, which is in concurrence with previous studies. Smoking habits and age did not show significant influences on the level of DNA damage and repair when compared with the control group. Conclusion: Exposure to volatile organic compounds such as ethylmethacryale and methylmethacrylate may lead to DNA damage and altered DNA repair in some individuals, although further studies are recommended. / Thesis (M.Sc. (Occupational Hygiene))--North-West University, Potchefstroom Campus, 2011.

Apparu vers le milieu du XIXe siècle comme jargon dans les cercles artistiques munichois désignant une image de piètre qualité, bon marché, le mot kitsch s’utilise aujourd’hui non seulement dans le monde de l’art mais aussi dans la vie quotidienne toujours avec un sens fortement péjoratif. Considéré en général comme « mauvais goût », « art sans valeur », « camelote artistique », ou « art vulgaire », le kitsch n’est pourtant pas un concept qui demeure seulement dans une dimension esthétique ou artistique. Les divers phénomènes historiques du kitsch, émergés dans le contexte de la modernité, comme « la bib[e]lotomanie », « le roman-feuilleton », « l’art pompier » en France au XIXe siècle, ou encore « la peinture de salon de coiffure » en Corée au XXe siècle, trahissent tous que le kitsch est en effet une attitude que l’homme adopte vis-à-vis de son existence et du monde dans la réalité. L’essentiel de ce concept réside donc dans sa négation ou mieux dans sa fuite de la réalité. Voilà pourquoi la photographie se présente comme un médium qui mérite d’être étudié en rapport avec le kitsch. Médium qui a un lien spécifique par excellence avec le réel, elle ne cesse de faire ontologiquement le va-et-vient entre le présent et le passé, l’instantanéité et l’éternel, l’ici et l’ailleurs, le sujet et l’objet, la vie et la mort, etc. C’est en effet à cause de cette ontologie paradoxale que la photo peut devenir, selon « l’acte photographique », non seulement de l’art mais aussi du kitsch. Ainsi, l’attitude envers ce dernier que les artistes laissent apercevoir à travers leur œuvre photographique s’avère extrêmement variée, et ambiguë, voire même contradictoire tout comme chez Pierre et Gilles, Vik Muniz, Sebastião Salgado et Oliviero Toscani. / Appeared in the mid-nineteenth century as a jargon in the artistic circles of Munich designating a cheap image of poor quality, the term “kitsch” is used today not only in the art world, but also in everyday life, always with strongly pejorative sense. Generally considered as “bad taste”, “worthless art”, “artistic junk” or “vulgar art”, kitsch, however, is not a concept that remains only in aesthetic or artistic field ?. Various historical phenomena of kitsch which had been all emerged in the context of modernity, such as “bib[e]lotomanie”, “serialized novel”, “academic art” in France in the nineteenth century, or “barbershop’s painting” in Korea in the twentieth century, show that kitsch is indeed an attitude of human being toward his own existence and the world. The essence of this concept lies therefore in his negation of reality, or better in his escape from reality. That’s why photography deserves to be studied in relation with the kitsch. Having a specific link with the reality, the medium oscillate ontologically between the present and the past, the instant and the eternity, the here and the elsewhere, the subject and the object, the life and the death, etc. It is indeed because of this paradoxical ontology that the photography can become, according to the “acte photographique” not just art but also kitsch. Thus, the attitude to the latter the artists let reveal through their photographic work turn out extremely varied and ambiguous, even contradictory such as it does in the work of Pierre et Gilles, Vik Muniz, Sebastião Salgado and Oliviero Toscani.

This work reviews the current literature and application methods of strategic KPI frameworks, KPI definition and measurement, target setting and benchmarking for social networks based on journals, books and whitepapers while including an interview with a social media agency. In a second step, the acquired knowledge is applied on a case study for a salon haircare company. The conclusions are based on in-company experts in the field, external social media agencies and an internal survey. Based on a behavioral survey, the requirements and gaps in the organization are identified. This leads to the application of a theoretical framework on the case company and a suitable definition of KPIs. The final delivery includes an analytical tool measuring all KPIs. Finally, all KPIs are related to targets and benchmarks from industry, social network sites, competitors and historical data. The final results are easily transferrable to other players in the industry.