In the winter of 1999, Artistic Director Harriet Vogt decided to retire earlier than had been anticipated by the university. With her retirement just weeks away on March 1, the Dean of the College of Arts and Sciences, Dr. John Miller, asked if I was interested in taking a leave of absence from the Department of Visual Arts and becoming Interim Artistic Director of Fanfare. At the same time I was beginning to look for a possible internship that would take advantage of my professional experience in the arts and the knowledge that I had gained in graduate school at U.N.O. My previous experience with directing presenting and festival organizations had been focused in urban areas where a large sophisticated audience that was accustomed to supporting the arts typicaUy exists. Directing an arts organization in a rural area would present many new challenges.

Every local government make all-out efforts to hold different kinds of art festivals in order to present their local cultural characteristics every year, such as Kaohsiung Zuoying Quarter Million Art Festival and Pingtung Back Tuna Art Festival. However, the impact of suspension of Yilan International Children's Folklore and Folkgame Art Festival is obvious. Based on my observation of field studies, the intense contrast between blossom of Kaohsiung Zuoying 2008 Quarter Million Art Festival and downfall of Pingtung Back Tuna Art Festival comes from whether the art festival is unique or not. Copy is the main reason for failure of art festivals. In the past, few studies focus on applying internet marketing strategy to promote every local government art festivals and studying its application and effects. That is why the purpose of this study is based on the case of Kaohsiung Dashu Township Lai Fung Art Festival in order to gather internet marketing strategy, the relative information on marketing tools and opinion of participants from in-depth interviews and analysis of documents. Therefore, after collecting results of interviews and comparing them with other relative studies and my observation, this study reveals the internet marketing strategy for Kaohsiung Dashu Township Lai Fung Art Festival. The main focuses of this studies are as follow, (a) finding the track of internet marketing strategy (b) local government marketing strategy and its relationship with internet marketing tools (c) how local government use its internet to set up effective marketing strategy (d) the impact internet marketing tools bring to Kaohsiung Dashu Township Lai Fung Art Festival (e) according to results of interviews and the needs of interviewees to set up websites, blogs shopping platforms and nature ranking of keywords search in order to assist Kaohsiung Dashu Township Lai Fung Art Festival promotion, advance development of local economy, improve the marketing channels of local agriculture products and farmers¡¦ life.

This paper will identify the problems faced by deaf people in terms of social and emotional, and then discuss the research on factors which contribute to the problems. The first section will define deafness, investigate the psychological characteristics of the deaf, and then identify the incidence of mental or emotional problems. The second section will review the literature on factors which contribute to the emotional problems of the deaf. The final section will review the literature on the service system available to the deaf. Throughout this presentation, the writer will summarize with personal conclusions. These summaries will both capsulize the literature and explain the writer’s value stance.

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Denna studie menar att det i arkitekturens mellanrum, där vardagslivet tar plats, sker intressanta handlingar som sätter sin prägel på staden och dess invånare. Med ett fokus på urban konst och främst konstfestivaler i det urbana rummet undersöks den offentliga konstens olika ingrepp på platsen och de sociala gemenskaperna i målet att skapa en socialt hållbar stad. Offentlig konst kan i många fall ses som ett estetiskt och vackert inslag i områden. Denna uppsats hävdar dock att den offentliga konsten kan tillskrivas ytterligare ett värde, nämligen det instrumentella.  Urbana konstfestivaler är ett återkommande fenomen och används ofta som ett verktyg i främjandet av en socialt hållbar stad. Ur ett stadsbyggnads- och socialt investeringsperspektiv ska konsten, vare sig det är muralmålningar, skulpturer eller mosaikplattor, göra staden mer sammanlänkad, öka gemenskapen mellan invånare och förhöja känslan av tillhörighet. Den konst som fyller de urbana rummen tillskrivs därför både ett socialt och instrumentellt värde. Genom att studera konstfestivalen Hammarkullen Urban Art 2017 undersöks just denna relation mellan det samhälleliga målet om en socialt hållbar stadsutveckling och de urbana konstverken. Studien menar att det i denna förbindelse uppstår en rad dilemman rörande platsidentitet, platsskapande och platsautenticitet. Frågan som ställs är om urban konst är ett verktyg som är väl lämpat för att nå en sammanlänkad och socialt hållbar stad med högt deltagande? Studien är byggd på empiriskt material insamlat genom en fallstudie av Hammarkullen Urban Art 2017. Genom kvalitativa forskningsintervjuer har personer direkt länkade till konstfestivalen blivit hörda. Då festivalen ägde rum under 2017 har dessa intervjuer i kombination med dokumentanalyser och fältanalyser gett oss en förståelse att urbana konstfestivaler kan bidra med stärkt social hållbarhet. Dock kan nyttjandet av konsten i detta avseende bära med sig dilemman rörande platsers säregna kvalitéer. Avslutningsvis visar studien att urbana konstfestivaler har en inneboende motstridighet. Trots att den urbana konsten tenderar att vara ett demokratiserande verktyg för att öppna upp staden rum, syns även spår av marknadens intrång. Den offentliga konsten har blivit ett verktyg för städer och områden att profilera sig på. Detta går även att se i studiens fokusområde Hammarkullen. I och med inkorporerandet av Hammarkullen Urban Art 2017:s konstverk i stadsbilden förstärks bilden av området som kulturellt nav. / With a focus on urban art, and especially street art festivals, this study examines the various impacts public art can have on urban spaces and the social communities. This study suggests that, in the interspaces of urban architecture, interesting phenomena connected to urban art makes its mark on the city and its inhabitants. Public art can in many cases be seen as an aesthetic and beautiful element. However, the authors behind this work claim that public art can be attributed another value, namely the instrumental. From an urban planning perspective, art should make the city more interlinked, increase fellowship between residents and increase the sense of belonging. Moreover, it also increases welfare, profit and health. The question asked is whether urban art and street art festivals are a tool that is well suited to reach an interconnected and socially sustainable city?  The study is based on empirical material collected through a case study of Hammar- kullen Urban Art 2017. Through qualitative research interviews, the voices of people with a connection to the street art festival have been collected through interviews. As the festival took place in 2017, these interviews in combination with analyses of documents and field studies gave the study a reliable result on how urban art festivals can contribute to strengthening social sustainability. However, with the use of art in this aspect, dilemmas can follow concerning the peculiar qualities of places. Street art festivals are often used as a tool in the promotion of a socially sustainable city. By studying the street art festival Hammarkullen Urban Art 2017 the relationship between the societal goal of a socially sustainable city and the urban works of art is examined. Public art has become a tool for cities and areas to profile themselves in a different way from their previous image. The study claims that a number of dilemmas arise in the context between the societal goal and the urban art regarding place identity, placemaking and authenticity.  The study concludes that street art festivals have an inherent contradiction and are rather a tool for cities to promote themselves to fulfil the dominant culture’s desire for authenticity than a means to beautify the urban spaces. This position can also be seen in the Hammarkullen area as the incorporation of Hammarkullen Urban Art 2017’s artwork strengthens its identity as a cultural hub.

The dissertation studies the features and modes adopted by the street art in urban cultural space. The text presents an analysis of history and contemporary forms of street art in Russia. Through the works of major artists, themes and festivals, the author elucidates characteristic features of Ekaterinburg street art, explores the work of “Sweater” street art gallery and the experience of the All-Russian Street Art Festival “Stenograffia”. Sociological research conducted by the author helps to understand the attitudes of Ekaterinburg’s younger population towards specific street art objects and street art in general. / Диссертация посвящена изучению особенностей и форм проявления street art в культурном пространстве города на примере г. Екатеринбурга. Анализируется история и современные формы street art в России. Через работы значимых художников, темы и фестивали выявляются особенности стрит-арта в Екатеринбурге, исследуется деятельность галереи уличного искусства «Свитер» и опыт проведения Всероссийского фестиваля уличного искусства «Стенограффия». На основе проведенного социологического опроса выявляется отношение молодежи г. Екатеринбурга к отдельным объектам уличного искусства и стрит-арту в целом.