The traditional Indonesian art of Reog Ponorogo has existed for more than 1000 years and is widely known by various nations in the world, recognized by UNESCO. This art is dubbed the largest mask dance in the world, where the main performer relies on physical strength to shake a large mask or peacock, which on average weighs up to 75 kg, but if there is a spectator sitting on the head of the peacock, the total weight can reach 150-170 kg. kg, there is a secret strength - the strength that exists in the player to become strong. There are even players who swallow glass, razor blades, rice grains, eat grass, or swallow live venomous snakes. This book will reveal the secret of the greatness of the Reog Ponorogo players.
This is a critical introduction to the relations between tourism, tourists, and tourism spaces. It fuses economic and cultural perspectives to explain how tourism is dependent on place and space, while at the same time as defining those places and spaces. Examining different levels of scale - from local to global - Tourism and Tourism Spaces is informed by the discussion of three key processes: - production and consumption of tourist spaces - consumption and commodification of tourist experiences - construction and reconstruction of tourist spaces Each chapter engages with different theoretical perspectives; is illustrated with comparative examples and case studies; uses tables, boxes and figures throughout; and concludes with a summary. An integrated and systematic review of a range of theoretical positions - that integrates economic and cultural - Tourism and Tourism Spaces will be a key resource for students of geography, sociology, management studies, hospitality studies, and leisure studies.
This book is a timely go-to resource for any professionals wishing to communicate with the growing number of readers whose first language is not English. It highlights the potential language difficulties these readers face, and provides guidelines and tools for overcoming them. The guidelines show how to convey complicated information clearly without affecting the integrity of the subject matter, while the practical ‘before’ and ‘after’ examples clearly illustrate how using these guidelines and improves scientific texts. The book also includes text evaluation tools that allow writers to rapidly assess the readability of their materials. It is based on theory and the authors’ extensive experience in producing highly readable English texts for L2 readers who struggle with materials that were originally prepared for L1 readers.
Die 3. aktualisierte Auflage der Wiley Encyclopedia of Management umfasst nun 13 Bände und einen eigenen Index-Band. Dieses erste internationale Nachschlagewerk bietet neben Kurzeinträgen zu Schlüsselbegriffen auch übersichtliche Essays zu bahnbrechenden Entwicklungen und aktuellen Diskussionen sowie ausgeklügelte Querverweise. Mit über 30 % mehr Einträgen von über 1500 Autoren weltweit ist diese mehrbändige Enzyklopädie ein wichtiges Referenzwerk für Wissenschaftler, Studenten und Fachexperten.
This book explores the notion of an emergent class of 'death seekers' who consume the spectacle of the disaster, exploring spaces of mass death and suffering. Sites that are obliterated by disasters or tragic events are recycled and visually consumed by an international audience, creating a death seekers economy. The quest for the suffering of others has captivated the attention of many tourists, visiting sites such as concentration camps, disasters zones, abandoned prisons, and areas hit by terrorism. This compelling book will be interest to students and scholars researching dark tourism, tourist behaviour, disaster studies, cultural studies and sociology.
Popular Culture: An Introductory Text provides the means for a new examination of the different faces of the American character in both its historical and contemporary identities. The text is highlighted by a series of extensive introductions to various categories of popular culture and by essays that demonstrate how the methods discussed in the introductions can be applied. This volume is an exciting beginning for the study of the materials of everyday life that define our culture and confirm our individual senses of identity.
Popular Culture: Introductory Perspectives seeks to define pop culture by exploring the ways that it fulfills our human desire for meaning.The second edition investigates current contexts for popular culture, including the rise of the digital global village through new technology and offers up-to-date examples that connect with today's students."
Since its birth in the 1960s, the study of popular culture has come a long way in defining its object, its purpose, and its place in academe. Emerging along the margins of a scholarly establishment that initially dismissed anything popular as unworthy of serious study-trivial, formulaic, easily digestible, escapist-early practitioners of the discipline stubbornly set about creating the theoretical and methodological framework upon which a deeper understanding could be founded. Through seminal essays that document the maturation of the field as it gradually made headway toward legitimacy, Popular Culture Theory and Methodology provides students of popular culture with both the historical context and the critical apparatus required for further growth. For all its progress, the study of popular culture remains a site of healthy questioning. What exactly is popular culture? How should it be studied? What forces come together in producing, disseminating, and consuming it? Is it always conformist, or has it the power to subvert, refashion, resist, and destabilize the status quo? How does it differ from folk culture, mass culture, commercial culture? Is the line between "high" and "low" merely arbitrary? Do the popular arts have a distinctive aesthetics? This collection offers a wide range of responses to these and similar questions. Edited by Harold E. Hinds, Jr., Marilyn F. Motz, and Angela M. S. Nelson, Popular Culture Theory and Methodology charts some of the key turning points in the "culture wars" and leads us through the central debates in this fast developing discipline. Authors of the more than two dozen studies, several of which are newly published here include John Cawelti, Russel B. Nye, Ray B. Browne, Fred E. H. Schroeder, John Fiske, Lawrence Mintz, David Feldman, Roger Rollin, Harold Schechter, S. Elizabeth Bird, and Harold E. Hinds, Jr. A valuable bibliography completes the volume.
This model course aims to assist instructors in the design and delivery of Port Facility Security officer (PFSO) training courses by: Linking the knowledge required to competently perform the duties and responsibilities of a PFSO, as identified in MSC.1/Circ.1188, Guidelines on Training and Certification for Port Facility Security Officers (22 May 2006), to the relevant guidance material contained in the Guide to Maritime Security and the ISPS Code, 2012 Edition; and identifying opportunities to increase the level of knowledge in certain key areas of responsibility
Americans have a long history of public arguments about taste, the uses of leisure, and what is culturally appropriate in a democracy that has a strong work ethic. Michael Kammen surveys these debates as well as our changing taste preferences, especially in the past century, and the shifting perceptions that have accompanied them. Professor Kammen shows how the post-traditional popular culture that flourished after the 1880s became full-blown mass culture after World War II, in an era of unprecedented affluence and travel. He charts the influence of advertising and opinion polling; the development of standardized products, shopping centers, and mass-marketing; the separation of youth and adult culture; the gradual repudiation of the genteel tradition; and the commercialization of organized entertainment. He stresses the significance of television in the shaping of mass culture, and of consumerism in its reconfiguration over the past two decades. Focusing on our own time, Kammen discusses the use of the fluid nature of cultural taste to enlarge audiences and increase revenues, and reveals how the public role of intellectuals and cultural critics has declined as the power of corporate sponsors and promoters has risen. As a result of this diminution of cultural authority, he says, definitive pronouncements have been replaced by divergent points of view, and there is, as well, a tendency to blur fact and fiction, reality and illusion. An important commentary on the often conflicting ways Americans have understood, defined, and talked about their changing culture in the twentieth century.
