O propósito desta pesquisa é contribuir para os estudos da cultura material popular brasileira em relação à possibilidade da existência de identidades regionais do artefato brasileiro popular, sob a ótica do design. Para tanto, foram identificados e analisados, do ponto de vista da percepção, uso e significado, determinados artefatos domésticos considerados memoráveis e notáveis em residências de famílias de origem rural no estado de São Paulo. Tendo em vista o pressuposto de que esses artefatos correspondem à materialidade presente nas memórias afetivas de uma parte significativa da população paulista, foram analisados seus atributos formais, funcionais e simbólicos relevantes e recorrentes, a fim de se identificar uma possível linguagem regional do objeto popular - documentada na forma de um glossário visual, que possa servir de referência e inspiração ao design contemporâneo preocupado com as questões acerca das identidades culturais. O método utilizado partiu de entrevistas e coleta de depoimentos informais para a caracterização dos artefatos chamados memoráveis, isto é, que participaram de vivências afetivas da infância de parte da população adulta selecionada. A partir daí, efetuou-se uma pesquisa de campo a fim de se identificar estes artefatos presentes em residências de paulistas idosos de origem rural, distribuídas por sete regiões do estado de São Paulo, de modo a compor um acervo de artefatos notáveis, fazendo uso de registros fotográficos e entrevistas semiestruturadas para a coleta de dados. Em seguida, foram analisados seus atributos formais e funcionais bem como os significados a eles atribuídos por seus usuários dentro do contexto em que estão inseridos. Como fatores determinantes na escolha do tema destacam-se: a questão da identidade no discurso do design e sua relação com as memórias afetivas e a cultura material popular; a ausência de estudos semelhantes na área do design que abordem temas usualmente discutidos em estudos das ciências sociais e que contemplem as questões pertinentes ao design de artefatos; e, finalmente, um novo objeto de interesse nos estudos folclóricos: o artefato doméstico ordinário de uso cotidiano, comumente encontrado em residências de pessoas idosas de origem rural no interior do estado de São Paulo. Ao final da pesquisa pudemos concluir que é possível caracterizar a identidade do artefato popular paulista de acordo com suas características de uso, percepção e significado, e que esta identidade está intimamente ligada à sua origem sociocultural e histórica. / The purpose of this research is to contribute to the study of popular material Brazilian culture in relation to the possibility of regional identities of the popular artifact, from the perspective of design. In order to do so, it was identified and analyzed aspects of perception, use and meaning of a number of domestic artifacts considered memorable that can be found in rural origin family homes in the state of São Paulo Considering that these artifacts correspond to the materiality present in affective memories of a significant part of São Paulo\'s population, it was analyzed their formal, functional and symbolic attributes in order to identify their language - documented in the form of a visual glossary, which can be reference and inspiration to contemporary designers concerned with cultural identities issues. The method used in this study is based on interviews and the collection of informal testimonials to characterize what we call memorable artifacts, which are objects that participated in childhood affective experiences of the selected adult population. After that, a field survey was carried out to identify these artifacts present in São Paulo residences of elderly rural origin, spread across seven regions of the state of São Paulo, through photographic records and interviews. Then, it was analyzed their formal and plastic attributes in order to identify a possible regional language of popular household objects and the meanings given to them by their users. The theme of this research results from the discussion about cultural identity in the design field and its relation with memories and material culture. Another reason for that is due to the lack of similar studies in design to address issues usually discussed in researches from the social sciences. Finally, it represents a new object of interest in the study of folklore: the ordinary household artifacts of everyday use, commonly found in elderly homes of rural origin in the state of São Paulo. At the end of this study, it was concluded that it is possible to characterize the identity of popular São Paulo artifact according to their usage characteristics, perception and meaning. In addition, it is possible to state that this identity is related to their social, cultural and historical origin.

With the shift nowadays towards an experience economy, the increased attention placed on memorable experiences and how to stage them can be viewed as a major trend which can act as a source of information regarding the stories that people share about themselves and their self-perceptions, as well as helping businesses make a step towards their guests. In this vein, rural tourism is highly consumed by people searching for these unique and memorable experiences, but the knowledge on tourists’ experiences in a rural setting are very limited. Therefore, this paper seeks to examine what memorable experiences tourists encounter in the rural setting, and more importantly, why were they memorable. In order to answer these questions, the researcher undertook a qualitative approach and in depth semi structured interviews were conducted with people who travelled in the Cluj Napoca County from Romania. The findings revealed an amalgam of experiences that people encounter in the rural setting, combined with various reasons why the experiences were considered memorable in the eyes of respondents. The main findings show how the optimal memorable tourism experience is usually comprised of several factors involving multiple experiential dimensions, and an important influence is represented by social interactions alongside positive emotions.

abstract: Wildlife endangerment and extinction is a significant and pressing issue. Environmental research notes that if humans hope to preserve wildlife, change needs to occur within the next decade. Therefore, it is important to understand the kinds of messages young adults are receiving about wildlife. This communication may affect their attitudes, beliefs, and ideals toward nature. Communication and socialization remain significant factors in cultivating environmental values in individuals. Memorable messages remain a socialization tool utilized to promote values in others. This study explores the kinds of wildlife messages and underlying values individuals receive by asking them to recall a memorable wildlife message. The study analyzed 108 memorable messages from individuals between the ages of 18-35. The study employs a content analysis to examine message content and values. The study employed sensitizing concepts, such as Stern's Value-Belief-Norm theory to examine the messages’ underlying values, such as altruism and progressivism. Results indicate messages revolve around themes of preservation, stewardship, sanctity, domestication, and complexity of conservation. Of the 108 messages, 66 messages conveyed altruistic and progressive values as defined by Stern while other messages conveyed appreciation, awareness, and dominative values. Additionally, wildlife messages were received mostly through mediated sources. Implications for parents, the media, and wildlife are explored. / Dissertation/Thesis / Masters Thesis Communication Studies 2016

O propósito desta pesquisa é contribuir para os estudos da cultura material popular brasileira em relação à possibilidade da existência de identidades regionais do artefato brasileiro popular, sob a ótica do design. Para tanto, foram identificados e analisados, do ponto de vista da percepção, uso e significado, determinados artefatos domésticos considerados memoráveis e notáveis em residências de famílias de origem rural no estado de São Paulo. Tendo em vista o pressuposto de que esses artefatos correspondem à materialidade presente nas memórias afetivas de uma parte significativa da população paulista, foram analisados seus atributos formais, funcionais e simbólicos relevantes e recorrentes, a fim de se identificar uma possível linguagem regional do objeto popular - documentada na forma de um glossário visual, que possa servir de referência e inspiração ao design contemporâneo preocupado com as questões acerca das identidades culturais. O método utilizado partiu de entrevistas e coleta de depoimentos informais para a caracterização dos artefatos chamados memoráveis, isto é, que participaram de vivências afetivas da infância de parte da população adulta selecionada. A partir daí, efetuou-se uma pesquisa de campo a fim de se identificar estes artefatos presentes em residências de paulistas idosos de origem rural, distribuídas por sete regiões do estado de São Paulo, de modo a compor um acervo de artefatos notáveis, fazendo uso de registros fotográficos e entrevistas semiestruturadas para a coleta de dados. Em seguida, foram analisados seus atributos formais e funcionais bem como os significados a eles atribuídos por seus usuários dentro do contexto em que estão inseridos. Como fatores determinantes na escolha do tema destacam-se: a questão da identidade no discurso do design e sua relação com as memórias afetivas e a cultura material popular; a ausência de estudos semelhantes na área do design que abordem temas usualmente discutidos em estudos das ciências sociais e que contemplem as questões pertinentes ao design de artefatos; e, finalmente, um novo objeto de interesse nos estudos folclóricos: o artefato doméstico ordinário de uso cotidiano, comumente encontrado em residências de pessoas idosas de origem rural no interior do estado de São Paulo. Ao final da pesquisa pudemos concluir que é possível caracterizar a identidade do artefato popular paulista de acordo com suas características de uso, percepção e significado, e que esta identidade está intimamente ligada à sua origem sociocultural e histórica. / The purpose of this research is to contribute to the study of popular material Brazilian culture in relation to the possibility of regional identities of the popular artifact, from the perspective of design. In order to do so, it was identified and analyzed aspects of perception, use and meaning of a number of domestic artifacts considered memorable that can be found in rural origin family homes in the state of São Paulo Considering that these artifacts correspond to the materiality present in affective memories of a significant part of São Paulo\'s population, it was analyzed their formal, functional and symbolic attributes in order to identify their language - documented in the form of a visual glossary, which can be reference and inspiration to contemporary designers concerned with cultural identities issues. The method used in this study is based on interviews and the collection of informal testimonials to characterize what we call memorable artifacts, which are objects that participated in childhood affective experiences of the selected adult population. After that, a field survey was carried out to identify these artifacts present in São Paulo residences of elderly rural origin, spread across seven regions of the state of São Paulo, through photographic records and interviews. Then, it was analyzed their formal and plastic attributes in order to identify a possible regional language of popular household objects and the meanings given to them by their users. The theme of this research results from the discussion about cultural identity in the design field and its relation with memories and material culture. Another reason for that is due to the lack of similar studies in design to address issues usually discussed in researches from the social sciences. Finally, it represents a new object of interest in the study of folklore: the ordinary household artifacts of everyday use, commonly found in elderly homes of rural origin in the state of São Paulo. At the end of this study, it was concluded that it is possible to characterize the identity of popular São Paulo artifact according to their usage characteristics, perception and meaning. In addition, it is possible to state that this identity is related to their social, cultural and historical origin.

Through three standalone essays, this dissertation addresses the current gap in tourism and hospitality literature on negative emotions. Existing literature prioritizes positive emotions over negative emotions (Nawijn & Biran, 2019) even though tourists experience both types of emotions in their consumption of tourism and hospitality services. Moreover, a theoretical understanding of negative emotions is not as simple as dichotomizing findings regarding positive emotions as both emotion types are theoretically distinct (Taylor, 1991) and hence, warrants further investigation. Essay 1 focuses on negative memorable tourism experiences. It employed an exploratory, mixed-methods approach towards the understanding of negative MTEs by identifying their accompanying range of negative emotions, associated contexts of occurrence and relevant emotion appraisal criteria. Data utilized included online user-generated contents crawled from Reddit.com and survey responses collected via qualitative and quantitative survey questions. Essay 2 examines tourists’ emotional and behavioral responses to different types of hotel crises. In conceptualizing how tourists react to crises, essay 2 presumed the central role of crisis typology. It built upon brand harm literature to conceptualize and validate a model that incorporated (i) negative emotions and tourist attitude as parallel mediators of the relationship between crisis typology and behavioral intentions of tourists, and (ii) Schwartz’s (2012) personal values of hedonism and universalism as potential moderators. Results of an online experiment demonstrate that both negative emotions and tourist attitude significantly influence the relationship between crisis typology and behavioral intentions; however, only universalism significantly moderated the same relationship. With essay 1 demonstrating that negative emotions are remembered and essay 2 revealing the influence of negative emotions on tourist behavior, essay 3 evaluated the efficacy of emotion regulation strategies that tourists use to manage anger and fear while vacationing. Two emotion regulation strategies – i.e. reappraisal and suppression, each of which relate to specific steps in Gross’ five-step emotion generation process (Gross, 1998) – were assessed through five online experiments utilizing video and text stimuli. The first set of experiments was conducted within the context of destination crowding and then replicated via tourist harassment. Results across both contexts are consistent. Within-subject analysis revealed the efficacy of different emotion regulation strategies in improving subjective well-being: reappraisal (vs. suppression) significantly decreased (vs. increased) the intensity of anger and fear felt. Similar outcomes are noted in assessing tourists’ behavioral tendency with reappraisal (vs. suppression) significantly moderating the relationship between anger/fear and negative word-of-mouth such that the relationship is weaker (vs. stronger). Notably, both emotion regulation strategies did not moderate the relationship between fear and revisit intention. / Tourism and Sport

Syfte: Syftet med denna uppsats är att få en djupare förståelse för vad företagen anser behövs för att upplevelser ska bli lyckade och minnesvärda. Vi vill även ta reda på vad företagen tycker utmärker en extraordinär upplevelse. Metod: Till vår uppsats har vi använt oss av en kvalitativ metod som består av semistrukturerade intervjuer, mejlintervjuer och en telefonintervju. Totalt har sex intervjuer utförts med sex olika upplevelseföretag. Slutsatser: Personal och deras bemötande är viktigt för att upplevelsen ska bli lyckad. Platsen där upplevelsen utövas har också stor betydelse och den kan utformas på ett sätt som mer eller mindre kan påverka besökarnas känslor. Upplevelserummet har en stor påverkan på helhetsintrycket. En minnesvärd upplevelse behöver involvera besökarnas känslor. Besökarna behöver känna sig delaktiga i upplevelsen och sinnena bör stimuleras för att upplevelsen ska bli minnesvärd. En extraordinär upplevelse verkar behöva innehålla de beståndsdelar som lyckade och minnesvärda upplevelser har. Den bör även vara utvecklande på ett personligt plan. / Purpose: The purpose of this thesis is to gain a deeper understanding of what companies think is needed for experiences to become successful and memorable. We would also want to know what companies think distinguishes an extraordinary experience. Methodology: For this essay we have used a qualitative method that consists of semistructured interviews, e-mail interviews and one telephone interview. In total, six interviews were conducted with six different experience companies. Conclusions: Staff and their attitude is important for the experience to be successful. The place is also very important and it can be designed in a way that more or less can affect visitors' emotions. The experience room has a large impact on the overall impression. A memorable experience need to involve visitors' emotions. Visitors need to feel part of the experience and the senses should be stimulated for the experience to be memorable. An extraordinary experience must contain the elements of a successful and a memorable experience. It should also be developing on a personal level.

There is little research on the young child's experience of the natural environment. Due to the increase in urbanisation, indoor recreation and indoor schooling many young children have become isolated from the natural environment. A love for nature and a sense of wonder in nature is being lost in the hurried childhood. This loss of access to nature impacts on the child's health and wellbeing, sense of connection and environmental literacy. This research study explores how Melbourne preschool children experience and use nature through the environments provided to them in the preschool program. The main environment is naturally the preschool play yard; however, as excursions also form part of the curriculum, the child's visit to the Royal Botanic Gardens and the Ian Potter Foundation Children's Garden forms part of this experience. Six case studies of Melburnian preschool children have been developed as a means to capture and communicate the interactions of individual children. Each of the six case studies present a child or pair of children 'in the moment,' as a snap shot of ecological learning and play behaviour and are presented as six stories, which allow the child's individual character and unique experience of nature to be expressed. Issues and behaviours evident in the children's interactions are then discussed through a framework of the seven ways of interacting in nature, which emerges from the demonstrations of these children. This information was collected using research techniques in observation; structured observations using time sampling and behaviour mapping; participating in conversations with children and collecting anecdotal observations and children's artwork. The case studies provide insight into childhood interactions with the natural environment and the levels of engagement experienced by children, with nature. The six stories, alongside topical literature, form the basis for deep discussion on the observed ways of interacting with nature.

The aim of this Master thesis was to create urban structure situated in the particular resident area of Brno city centre. The solution offers mixing of different functions (living, shopping, workshops, offices, restaurant, other services and working possibilites) on a relative small built up area.This is realized with a help of two main principes/multiplicity and verticality. The efective use of the area was achieved with dividing the space to the „calm“areas and „busy“ areas. Calm areas are a park in courtyard and the roof gardens, busy area is a new diagonál street with shops, restaurant, fastfood and galery. The objects have different height, the highest one is 12 floors tall. In the first one are different functions as kindergarten, shops, administrative, gallery, insurance, coffee, in the second one there is partly administrative and infant school. Flats and studios are designed from the second floor to the 11 floor. The 12th floor offers a coffeebar with a view of Brno dominants. There is parking and technical device space in the two underground floors. The construction system is reinforced concrete monolitic skelet with girders, the horizontal constructions are reinforced monolitic plates. The buildings are founded on reinforced concrete flaps.

The live music performance industry is growing tremendously in South Africa, with more and more international artists performing on our shores year after year. Competition is growing and various companies are beginning to identify this as a business opportunity to make money. However, managing live music performances is a complex task which involves managing various aspects (critical success factors) of the event in order to ensure that it is a success. Apart from this, visitors attend these performances hoping that their expectations will be exceeded and the performance is something which can be treasured and is worth remembering once everything is over. This is referred to as a memorable experience. In order to ensure a memorable visitor experience, it is essential for managers to be aware of what the visitors regard as important critical success factors. These are aspects that management can control and improve. Thus, the critical success factors should be implemented effectively in order to ensure that the event is memorable for visitors attending the live music performance. While various critical success factors are familiar to event organisers, they differ from event to event. Thus, the critical success factors of one event cannot be implemented at another with the same expectation of success. This is due to the heterogeneous groups of people who attend these events and who cannot be regarded as being the same, as each individual will have different expectations of the same event. Therefore, it is also important for the managers of live music performances to determine how the visitors to the different genre events regard the various critical success factors that are vital for a memorable experience. This is significant, as various music genres attract different attendees who each have their own expectations of a music genre and which may differ from those of visitors to other music genres. For example, the expectations for a memorable experience of individuals attending a classical live music performance will differ from individuals attending a rock or pop live music performance. In addition, it is also important for management to compare those critical success factors identified by the visitors to their own ideas of what is important for a successful event in order to identify any shortcomings. Thus, it was expedient to seek answers to the questions of what visitors to live music performances regard as important critical success factors as well as what the managers consider to be important for a memorable experience. Therefore, the purpose of this study was to determine the critical success factors for managing a memorable visitor experience at live music performances from both the demand and supply sides. The said factors were subsequently compared in order to establish whether any shortcomings exist. This thesis comprises three articles. Firstly, the research was conducted from a demand (visitors) side. Thus, the aim of Chapter 3 was to determine what attendees at live music performances regard as being critical success factors for different music genres so as to enhance memorable visitor experiences. Surveys were conducted at various genres of live music performances which included classical music (Il Divo), R&B (Usher), rock (Sting), blues (Michael Buble), pop (Roxette) and Afrikaans music (Steve Hofmeyr). A total of 4 110 questionnaires were administered and a general profile of the visitors in terms of the different genres was compiled. A factor analysis was subsequently performed in order to determine the critical success factors for all six genres. Thereafter, an Analysis of variance (ANOVA) was applied in order to compare the critical success factors of the various genres with one another. The results indicated significant statistical differences amongst the different music genres with regard to that which the visitors to the different live music performances regard as being important for a memorable visitor experience. Secondly, the research was conducted from a supply (managers) side and the objective of Chapter 4 was to determine what the managers consider to be important critical success factors in ensuring a memorable visitor experience at a live music performance. A qualitative research method, by means of interviews, was used to obtain the relevant information from the selected participants. All the data collected in the process were transcribed into text and presented in a narrative form. The six step method formulated by Cresswell (2009:185-189) for data analysis and interpretation was used to analyse the data. Four major themes emerged from the analysis where each theme was differentiated in terms of various categories and subcategories. This process contributed greatly towards gaining detailed information regarding the main purpose of organising a live music performance; identifying the aspects that managers consider to be important when organising a live music performance and those aspects that are important in pre-, during- and post-event planning phases as well as how managers define a memorable experience. Lastly, in Chapter 5 a comparison was performed between the demand and supply sides of live music performances in order to establish whether any differences exist amongst the aspects that management consider to be important compared to the critical success factors that the visitors regard as being important to achieve a memorable visitor experience. Both qualitative (supply side) and quantitative (demand side) research methods were implemented in this research. The results of the critical success factors drawn from the first and second articles were used to conduct this research. The results of both the demand and supply sides were subsequently compared with one another where significant differences had been identified. This was the first time that research was conducted from both the demand and supply sides within the live music performance environment. The results of this research contribute greatly to literature and to the music industry. In addition, this was also the first time that both a qualitative and a quantitative research method were applied in research conducted at live music performances and which were subsequently compared with one another. Determining the differences between the critical success factors identified contributes towards event specific education and information for current as well as future live music performance managers. Therefore, results of this research can be employed to educate and inform current and future managers in the live music performance industry regarding important aspects relating to the enhancement of the important critical success factors that contribute to a memorable experience when individuals attend a live music performance. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014

The live music performance industry is growing tremendously in South Africa, with more and more international artists performing on our shores year after year. Competition is growing and various companies are beginning to identify this as a business opportunity to make money. However, managing live music performances is a complex task which involves managing various aspects (critical success factors) of the event in order to ensure that it is a success. Apart from this, visitors attend these performances hoping that their expectations will be exceeded and the performance is something which can be treasured and is worth remembering once everything is over. This is referred to as a memorable experience. In order to ensure a memorable visitor experience, it is essential for managers to be aware of what the visitors regard as important critical success factors. These are aspects that management can control and improve. Thus, the critical success factors should be implemented effectively in order to ensure that the event is memorable for visitors attending the live music performance. While various critical success factors are familiar to event organisers, they differ from event to event. Thus, the critical success factors of one event cannot be implemented at another with the same expectation of success. This is due to the heterogeneous groups of people who attend these events and who cannot be regarded as being the same, as each individual will have different expectations of the same event. Therefore, it is also important for the managers of live music performances to determine how the visitors to the different genre events regard the various critical success factors that are vital for a memorable experience. This is significant, as various music genres attract different attendees who each have their own expectations of a music genre and which may differ from those of visitors to other music genres. For example, the expectations for a memorable experience of individuals attending a classical live music performance will differ from individuals attending a rock or pop live music performance. In addition, it is also important for management to compare those critical success factors identified by the visitors to their own ideas of what is important for a successful event in order to identify any shortcomings. Thus, it was expedient to seek answers to the questions of what visitors to live music performances regard as important critical success factors as well as what the managers consider to be important for a memorable experience. Therefore, the purpose of this study was to determine the critical success factors for managing a memorable visitor experience at live music performances from both the demand and supply sides. The said factors were subsequently compared in order to establish whether any shortcomings exist. This thesis comprises three articles. Firstly, the research was conducted from a demand (visitors) side. Thus, the aim of Chapter 3 was to determine what attendees at live music performances regard as being critical success factors for different music genres so as to enhance memorable visitor experiences. Surveys were conducted at various genres of live music performances which included classical music (Il Divo), R&B (Usher), rock (Sting), blues (Michael Buble), pop (Roxette) and Afrikaans music (Steve Hofmeyr). A total of 4 110 questionnaires were administered and a general profile of the visitors in terms of the different genres was compiled. A factor analysis was subsequently performed in order to determine the critical success factors for all six genres. Thereafter, an Analysis of variance (ANOVA) was applied in order to compare the critical success factors of the various genres with one another. The results indicated significant statistical differences amongst the different music genres with regard to that which the visitors to the different live music performances regard as being important for a memorable visitor experience. Secondly, the research was conducted from a supply (managers) side and the objective of Chapter 4 was to determine what the managers consider to be important critical success factors in ensuring a memorable visitor experience at a live music performance. A qualitative research method, by means of interviews, was used to obtain the relevant information from the selected participants. All the data collected in the process were transcribed into text and presented in a narrative form. The six step method formulated by Cresswell (2009:185-189) for data analysis and interpretation was used to analyse the data. Four major themes emerged from the analysis where each theme was differentiated in terms of various categories and subcategories. This process contributed greatly towards gaining detailed information regarding the main purpose of organising a live music performance; identifying the aspects that managers consider to be important when organising a live music performance and those aspects that are important in pre-, during- and post-event planning phases as well as how managers define a memorable experience. Lastly, in Chapter 5 a comparison was performed between the demand and supply sides of live music performances in order to establish whether any differences exist amongst the aspects that management consider to be important compared to the critical success factors that the visitors regard as being important to achieve a memorable visitor experience. Both qualitative (supply side) and quantitative (demand side) research methods were implemented in this research. The results of the critical success factors drawn from the first and second articles were used to conduct this research. The results of both the demand and supply sides were subsequently compared with one another where significant differences had been identified. This was the first time that research was conducted from both the demand and supply sides within the live music performance environment. The results of this research contribute greatly to literature and to the music industry. In addition, this was also the first time that both a qualitative and a quantitative research method were applied in research conducted at live music performances and which were subsequently compared with one another. Determining the differences between the critical success factors identified contributes towards event specific education and information for current as well as future live music performance managers. Therefore, results of this research can be employed to educate and inform current and future managers in the live music performance industry regarding important aspects relating to the enhancement of the important critical success factors that contribute to a memorable experience when individuals attend a live music performance. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014