Thesis--PlanA (M.S.)--University of Wisconsin--Stout, 2002. / Includes bibliographical references.

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by Wong Tak Hoi. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references. / ABSTRACT --- p.ii / TABLE OF CONTENTS --- p.iii / LIST OF TABLES --- p.v / ACKNOWLEDGEMENTS --- p.vii / Chapter / Chapter I. --- INTRODUCTION --- p.1 / Chapter I.1 --- Tourist Industry in Hong Kong --- p.1 / Chapter I.2 --- Ojectives of the Project --- p.2 / Chapter I.3 --- Aspects of Segmentation Base Adopted in the Project --- p.4 / Chapter I.4 --- Overview --- p.5 / Chapter II. --- LITERATURE REVIEW --- p.6 / Chapter II.1 --- The Physical Attributes --- p.7 / Chapter II.1.A --- Geographic --- p.7 / Chapter II.1.B --- Demographic --- p.7 / Chapter II.l.C --- Socioeconomic --- p.8 / Chapter II.2 --- The Behavioral Attributes --- p.8 / Chapter II.2.A --- Psychographics and Lifestyle --- p.8 / Chapter II.2.B --- Product Usage --- p.9 / Chapter II.2.C --- Perceptions and Preferences --- p.10 / Chapter II.2.D --- Benefits --- p.10 / Chapter III. --- METHODOLOGY --- p.14 / Chapter III.1 --- Limitations --- p.16 / Chapter IV. --- PROFILE REPORTS --- p.18 / Chapter IV.1 --- Product Profile Report --- p.18 / Chapter IV.1.A --- Strengths of the Hong Kong Souvenir Cup --- p.18 / Chapter IV.1.B --- Weaknesses of the Hong Kong Souvenir Cup --- p.19 / Chapter IV.2 --- Competitive Profile Report --- p.19 / Chapter IV.3 --- Customer Profile Report --- p.20 / Chapter V. --- RESULTS --- p.21 / Chapter V.1 --- Findings and Analysis Related to the Group which Decided to Buy the Souvenir Cup as/Expected it to be Used as an Ornament --- p.21 / Chapter V.2 --- Findings and Analysis Related to the Group which Decided to Buy the Souvenir Cup for/Expected it to be Used for Drinking Tea or Coffee --- p.25 / Chapter V.3 --- Findings and Analysis Related to the Miscellaneous Group which does not Know How the Souvenir Cup is Going to be Used --- p.30 / Chapter V.4 --- General Information about the Tourists --- p.34 / Chapter VI. --- MARKETING STRATEGY --- p.37 / Chapter VI.1 --- Target Segment --- p.37 / Chapter VI.2 --- Product Strategy --- p.38 / Chapter VI.3 --- Pricing Strategy --- p.39 / Chapter VI.4 --- Distribution Strategy --- p.39 / Chapter VI.5 --- Promotional Strategy --- p.40 / Chapter VII. --- CONCLUSION --- p.42 / APPENDIX I Exploratory phase questionnaire (English version) --- p.43 / APPENDIX II Descriptive phase questionnaire (English version) --- p.46 / APPENDIX III Descriptive phase questionnaire (Chinese version) --- p.49 / APPENDIX IV Drawing of Hong Kong souvenir cup --- p.52 / BIBLIOGRAPHY --- p.53

Cette thèse de poïétique explore selon une double approche, théorique et pratique, les questions de l'origine et du métissage dans l'art. Elle s'appuie sur les œuvres d'artistes contemporains ainsi que sur des productions personnelles. Nous émettons l'hypothèse selon laquelle une réflexion sur l'origine, sur le métissage inscrit dans son corps propre mais aussi sur le métissage dans l'art, peut mettre en évidence l'altérité qui nous traverse jusque dans notre intériorité la plus intime. Dans un premier chapitre nous analysons le rouge-généalogique transmis par les générations de femmes au sein de ma famille. Puis nous explorons le rouge-blessure qui irrigue le passage du corps d'enfant à celui de femme. Enfin dans un dernier temps, nous abordons le rouge-exilique qui questionne directement le corps d'artiste. Lié à une recherche généalogique et personnelle, notre travail traite du déplacement physique, de la rupture vécue lorsque nous quittons notre pays natal jusqu'à la prise de conscience de notre corps-exilique sur le lieu d'accueil. Cette réflexion ne serait peut-être jamais née sans la question : « quelles sont vos origines ? », qui m'a un jour été posée face à mes œuvres. La question a résonné et fait écho en moi jusqu'à ce que je décide d'entreprendre un voyage à rebours parmi les souvenirs exhumés d'une collection d'objets personnels. Nous en concluons que l'artiste est toujours, de quelque manière que ce soit, un migrant et un exilé. L'artiste est celui qui, de ce flot de vie mais aussi d 'impermanence, de mélanges et de métissages, va chercher la continuité, mettre en évidence les transformations créatrices. Tous les rouges de mon œuvre, rouge-­généalogique, rouge-blessure, rouge-exilique, rouge de vie et de mort sont ainsi à l'image du plasma sanguin qui circule nous, qui nous fait vivre et dont je tire la matière transformatrice, métissée, créatrice de mon œuvre: ces rouges sont le plasma-créateur qui circule en l'artiste et préside à toute création. / This poietic thesis explores the question of origins and metissage in art using a dual approach - theoretical and practical. It is based on works of contemporary artists as well as persona! production. We forward a hypothesis, according to which, a reflection on the origin and also the metissage in art inscribed on the body, which could highlight the alterity that traverse us even in our innermost interiority. In the first chapter, we analyse the red genealogy transmitted by generations of women within my family. Later, we explore the red wound that irrigates the passage of child's body to that of a woman. And finally, in the last step we approach the exilic-red which directly questions the body of the artist. Our work is related to genealogical and persona! research deals with physical displacement, the disruption experienced when we leave our native land until the awareness about exilic body in the host land. This reflection might never arise without the following question "What is your origin?, which was once posed to me about my works. The question echoed within me until I decided to undertake a journey back to the exhumed souvenirs of a collection of persona! items. We conclude that the artist is always, in any way a migrant and an exile. The artist is the one who, in this stream of life and also in ephemeral state, in mixtures and metissage, seeks continuity and creative transformations. All the reds of my work, genealogical, wounded, exilic, red of life and death, are images of the blood plasma which circulates in us, which makes us live and from which I ex tract the transforming material -mixed and creative of my work. The reds are the creator plasma that circulates in the artist's body and presides over all creation.

Magíster en Gestión para la Globalización / De acuerdo a un famoso sitio de viajes español, skyscanner, los europeos gastan cada año US$7.304 millones en souvenirs. El negocio de los souvenirs o recuerdos, hechos para revivir de alguna manera las experiencias de los viajes y visitas, es uno de los más atractivos alrededor del mundo. Monedas souvenir es un emprendimiento familiar que trae a Chile un negocio que hoy en día opera en más de 60 países. La venta de monedas elongadas a través de máquinas especialmente diseñadas para no sólo entregar el producto sino que también la experiencia de acuñar tu propia moneda souvenir. El objetivo principal es desarrollar un plan de negocios para la comercialización en Chile de monedas elongadas; además se pretende identificar los distintos modelos de negocio que operan en USA, definir una estrategia para el ingreso de este negocio en Chile identificando cuales son los factores de éxito. Todo este desarrollo será el primer paso para poder llevar adelante el proyecto a través de distintos instrumentos de apoyo. A través de un estudio exploratorio se ahondó en los distintos modelos que actualmente operan en USA concluyendo que la venta de monedas arrendando el espacio para instalar las penny machine es el mejor modelo. Se concluye que los principales factores de éxito son entrar primero al negocio pues se generan barreras de entrada a nuevos competidores dando la posibilidad de consolidar una posición de privilegio durante algún tiempo. También la buena elección de las ubicaciones ya que por las características del producto se necesita un lugar con muy buen flujo para apelar a la compra por impulso. Otro factor es aprovechar la oportunidad de operar con una estructura organizacional liviana que permite retornos rápidos. Finalmente, se ha identificado que los resultados finales son muy sensibles a la tasa de conversión de compra de monedas, es decir, el porcentaje de personas que compra, del total de personas que pasa por el lugar. En ese sentido será importante toda acción de marketing en el punto de venta orientada a aumentar la tasa de conversión. Con una tasa de descuento del 20%, el escenario base tiene un VPN flujo de caja libre de 41,3 millones, un VPN valor terminal de 64,5 millones. La TIR flujo caja libre es de 74,3% y la TIR valor terminar es de 91,7%. Se recupera la inversión entre el 2do y 5to año dependiendo del escenario. Se concluye que la adaptación del negocio en Chile puede ser rentable y exitosa en el marco de un emprendimiento familiar.

This cultural history of paua shell jewellery redresses the lack of visibility of such objects as a significant part of 20th century New Zealand material culture and provides a basis for a more balanced interpretation beyond its stereotyping as tourist kitsch. It questions why quality paua shell jewellery made before the late 1960s failed to gain recognition with most New Zealanders until fairly recently as anything other than tourist souvenirs. Over 1,500 items of paua shell jewellery, mainly in private collections, formed the basis for this multidisciplinary research project that incorporates historical, anthropological and material culture studies approaches to write a cultural history of such jewellery. The objects were photographed and where available, their provenance recorded. A visual analysis of the items - paying attention to details of design and construction - established various, often overlapping categories that facilitated the dating and identification process. Gradually, a picture of the production of paua shell jewellery over the decades emerged. The wider socio-cultural context was then built using archival sources, various publications, conversations with one-time industry representatives, and discussions with original owners of paua shell jewellery. Interpretation of the material established multiple roles for paua shell jewellery over the decades for various groups of people. Changes over time provided insights into aspects of identity creation by New Zealanders. Until the 1920s, the shell�s main role had been as a European applied arts material and as inlay for Maori woodcarvings. Paua shell as a commercial souvenir material developed during the Depression and was shaped by the interaction between an emerging nationalism and a democratising of travel in New Zealand. Paua shell native bird brooches functioned as affordable alternatives to greenstone souvenirs for the working-class tourists that began exploring their own country. In addition to its role as emblems of nationhood in the interwar years, paua shell jewellery had meaning as souvenirs for American servicemen stationed in New Zealand during the War, and as patriotic tokens for its own population due to its association with disabled servicemen. Paua shell jewellery functioned as acknowledgement of settlement for European immigrants in the post war era, and as travel memento for trans-Tasman tourists from the mid 1950s. New Zealand girls received paua shell items as first jewellery, and women wore it as dress or costume jewellery. Until the increase of tourism in the 1960s, paua shell jewellery had existed on a number of planes. The exploitation of paua shell by the tourist industry, however, upset the balance and its dominance as souvenir forced a retreat of alternative uses. Other than as tourist souvenir, paua shell jewellery became invisible to the local population. Their withdrawal from an association with paua shell as a cultural marker of national identity explains why so many New Zealanders were uncertain about liking or disliking paua shell jewellery until recently.

This cultural history of paua shell jewellery redresses the lack of visibility of such objects as a significant part of 20th century New Zealand material culture and provides a basis for a more balanced interpretation beyond its stereotyping as tourist kitsch. It questions why quality paua shell jewellery made before the late 1960s failed to gain recognition with most New Zealanders until fairly recently as anything other than tourist souvenirs. Over 1,500 items of paua shell jewellery, mainly in private collections, formed the basis for this multidisciplinary research project that incorporates historical, anthropological and material culture studies approaches to write a cultural history of such jewellery. The objects were photographed and where available, their provenance recorded. A visual analysis of the items - paying attention to details of design and construction - established various, often overlapping categories that facilitated the dating and identification process. Gradually, a picture of the production of paua shell jewellery over the decades emerged. The wider socio-cultural context was then built using archival sources, various publications, conversations with one-time industry representatives, and discussions with original owners of paua shell jewellery. Interpretation of the material established multiple roles for paua shell jewellery over the decades for various groups of people. Changes over time provided insights into aspects of identity creation by New Zealanders. Until the 1920s, the shell�s main role had been as a European applied arts material and as inlay for Maori woodcarvings. Paua shell as a commercial souvenir material developed during the Depression and was shaped by the interaction between an emerging nationalism and a democratising of travel in New Zealand. Paua shell native bird brooches functioned as affordable alternatives to greenstone souvenirs for the working-class tourists that began exploring their own country. In addition to its role as emblems of nationhood in the interwar years, paua shell jewellery had meaning as souvenirs for American servicemen stationed in New Zealand during the War, and as patriotic tokens for its own population due to its association with disabled servicemen. Paua shell jewellery functioned as acknowledgement of settlement for European immigrants in the post war era, and as travel memento for trans-Tasman tourists from the mid 1950s. New Zealand girls received paua shell items as first jewellery, and women wore it as dress or costume jewellery. Until the increase of tourism in the 1960s, paua shell jewellery had existed on a number of planes. The exploitation of paua shell by the tourist industry, however, upset the balance and its dominance as souvenir forced a retreat of alternative uses. Other than as tourist souvenir, paua shell jewellery became invisible to the local population. Their withdrawal from an association with paua shell as a cultural marker of national identity explains why so many New Zealanders were uncertain about liking or disliking paua shell jewellery until recently.

abstract: Four Souvenirs for Violin and Piano was composed by Paul Schoenfeld (b.1947) in 1990 as a showpiece, spotlighting the virtuosity of both the violin and piano in equal measure. Each movement is a modern interpretation of a folk or popular genre, re- envisioned over intricate jazz harmonies and rhythms. The work was commissioned by violinist Lev Polyakin, who specifically requested some short pieces that could be performed in a local jazz establishment named Night Town in Cleveland, Ohio. The result is a work that is approximately fifteen minutes in length. Schoenfeld is a respected composer in the contemporary classical music community, whose Café Music (1986) for piano trio has recently become a staple of the standard chamber music repertoire. Many of his other works, however, remain in relative obscurity. It is the focus of this document to shed light on at least one other notable composition; Four Souvenirs for Violin and Piano. Among the topics to be discussed regarding this piece are a brief history behind the genesis of this composition, a structural summary of the entire work and each of its movements, and an appended practice guide based on interview and coaching sessions with the composer himself. With this project, I hope to provide a better understanding and appreciation of this work. / Dissertation/Thesis / Doctoral Dissertation Music 2015

This project offers a unique contribution to the scholarship on Jean-Paul Sartre's concept of bad faith by providing a sustained exploration of bad faith in the context of contemporary tourism. More specifically, I explore the bad faith of what I call "checklist tourism," which defines the tourist trip as a rapid succession of visits from one "must-see" site to the next, snapping photos and collecting souvenirs along the way. I argue that checklist tourism offers a safe and comfortable structure for travel that protects tourists against Sartrean anguish--that is, the experience of alienation, fear, freedom, and responsibility--that travel can sometimes evoke. This analysis contributes to the literature on bad faith in three main ways. First, I provide an extended analysis of the Sartrean spirit of seriousness, highlighting part of this concept that has thus far been underdeveloped in the scholarship. I argue that checklist tourism manifests the spirit of seriousness, which accepts the obligation of "must-see" sites and belief in the transcendent value of the material objects seen on the tour. Second, I explore the embodied bad faith of the possession and appropriation of the material world (rather than studying the possession of people, as most scholars have done), arguing that the tourist attempts to appropriate tourist sites through bodily engagement with them. Third, I develop a theory of play as authenticity, and I offer a systematic investigation of it as a rejection of the ontological bad faith project to be self-identical (i.e. to be God), and a reflective conversion to self-recovery. I then explore the character of the "post-tourist," which has been developing in the tourism literature and which represents a way of touring that rejects the seriousness of the "must-see" sites in favor of an attitude of levity, spontaneity, and playfulness. / Philosophy

This diploma thesis deals with the current use of traditional folk culture in the form of souvenirs. These are tendencies that have accompanied traditional folk culture since its extinction in the natural environment. The work will focus on these manifestations in a selected part of Prague center. It maps the range of offer souvenirs and focuses on them in relation to three key groups. Sellers, tourists and residence of Prague. In conclusion, the work tries to address the issue in an applied way, by designing its own part of the concept of traditional folk souvenirs, which are inspired by regional specifics. From a theoretical point of view, the work pay attentetion to the very source of inspiration for this type of souvenirs, the theories that are associated with traditional folk souvenirs and a selected ethnographic region.