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El presente trabajo tiene como finalidad proponer un modelo de negocio viable, basado en un enfoque innovador y competitivo para cubrir aquellas necesidades desatendidas en el mercado actual. La investigación de este proyecto se realizó por el interés de ofrecer una experiencia única a través de la realización de full days dirigidos a turistas que buscan nuevas aventuras culturales y gastronómicas en la ciudad de Lima. Esto permitió identificar rutas conocidas pero no experimentadas bajo un enfoque vivencial, permitiendo al turista participar en la preparación de platos típicos. Este concepto se enfocará en la población millennial en Lima metropolitana que se encuentren entre las edades de 25 a 39 años y con un nivel socioeconómico B, los cuales suman un mercado disponible de 5143 personas aproximadamente. Se necesitarán S/109,623 para financiar el proyecto y disponer de fondos suficientes para las actividades de los primeros 2 años que serán la etapa de introducción al mercado, este monto será cubierto por los emprendedores en un 55% ofreciéndoles un costo de oportunidad de capital del 16.03% y el dinero restante obtenido de capitales externos ofreciéndoles una tasa del 12% por su inversión a 4 años. Se tiene la certeza de la viabilidad del proyecto debido a que fue sometido a diferentes pruebas de sensibilidad donde resultó con una rentabilidad positiva incluso en un escenario pesimista. / The purpose of this work is to propose a viable business model, based on an innovative and competitive approach to cover unmet needs in the current market. The investigation of this project has been carried out through the completion of full days aimed at tourists seeking new cultural and gastronomic adventures in the city of Lima. This allowed us to identify well-known routes that have not been experienced under an experiential approach, granting the tourists to participate in the preparation of typical dishes. This concept will focus on the millennial population in Metropolitan Lima who are between the ages of 25 to 39 years old and with a socioeconomic B level, making a total of 5143 people approximately of available market. S / 109,623 will be needed to finance the project and to have enough funds for the activities of the first 2 years for the installation of the introduction in the market, this amount will be covered by the entrepreneurs with a 55% of the total, offering them an opportunity cost of capital of 16.03% and the remaining money obtained from external capitals offering a rate of 12% for their investment to 4 years. The feasibility of the project is certain due to the fact that it underwent different sensitivity tests where it resulted in a positive return even in a pessimistic scenario. / Trabajo de investigación

Hector Berlioz (1803-1869) a effectué deux séries de concerts en Russie (en 1847 et 1867-1868, à Moscou et Saint-Pétersbourg). Le compositeur français lui-même considérait ces tournées comme les plus grands triomphes de sa carrière. Cette image d’un accueil massivement positif de Berlioz en Russie, fondée principalement sur les témoignages du compositeur lui-même, reste encore peu étudiée car les sources russes sont difficilement accessibles. La présente thèse a donc pour objectif de reconstituer l’histoire des relations entre Berlioz et la Russie, du vivant du compositeur, pour mieux comprendre les raisons de son succès. Grâce à des documents conservés dans les archives russes et jusqu’alors inédits – des articles de presse, des affiches, des dossiers administratifs, de la correspondance (dont trois nouvelles lettres de Berlioz) – nous présentons un récit plus nuancé des rapports entre Berlioz et la Russie. Ce travail est présenté sous trois angles : 1. La réception critique de Berlioz par la presse russe (environ 360 articles, publiés entre 1833 et 1869) et le rôle de cette dernière dans la formation de l’image de Berlioz ; 2. La pratique d’exécution des œuvres de Berlioz en Russie, aussi bien lors de ses visites qu’en son absence (y compris de nouveaux détails sur l’organisation de ses tournées) ; 3. Les contacts de Berlioz avec différents musiciens russes, comme M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov et M. Balakirev ; la dédicace de la Symphonie fantastique au tsar Nicolas Ier ; les arrangements par Berlioz de deux œuvres de D. Bortnânskij. Cette étude permet de mieux comprendre les relations artistiques entre la France et la Russie au XIXe siècle, mais également l’importance de Berlioz pour la culture et la musique russes. / French composer Hector Berlioz (1803-1869) organized two series of concerts in Russia (in 1847 and 1867-1868, in both Moscow and St. Petersburg). The musician himself considered these tours as the greatest triumphs of his career. This image of a massively positive reception of Berlioz in Russia – based primarily on his own accounts – has been little studied due to the inaccessibility of Russian sources. The goal of the present thesis is therefore to reconstruct the history of the relationship between Berlioz and Russia during the composer's lifetime, in order to better understand the reasons for his success. Drawing on unpublished documents from the Russian archives – press, posters, administrative files, correspondence (including three new letters from Berlioz) – we present a more nuanced account of the relationship between Berlioz and Russia. This theme is approached from three perspectives: 1. The critical reception of Berlioz in the Russian press (about 360 articles, published between 1833 and 1869) and the role of the press in the formation of Berlioz's image; 2. The performance of Berlioz's works in Russia, both during his visits and in his absence (with new details about the organization of his concert tours); 3. Berlioz's contacts with several Russian musicians, including M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov and M. Balakirev; his dedication of the Symphonie fantastique to tsar Nicholas I; his arrangements of two works by D. Bortnanskij. This study helps to better understand artistic relations between France and Russia in the 19th century, but also Berlioz's importance for Russian culture and music.

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After dissolving of USSR in 1991 and establishing of capitalistic economic model trade volume between Taiwan and post-Soviet countries has been continuously growing throughout recent 20 years. Economy between Taiwan and Russia and others former Soviet countries stimulates close cooperation, including establishing of joint ventures, procurement, negotiations, which means mutual visiting. Businessmen come to Taiwan into two different ways: groups and individual businessmen (according to my experience, 2 people). First type: some tour agencies, which provide tours for tourists groups and organizing trips for different kinds of delegations. Second type: individual businessmen who comes to Taiwan for 3-5 days. Their plan includes: visiting exhibitions/companies/ factories and after that (or during that time) explore Taiwan: get basic consultations about implementing business, visiting night market, shopping etc. Such individual businessmen hire Russian-speaking translator, who lives in Taiwan and accompany them during visit. They have limited budget (because it is only 2 people), prefer not connect with agencies (language barriers, budget and trust), but find translators through recommendation from TAITRA (Taiwan External Trade Development Council - Russian branch), other businessmen, web-sites (Facebook, Twitter). Unfortunately, often they can find only students, who provide low-level service. Collaborations are spontaneous, not well-organized and not systematic. My target audience is the second type. A niche market opportunity exists in organizing systematic tours for individual businessmen. The uniqueness of the project is organizing tours focusing on business prospective, clients’ oriented service.

This dissertation examines the effect of podcast tours on park visitor experiences. Podcast tours have emerged as a new medium in facilitating the interaction between tourists and destinations. Providing visitors with enhanced experiences through the use of interpretive technologies is especially important for national parks dealing with enhancing visitors' experiences which may influence visitors' perception of environmental stewardship and, in turn, positively affect preserving environmental resources. Furthermore, there has been a noticeable increase in consumer demand for podcast tours. Based on theoretical accounts that human voices convey rich social information, this dissertation proposes that podcast tours enhance perceived social presence and mindfulness which leads to enhanced tourist experiences (learning, enjoyment, and escape) and environmental stewardship (attitudinal and behavioral stewardship). A field experiment was conducted at Padre Island National Seashore using MP3 players containing podcast tours. The podcasts were manipulated using four experimental conditions: 2 information source compositions (single narrator voice vs. multiple narrator voices) x 2 narrating styles (formal style vs. conversational style). The questionnaire administered to subjects after they took the podcast tour included measures of social presence, mindfulness, tourist experience (learning, enjoyment, and escape), and stewardship (attitudinal and behavioral stewardship). The pre-questionnaire included question items regarding the nature of the visit, visitor characteristics, technology usage behavior, audio tour evaluation and socio-demographics. Responses from 221 visitors were analyzed using structural equation modeling with LISREL 8.7. The results provide evidence that multiple voices, and to some extent also narration style, positively increase social presence but neither experimental condition had any influence on mindfulness. The increased feeling of social presence influences park visitors' enjoyment and escape experiences but not learning. Mindfulness was found to affect visitors' learning, enjoyment, and escape experience. The results further show that enhanced experiences positively influence attitudinal stewardship which in turn leads to behavioral stewardship toward national parks. The results of this dissertation generally support the theoretical model suggesting that even if communicated through audio-only media, the human voice creates and sustains a positive social context for meaningful interaction which influences tourist experiences and stewardship. Mindfulness was also found to be an important construct impacting the quality of visitor experiences but could not be explained by the specific podcast tour designs tested. From a practical perspective, the findings provide important insights regarding the usefulness of podcast tours as interpretative media, and also suggest that specific designs are more capable of fostering feelings of social presence.

Thèse de doctorat : Histoire : Tours : 2008. / Titre provenant de l'écran-titre.

M. Tech. Tourism and Hospitality Management / The focus of this study was to determine tourists' preferences of the content of packaged tours in the Mahikeng area. Packaged tours are designed without really knowing whether such tours will be purchased. The preferences of tourists differ in terms of all the components of tourism incorporated into packaged tours. Preferences can be influenced by the reasons of travelling. Tour operators play a significant role in designing and selling tourism packages. It is therefore crucial for them to recognise the preferences of current and potential customers. Knowing tourists' preferences before crafting tour packages will enable tour operators to save money and will also contribute to the successful selling of packaged tours.

Texte remanié de: Diss.--Philosophische Fakultät--München--Ludwig-Maximilians-Universität, 1986.

This thesis examines representations of solitary confinement at four penal history museums in the province of Ontario, Canada: the Olde Gaol Museum in Lindsay, the L’Orignal Old Jail in L’Orignal, the Peel Art Gallery Museum and Archives in Brampton, and Kingston Penitentiary in Kingston. Engaging with Brown’s (2009) theory of “penal spectatorship” and Cohen’s (2001) work on states of denial, I investigate how these representations of solitary confinement challenge and/or reinforce the idea that segregation is a necessary practice in operational carceral institutions. I identify three dominant themes. The first theme is who ends up in solitary confinement and why. The museums justify the necessity of solitary confinement by emphasizing its usefulness in neutralizing dangerous and unpredictable prisoners, along with its supposed ability to promote prisoner protection and the management of mental health needs. The second theme pertains to the duration prisoners spend in solitary confinement and the conditions they experience. The museums do not problematize prisoners’ length of stay in solitary confinement, nor the conditions of the cells in which they are held, rather historical penal discourses are used to demonstrate improvements over time, without problematizing its present uses. The third theme arising from my analysis concerns the impacts of solitary confinement on prisoners. The museums emphasize the positive effects that solitary confinement can have on prisoners such as providing the opportunity for contemplation, while information on the negative effects of isolation including exacerbating or triggering mental health issues are largely absent. Taking these findings into consideration, I argue that the penal history museums I examined foster social distance between visitors and those in conflict with the law by legitimating the exclusion of the latter, while reinforcing the idea that solitary confinement is a necessary practice in carceral institutions today. .