Um evento (festa gastronômica) possui características de um empreendimento turístico que consome água, energia e insumos, gerando resíduos sólidos, emissões gasosas e água residuária. Assim, é importante a identificação das diferentes formas de impactos ambientais decorrentes de festas dessa natureza, no sentido de melhor contemplar a variável ambiental no planejamento das mesmas. O presente estudo se propõe avaliar a geração de resíduos sólidos em um festival gastronômico, que faz parte de um calendário turístico há mais de 19 anos (FESTIQUEIJO 2007 Festival gastronômico realizado na cidade de Carlos Barbosa, no estado do Rio Grande do Sul). Dessa forma, o problema inicial da pesquisa partiu da seguinte pergunta: como ocorre a geração de resíduos sólidos em um festival gastronômico? Para responder a pergunta foram realizadas caracterizações dos resíduos sólidos gerados durante o Festival, observação direta de todos os setores geradores de resíduos, identificação das condições de manejo de resíduos sólidos no âmbito da festa e entrevistas com visitantes (825 sujeitos). Os estudos sobre o diagnóstico da geração de resíduos sólidos, permitiu determinar a composição gravimétrica desses resíduos no evento, e como decorrência apontar ações de gerenciamento dos mesmos para os próximos festivais. As maiores frações de componentes presentes na composição dos resíduos sólidos são de vidro (81,79%), papel e papelão (5,49%), matéria orgânica putrescível (4,60%) e de plástico (4,05%). Também, os estudos apontam a responsabilidade legal e ética dos expositores, uma vez que os mesmos devem assumir o compromisso pela geração e manejo dos resíduos sólidos gerados em seus stands. O desenvolvimento desse estudo possibilita o preenchimento de lacunas existentes no turismo, principalmente no que tange ao tema ambiental no planejamento de eventos gastronômicos. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-29T18:51:14Z No. of bitstreams: 1 Dissertacao Carlos HC Nery.pdf: 1391821 bytes, checksum: 67369a4e4915b540d95b40faeef11888 (MD5) / Made available in DSpace on 2014-05-29T18:51:14Z (GMT). No. of bitstreams: 1 Dissertacao Carlos HC Nery.pdf: 1391821 bytes, checksum: 67369a4e4915b540d95b40faeef11888 (MD5) / An event (gastronomical festival) has the characteristics of a touristic enterprise consuming water, energy and goods, which generate solid residues, gas emissions and residuary water. Thus the identification of the different forms of environmental impacts resulting from that kind of festival is important so that the environmental variable can be best evaluated when planning such events. The present study aims at the evaluation of solid residues generated in a gastronomical festival which has been part of the touristic calendar for over 19 years (FESTIQUEIJO 2007, a gastronomical festival held in the town of Carlos Barbosa, in the Rio Grande do Sul state). The research initial problem came from the question: how does the generation of solid residues occur in a gastronomical festival? To find the answer to that question, the solid residues generated during the festival were characterized, all the sectors generating them during were observed directly, the conditions for handling those residues in the festival environment were identified and visitors were interviewed (825 individuals). The study on the diagnosis of solid residues generation allowed for the determination of the gravimetric composition of the residues in the event, and consequently establish management actions for the next festivals. The largest fractions of components which were present in the composition of solid residues were: glass (81.79%), paper and cardboard (5.49%) putrefiable organic matter (4.60%) and plastic (4.05%). The studies also point to the ethical and legal responsibility of the participants, once they have to find themselves responsible for the generation and the handling of solid residues coming from their stands. The development of this study allows for filling in the existing gaps in tourism, specially regarding the environmental issue while planning for gastronomical events.

Made available in DSpace on 2014-12-17T15:08:32Z (GMT). No. of bitstreams: 1 TobiasAQ_DISSERT.pdf: 4171649 bytes, checksum: 6448383c5bd5fe3ce66222743015a2b1 (MD5) Previous issue date: 2012-04-13 / This dissertation aims to analyse discursive strategies from Dosol in order to understand the present elements to keep its audience and the marketing activities. Based on French line of discourse analysis We look into the articles posted on its website at http://www.dosol.com.br within 2010 and We foment dialogues among music, media and communications researchers. Participant observation is slightly used on the critical perception and views of researched object to confront situations and step up, with theorists, the major part of closing remarks. The obtained results indicate a website speech paved on afirmative policies and social capital, trying to keep/seduce its audience with the efect of the intended credibility meaning. The economic factor wanders the speech so often that the speaker assumes a entrepreneur/cultural producer. As a niche market, Dosol assumes a main role in music industry for releasing the regional and local cultural production. On the other hand, it is noticeable that its sustainability and media visibility, as it is seen today, depends on the laws tor promote Culture, what denotes a lack of a regional cultural policies to medium and long term at Rio Grande do Norte / O objetivo desta disserta??o ? analisar as estrat?gias discursivas do endere?o eletr?nico www.dosol.com.br, em busca de compreender os elementos presentes para a manuten??o de p?blico e de atividades mercadol?gicas. A partir da An?lise de Discurso de linha francesa, investigamos os editoriais veiculados em seu endere?o eletr?nico www.dosol.com.br, durante o ano de 2010, e promovemos um di?logo com os pesquisadores e estudiosos das ?reas da m?sica, m?dia e comunica??o. A observa??o participante tamb?m se encontra presente, embora de maneira sutil, na percep??o e vis?o cr?tica do nosso objeto pesquisado onde confrontamos situa??es e incrementamos, a partir dos di?logos com os te?ricos, boa parte das considera??es finais. Os resultados obtidos apontam-nos para um discurso calcado em pol?ticas afirmativas e no capital social, com o intuito de manter/seduzir seu p?blico, com o efeito de sentido pretendido de credibilidade, por parte das fontes produtoras do site. O fator econ?mico transita de forma constante em seu discurso, proporcionando ao enunciador o perfil de um empres?rio/produtor cultural. Por se tratar de um mercado de nicho, o Dosol tem papel fundamental dentro da ind?stria da m?sica, dando vaz?o ? produ??o cultural regional e local. Por outro lado, observa-se que sua sustentabilidade e visibilidade midi?ticas, como se encontram hoje, dependem decisivamente das Leis de Incentivo ? Cultura, o que denota uma aus?ncia de pol?tica cultural regional a m?dio/longo prazo, no Rio Grande do Norte

Um evento (festa gastronômica) possui características de um empreendimento turístico que consome água, energia e insumos, gerando resíduos sólidos, emissões gasosas e água residuária. Assim, é importante a identificação das diferentes formas de impactos ambientais decorrentes de festas dessa natureza, no sentido de melhor contemplar a variável ambiental no planejamento das mesmas. O presente estudo se propõe avaliar a geração de resíduos sólidos em um festival gastronômico, que faz parte de um calendário turístico há mais de 19 anos (FESTIQUEIJO 2007 Festival gastronômico realizado na cidade de Carlos Barbosa, no estado do Rio Grande do Sul). Dessa forma, o problema inicial da pesquisa partiu da seguinte pergunta: como ocorre a geração de resíduos sólidos em um festival gastronômico? Para responder a pergunta foram realizadas caracterizações dos resíduos sólidos gerados durante o Festival, observação direta de todos os setores geradores de resíduos, identificação das condições de manejo de resíduos sólidos no âmbito da festa e entrevistas com visitantes (825 sujeitos). Os estudos sobre o diagnóstico da geração de resíduos sólidos, permitiu determinar a composição gravimétrica desses resíduos no evento, e como decorrência apontar ações de gerenciamento dos mesmos para os próximos festivais. As maiores frações de componentes presentes na composição dos resíduos sólidos são de vidro (81,79%), papel e papelão (5,49%), matéria orgânica putrescível (4,60%) e de plástico (4,05%). Também, os estudos apontam a responsabilidade legal e ética dos expositores, uma vez que os mesmos devem assumir o compromisso pela geração e manejo dos resíduos sólidos gerados em seus stands. O desenvolvimento desse estudo possibilita o preenchimento de lacunas existentes no turismo, principalmente no que tange ao tema ambiental no planejamento de eventos gastronômicos. / An event (gastronomical festival) has the characteristics of a touristic enterprise consuming water, energy and goods, which generate solid residues, gas emissions and residuary water. Thus the identification of the different forms of environmental impacts resulting from that kind of festival is important so that the environmental variable can be best evaluated when planning such events. The present study aims at the evaluation of solid residues generated in a gastronomical festival which has been part of the touristic calendar for over 19 years (FESTIQUEIJO 2007, a gastronomical festival held in the town of Carlos Barbosa, in the Rio Grande do Sul state). The research initial problem came from the question: how does the generation of solid residues occur in a gastronomical festival? To find the answer to that question, the solid residues generated during the festival were characterized, all the sectors generating them during were observed directly, the conditions for handling those residues in the festival environment were identified and visitors were interviewed (825 individuals). The study on the diagnosis of solid residues generation allowed for the determination of the gravimetric composition of the residues in the event, and consequently establish management actions for the next festivals. The largest fractions of components which were present in the composition of solid residues were: glass (81.79%), paper and cardboard (5.49%) putrefiable organic matter (4.60%) and plastic (4.05%). The studies also point to the ethical and legal responsibility of the participants, once they have to find themselves responsible for the generation and the handling of solid residues coming from their stands. The development of this study allows for filling in the existing gaps in tourism, specially regarding the environmental issue while planning for gastronomical events.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-09T19:52:54Z No. of bitstreams: 1 talitasouzamagnolo.pdf: 3951913 bytes, checksum: 85343732cfccbaf6f929c32bf333341b (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-10T12:12:43Z (GMT) No. of bitstreams: 1 talitasouzamagnolo.pdf: 3951913 bytes, checksum: 85343732cfccbaf6f929c32bf333341b (MD5) / Made available in DSpace on 2018-04-10T12:12:43Z (GMT). No. of bitstreams: 1 talitasouzamagnolo.pdf: 3951913 bytes, checksum: 85343732cfccbaf6f929c32bf333341b (MD5) Previous issue date: 2018-02-08 / Esta pesquisa tem como principal objetivo compreender qual foi e como foi construída a narrativa do “III Festival de Música Popular Brasileira” de 1967, pela revista “Intervalo” da editora Abril. Contextualizou-se o período militar brasileiro (1964 – 1985), com foco nos movimentos sociais, artísticos e musicais, com o propósito de entender como, apesar da censura, violência, prisões e torturas, a música ganhou voz e espaço, especialmente, com a expansão da TV no Brasil e a criação de programas musicais. É realizado um breve retrospecto histórico sobre o início das competições musicais, bem como suas principais características artísticas e mercadológicas. O Festival de 1967 foi um dos mais importantes durante a “Era dos Festivais”, sendo considerado um momento de ruptura musical, revolução e surgimento de novas características para a música popular brasileira. Contextualizou-se o surgimento das primeiras revistas especializadas e específicas dos meios de comunicação, já que o semanário da editora Abril foi o primeiro a tratar exclusivamente de televisão no Brasil. O embasamento teórico está nos principais autores de memória, História Oral e Análise Crítica da Narrativa. Recuperou-se a biografia da revista “Intervalo” a partir de depoimentos de ex-funcionários do semanário. Por fim, através da metodologia de Análise Crítica da Narrativa, proposta por Luiz Gonzaga Motta (2013), realizou-se a análise da cobertura jornalística feita pela revista “Intervalo”. / This research has as main objective to understand what was and was constructed the narrative of the "III Festival of Popular Brazilian Music" of 1967, by the magazine "Intervalo" of the publisher Abril. The Brazilian military period (1964-1985) was focused on social, artistic and musical movements, with the purpose of understanding how, despite censorship, violence, prisons and torture, music gained a voice and space, especially with the expansion of TV in Brazil and the creation of musical programs. A brief historical retrospective on the beginning of the musical competitions, as well as its main artistic and marketing characteristics is carried out. The 1967 Festival was one of the most important during the "Festival Era", being considered a moment of musical rupture, revolution and appearance of new characteristics for Brazilian popular music. The first specialized and specific journals of the media came into being, as the publishing house Abril was the first to exclusively deal with television in Brazil. The theoretical basis is in the main authors of memory, Oral History and Critical Analysis of Narrative. Recovered the biography of the magazine "Intervalo" from testimonies of former employees of the weekly. Finally, through the methodology of Critical Analysis of Narrative, proposed by Luiz Gonzaga Motta (2013), the analysis of the journalistic coverage made by the magazine "Intervalo" was carried out.

The objective of this research is a dissertation of the history of the idealization and a wide look into the festival's history of Carijo Da Canção Gaúcha that takes place in Palmeira das Missões, in northern of Rio Grande do Sul. This dissertation will be used along with theoretical foundation and empirical research, through interviews with people who are or have been part of the festival as well as the use of documents available that can serve as a historical source for this dissertation. The theoretical foundation is based on literature related to culture, gaucho culture, as well as anthropology and research methods. Although this the oretical view is necessary, the dissertation will work in empirical research, where "voices" tell the story, facts and important moments of the festival which is the state s patrimonial because the preservation of the gaucho music. Empirical research based on interviews and searching for information in documents such as protocol, newspapers, private collections and in the actual booklet of the festival. Was the affective reactions that made me choose the object to be analyzed, and therefore, may occur some moments of brilliance and interviews. We will cover a course of Festival: Silver Jubilee, counting from the first to the twenty-fifth edition. The study is grounded in established names when referring to Gaucha Culture as Ruben Oliven, Luiz Carlos Barbosa Lessa, João Paixão Côrtes, Sandra Pesavento, and other scholars who eventually opted to analyze other subjects of this culture and also concepts related to general culture, as Roque Laraia. / O objetivo desta pesquisa é a divulgação da história de idealização e um ciclo de história do festival Carijo da Canção Gaúcha da cidade de Palmeira das Missões, no norte do Rio Grande do Sul. Será utilizado embasamento teórico juntamente com pesquisa empírica, através de entrevistas com as pessoas que fazem ou fizeram parte da realização do festival assim como utilização de documentos existentes que possam servir de fonte histórica para esta dissertação. O embasamento teórico se fundamenta em literaturas referentes a cultura, cultura gaúcha, assim como antropologia e métodos de pesquisa. Embora seja necessário este viés teórico, o trabalho se debruçará em pesquisa empírica, onde as vozes contarão a história, fatos e relembrarão momentos importantes do festival que pela sua importância na preservação da música gaúcha é patrimônio do Estado. Pesquisa empírica baseada em entrevistas e busca de informações em documentos como atas, jornais, acervos particulares e no próprio livreto do festival. Foi a aproximação afetiva que me levou a escolha do objeto a ser analisado, e, portanto, poderá ocorrer certo brilhantismo dos momentos e entrevistas. Abordaremos um ciclo de Festival: Jubileu de Prata, contando da primeira edição até a vigésima quinta. O estudo será embasado em nomes consagrados quando nos referimos à Cultura Gaúcha como Ruben Oliven, Luiz Carlos Barbosa Lessa, João Paixão Côrtes, Sandra Pesavento, entre outros estudiosos que acabaram optando por analisar outros temas dessa cultura e também conceitos relacionados a cultura em geral, como Roque Laraia.

Public diplomacy has become an integral part of international relations in the recent years. Effective communication is the key in solving international conflicts and in strengthening the partnership between nations. Building an excellent reputation of the individual country among the foreign community has no less importance. This master thesis deals with the promotion of Czech culture as an important part of public diplomacy in the US, particularly in New York, partly in Washington, DC. First and second chapter provide a theoretical framework for the following issues. Basic concept of public diplomacy is clarified there. The third chapter then presents specific players and partners whose cooperation the author deals in the fourth and fifth chapter. The fourth chapter discusses in detail the Film Festival Panorama Europe, Europe's largest film festival in New York and tries to map its promotion. This event is significant in that it is an original project of the Czech Centre New York. The Film Festival currently has a lot of partners and is held under the auspices of EUNIC. The fifth chapter presents a unique project, which has been involved in over twenty-five different players. Main theme was the freedom celebration, celebration of the 25th anniversary of Velvet Revolution. The main objective of this thesis is to analyze how players contribute in building the reputation of the Czech Republic in the USA and how they promote their activities. Everything is based on case studies.

This thesis focuses on marketing activities of the classical music festival Dvořák's Prague. Its goal is to analyze the advertising and other marketing activities of Dvořák's Prague in detail. On these bases recommendations on how to increase the knowledge of the festival will be proposed. The thesis is divided into two parts. In the first part the thesis focuses on theoretical points related to marketing ín general and to the arts, which are the subject of the festival. Then the concept of the market research is defined, its process and methods. In the second part, theoretical points are applied. After the introduction of the festival itself, the thesis continues with the analysis of particular marketing activities and with the marketing research, which was conducted to discover the public knowledge and awareness of the festival. In the final part the findings from the analyses of marketing activities and results of the marketing research will be used to propose possible improvements in marketing campaign to increase the public awareness of the festival.

Diplomová práce je věnována aplikaci metod a nástrojů projektového řízení v rámci projektu “You2ber Life!”. Kapitola 1 studovala teoretické základy projektového řízení a jeho metod. Kapitola 2 hodnotí (současná situace, udržitelnost události, konkurenci a shrnutí poznatků získaných pro zlepšení v příštích letech). Kapitola 3 simuluje (finanční analýzu a návrh rozpočtu), definuje (cíl SMART, WBS a řízení času pomocí Ganttova diagramu), vysvětluje (význam lidských zdrojů při řízení projektů), objasňuje (význam lidských zdrojů při řízení projektů), vyhodnocuje (rizika) a skládá se z návrhů platných pro projekt “You2ber Life!”. Nicméně, po úpravách může být použita i v příštích letech.

The purpose of this study is to explain the process of designing the architecture of StrangeSpaces, an itinerant festival for transcultural performing arts groups or artists which starts from the original idea and terminates with the description of a possible structure. The process of designing StrangeSpaces is based on an investigation on the transcultural performing art’s field and on conversations with experts, which together transformed the original general idea of a festival, into the specific architecture of the StrangeSpaces festival. The investigation resulted in a personal definition of ”transcultural performing arts”, that subsequently led to the identifications of three elements of transculturalism which define the festival’s goals as ”encounter with the other” in multiples and different yet equal levels. Another result of this investigation is the contextualization of StrangeSpaces in the contemporary international cultural politics. In fact, the transcultural encounter and exchange can be viewed as a possible response to the increasing need of sustainable international performing art in local, national and European cultural communities. The conversations with experts in the field of international performing arts complemented the investigation, contributing to the ideological principles of StrangeSpaces, such as anti-racism and anti-colonialism, as well as to a model of democratic and sustainable design, in which multilingualism and cosmopolitan aspects of the society are essential cues. The result of the study is a design of the architecture of three versions of StrangeSpaces, an itinerant transcultural performing arts festival that is born to be a space, a free place where people play, exchange roles, art, experience starting from their own culture, but reaching and reflecting into the other, mirroring a society of sustainable diversity.

This BA thesis studies Göteborg Film Festival from a feminist theoretical perspective. It examines how the festival responds to recent efforts of working towards gender equality in the film industry. Through an interview with Göteborg Film Festivals Artistic Director topics on gender equality, representation and initiatives on gender equality reforms are discussed and analysed with the help from literature in film festival studies, film studies and feminist studies alongside other printed materials such as the festival´s website, press releases and interviews. The thesis also examines the festival´s way of marketing itself during their 5050 Vision initiative. It further discusses how the festival’s work with gender equality and inclusion could at the same time be consolidating a normative social order in society. The thesis concludes that Göteborg Film Festival is a progressive festival with regards to its work towards gender equality. Measures include attempts towards a more gender balanced film festival programming as well as hosting seminars and summits discussing gender equality in the festival sector and in film production. Although Göteborg Film Festival has not yet achieved gender equality, it provides a role model for how festivals can take a stand in a contested cultural arena.