Local festivals have become a significant resource and trend in regional development. In Taiwan, there are twelve important local festivals; only the Song Jiang Jhen Battle Array in Neimen, Kaohsiung has been listed for the Kaohsiung area. It reveals its local characteristics and traditions, as well as the cultural intention. However, most related researches focused on issues of visitors¡¦ behavior and tourist satisfaction; no analysis and review of implementation facets was completed. This qualitative research was carried out with the festival of Song Jiang Jhen Battle Array in Neimen, Kaohsiung taken as the case study. By conducting a textual analysis, participant observation and in-depth interview, the study aims to explore the following four facets relate to the implementation of the festival, i.e. organization operation, content planning and management, community participation and marketing strategy. Furthermore, after analyzing the contents of literature and case review, 14 indicating items were generalized from each facet so that the status of conducting the Song Jiang Jhen Battle Array in Neimen, Kaohsiung can be reviewed. Its indicating items and main factors of success that conform to a great festival were analyzed. The predicaments encountered in its development were also researched. Relevant proposals of transformation strategy was provided and submitted to the organizers of local government as applicable strategies for future activity arrangement. The study results showed that the Song Jiang Jhen Battle Array in Neimen, Kaohsiung completely conforms to the pattern of a successful festival and the indications include: the attitude of the organizer in arranging sustainable activities, the unique theme, cultural characteristics and local imagery, diversity and creativity of activity concepts, as well as the contribution of community organization and local volunteers. Some indications did not conform to the festival, such as the interaction with visitors/tourists, atmosphere and management of the field, infrastructure and traffic network. Other indications partly conformed to the success of the festival. The interviewees particularly pointed out that the key successful factors of the Song Jiang Jhen Battle Array in Neimen, Kaohsiung include: regularly held every year; the support of authorities; the characteristics and creativity both attract many visitors; the assistance of experienced operators; religious beliefs and folk culture; TV live transmission of the competitions; etc. The predicaments it faces include: lack of a set budget; no cooperation among three local temples: they are operating units with the venue changing annually; no profound connection with local industries; the festival¡¦s purpose does not conform to the traveling mechanism; no guidance for a long-term planning; focus only on local prospects; local government does not care much about tourism; no gathering of community strength; the date of the activity cannot be confirmed as early as possible; the scope of marketing between local and central government is varied and most of the marketing ideas are focused on the creative Song Jiang Jhen Battle Array. Seven transformation strategies were suggested in this study: establishing a communication platform for cooperative units having an interest relationship for this festival, the traditional perspective cannot be abandoned in a traditional event, ¡§originality¡¨ brings out the validity and uniqueness of the festival, a great atmosphere has been made by having an appropriate field management, the festival benefits can be extended to other events, the intention of community development can become the energy supporting local festivals and the festival marketing can go beyond merely promoting the festival.

The attitude of the building sector towards innovation and its intellectual and organizational preparedness for dealing with the issues of innovation is the aim of this study. The core question can be formulated as follows: Why does a building company accept certain innovations but not others? The fundamental ideas of the study are rooted in the central European tradition of the historico-qualitiative school of thought. Another basic idea for the thesis is Dewcy’s and Bcntley's theory of transactional cognition introduced in Sweden by Hanssen under the term ""field concept" according to which the content and object of knowledge are seen as an entirety. The reason for approaching the problem qualitatively. that is through not highly structured interviews based on the author's long personal experience in the sector, is its compound and many face ted nature a long with the fact that verbal discussion is firmly grounded in building sector tradition. Innovations has to pass trough three different filters. These filters are at the point where the innovation enters the company, during the bid preparation process and upon the absorption of the innovation into the project. Important factors influencing the passage through these filters arc papyrophobia, the old boy network (OBN) and the structure of the production system. Papyrophobia is expressed in a general reluctance to deal with theoretical issues and documentation. OBN denotes an informal communication network. Production is run by and within project organizations. i.e. repetitive ad hoc aggregates independent of the parent organization. These factors in combination with time and financial pressure obstruct the possibility of creating a research tradition. Characteristic features of the socio-cultural tradition of the sector are that it is male dominated, that the educational system classifies those working in the field according to trade and profession, and that the strong position of production aspects have brought to the forefront the energetic practitioner. His values are strictly professional. Information is to a great extent transmitted orally. There is strength in the ability of Swedish construction firms to plan and improvise within an established frame. However, a certain streak of marginalism with the potential of inhibiting innovation does exist in their pattern of action. Also typical of the tradition is the ideal of the free entrepreneur and the organization of large companies as confederations of a number of small and medium size firms. Finally, a fundamental cultural feature of the construction industry is openness. News spreads rapidly to a competitor. Innovations are disseminated in several ways, but one dominant pattern persists that cannot be seen in other industries. While the projects are important for testing and diffusion of innovations, the companies arc more intrumental in propagating information of innovations. The building materials industry's R&amp;D work follows a pattern similar to that of production companies in other sectors. The building sector's readiness to follow and work with innovation issues can generally be rated as low. The confinement of interest to production aspects combined with the marked open· ness provides ample room for the materials manufacturers and companies outside the sector to introduce new products and materials. In the long run, it is the gradual change in this assortment that will transform building techniques and technology. Change is generated by other sectors. / <p>Felaktigt ISBN <em>91-7870-087</em> är angivet i avhandling. ISBN är korrigerat till <em>91-7870-087-6</em>.</p>

Cette étude explore les relations entre la "Beat Generation" et l'art. Elle se penche principalement sur les oeuvres plastiques de William S. Burroughs (1914-1997), Jack Kerouac (1922-1969) et Allen Ginsberg (1926-1997). La période choisie pour cette recherche débute en 1944 et se poursuit jusqu'en 1975, c'est-à-dire de la formation du groupe à la fin de l'idée de contre-culture. L'analyse ne se limite pas à la constatation d'un va-et-vient entre le mot et l'image, mais démontre que les écrivains de la "Beat Generation" sont en prise direct avec l'art de l'époque et vont explorer toutes les techniques plastiques pour exprimer en dehors de leur œuvre littéraire. En abordant l'aventure artistique, les trois "Beats" sont confrontés à la notion d'"ekphrasis": ils prolongent un long héritage à travers des disciplines artistiques différentes: la peinture, le croquis ou la technique du collage. / This study exlpores the relationship between art and the "Beat Generation". It mainly focuses on the plastic works of William S. Burroughs (1914-1997), Jack Kerouac (1922-1969)and en Ginsberg (1926-1997). The field of research covers the period from 1944 to 1975, i.e. from the formation of the Group to the end of the idea of counterculture. The analysis does not limit itself to the description of the back and forth movements between literature and the arts. The "Beat Generation" writers were in fact directly connected to the art of their time and explored all kinds of plastic techniques to express themselves independently from their lierary works. In addressing the adventures of the artistic experience, the three "Beats" were confronted with the notion of "ekphrasis" and obviously prolonged an old legacy through different artistic disciplines like painting, drawing or collage.

Cette thèse examine le corpus de textes lyriques grecs composés pendant la période 425-323 av. J-C. Une première partie consacrée aux sources et méthodes présente les témoignages littéraires, papyrologiques et épigraphiques attestant l’activité lyrique de la période considérée et souligne l’importance méthodologique d’une relecture de l’histoire musicale telle que présentée par Athénée et le De musica. Elle étudie en outre l’évolution de l’image du poète lyrique à la lumière d’anecdotes se rapportant au dithyrambiste Philoxène. Une des deuxième partie présente une étude littéraire de textes représentatifs des principaux sous genres lyriques (dithyrambe, nome, hymne et paean) et explore la dialectique entre tradition et innovation dans la production, la "performance" et le conteste de réception de ces poèmes. En associant critique littéraire et analyse socioculturelle, ce travail apport un éclairage nouveau sur un corpus de textes poétiques jusqu’ici peu étudiés de façon systématique. / This dissertation gives an overview of the extant 800 lines of lyric poetry composed between 425 and 323 B.C. and tackles the question of the demise of mousikê in the late classical period. A first part collects the evidence for lyric composition and practice during that period, deconstructs the "death of lyric" fiction that the major litterary sources (Athenaeus and the De musica) present, and studies the evolution of the image of the lyric poet between archaic and late-classical times as reflected in anectotes. A second part focuses on the texts (dythrambs nomes hymns and paeans) and explores the dynamics between tradition and innovation in the production, performance, and reception of these lyric poems. By combining a close reading of the texts with attention to their intellectual and cultural context, I argue that our evidence suggests a tradition of lyric poetry that continuallya adapts to the new performance contexts and modes of transmission of the late classical period.

Made available in DSpace on 2015-05-14T12:42:38Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3141072 bytes, checksum: 1e4f3c27987281f96afe8ba4c6b880f1 (MD5) Previous issue date: 2011-08-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The assumption of this study is that by repetition, discursive traditions establish a link between innovation and conservatism. The study addresses the linguistic and textual features that have changed and that remained in the minutes of the Paraiba borough council meetings that were handwritten, typed and virtualized in the nineteenth, XX and XXI, when the manuscripts were transcribed to the World Wide Web. The study tries to associate the social context of elaboration and utilization of the minutes to the historical context of language, keeping in mind that the texts change with changes in society. It is therefore a diachronic, descriptive and theoretical approach that uses the assumptions of Coseriu (1979, 1987, 1988) and of the German Romanist pragmatists German Romanists Oesterreicher (1996, 2006), Schlieben-Lange (1993), Koch (2008), Kabatek (2006) and Jungbluth (2006) and also looks at Brazilian discursive traditions developed by Simões Kewitz (2009a, 2009b). The corpus of this research is composed of sixty-seven minutes from various boroughs of the state of Paraíba: Zona da Mata, Agreste, Borborema and the Sertão. The originals are kept in private and public historical archives in the boroughs of Paraíba. From these city council minutes, the ones that appear more frequently were selected in the corpus, the structures that constitute them analyzed, with particular emphasis on the XIX, XX and XXI centuries. Based on the assumption that the discursive traditions evoke certain textual and linguistic forms, we used the same proceedings for the analysis of the passive voice as a grammatical element that is repeated in the structure of these minutes. The analysis of the minutes, compared between the centuries cited, showed that their linguistic and textual features changed when transcribed from the record book manuscripts to virtual support. Some information from texts changed their position in the structure of the minutes, other sections have been inserted in the texts and some traditional expressions no longer exist. The analysis also verified some linguistic traits where instances of passive constructions were reduced in the minutes of this century, but it was found that this type of grammatical construction is part of the traditional discursive camera minutes. Given the results, we concluded that, despite the transformations undergone over time, the minutes of the Paraíba camera meetings maintained the structure which identifies it as a discursive tradition. / A partir do pressuposto de que, pela repetição, as tradições discursivas estabelecem um elo entre inovações e conservadorismos, este trabalho, aborda as características linguísticas e textuais que mudaram e que permaneceram nas atas das câmaras municipais paraibanas manuscritas, datilografadas e virtualizadas nos séculos XIX, XX e XXI, quando transcritas do suporte manuscrito para a Rede Mundial de Computadores. Procura-se, nesse estudo, associar o contexto social de produção e utilização das atas à história da língua, por ter-se em vista que os textos mudam conforme as mudanças na sociedade. Dessa forma, trata-se de uma pesquisa diacrônico-descritiva que utiliza como aporte teórico os pressupostos de Coseriu (1979, 1987, 1988) e dos romanistas da Pragmática Alemã Oesterreicher (1996, 2006), Schlieben-Lange (1993), Koch (2008), Kabatek (2006) e Jungbluth (2006), como também, utiliza os estudos sobre as tradições discursivas no Brasil desenvolvidos por Simões e Kewitz (2009a, 2009b). O corpus dessa pesquisa é composto por sessenta e sete atas das câmaras municipais paraibanas das regiões da Zona da Mata, Agreste, Borborema e Sertão, cujos originais estão conservados em arquivos históricos públicos e privados e nas câmaras municipais da Paraíba. Dentre essas atas camarárias, selecionou-se, para análise, alguns tipos de atas de sessão que aparecem com maior frequência no corpus, destacando, entre os séculos XIX, XX e XXI, as estruturas que as constituem. Com base no pressuposto de que as tradições discursivas evocam determinadas formas linguísticas e textuais, utilizou-se essas mesmas atas selecionadas para a análise da voz passiva como elemento gramatical que se repete na estrutura dessas atas. A análise das atas, em comparação entre os séculos citados, revelou que as suas características linguísticas e textuais sofreram alterações quando transcritas do livro de registro manuscrito para o suporte virtual. Algumas informações do texto mudaram de posição na estrutura da ata, foram inseridas outras seções no texto e algumas expressões tradicionais deixaram de existir. Verificou-se também, na análise dos traços linguísticos, que as ocorrências de construções na voz passiva sofreram uma redução nas atas do século atual, porém constatou-se que esse tipo de construção gramatical faz parte da tradição discursiva ata de câmara. Diante dos resultados apresentados, concluiu-se que, apesar das transformações sofridas ao longo do tempo, a ata das sessões das câmaras paraibanas manteve a estrutura que a identifica como uma tradição discursiva.