Dissertations / Theses on the topic 'Aesthetics, Thai'

Introduction: Aesthetic surgery becomes another option of beauty. Interested Patients seeking for choices offered outside their homeland for more benefits. Thailand maybe one of those choices people is now interested in. Thai aesthetic industry may prove to be one of the most wanted destinations because of its expertise and relatively low cost with impressive service.

Problem: “How should Thailand improve its Aesthetic service attractiveness to drive its potential to the level of internationalization?”

Purpose: This thesis aim to understand Thai aesthetic surgery business and expect to conduct the idea of how to improve the attractiveness of aesthetic service in Thailand by find out international demand then analyze advantages of Thai aesthetic surgery and what can be improve to serve international customers’ demand.

Method: Primary data gathered from interviews with two doctors, two former patients and eight interested in aesthetic surgery people from different countries. Secondary data mostly came from hospitals and clinics publications, medical articles and Societies of plastic surgeons in many countries. Business Newspaper gives idea about medical care situation and news in medical care field. The theories use to analyze information are Diamond of national advantage, 7Ps, and Total perceived quality model.

Analysis and

Conclusion: International demand of aesthetic surgery is high and people tend to go have operation abroad. Four factors of diamond national advantage show advantages and 7Ps show the capability of Thai aesthetic surgery service. Explication of Thai Marketing Mix (7Ps) clarified that Thai medical care service operate with qualified doctors and service team , well equipped instruments and luxury hospitals and clinics environment . Thai aesthetic surgery also gains high reputation from foreigners especially about lower cost of surgery. Despite the good image of this industry abroad there still are areas which the customers feel inferior ,for example the level of hospitals internationalization does not reach the high standard of international hospitals. The language barrier with hospital staff and difficulties to follow up patients

Abstract

This essay will discuss why one would use a literary text such as Jane Austen’s Pride and Prejudice (1813) in a classroom. There is a certain focus on what Pride and Prejudice might have to offer both male and female students, since research has shown that boys tend to resist reading romantic novels and stories about girls. This essay attempts to show that a gender focused reading of Pride and Prejudice might make it interesting to male students as well, since the way that the unequal relationship between men and women is portrayed concerns them as well as the female students.

Regarding the reasons for using literature in the classroom, I will investigate what it is that literary texts can offer to its readers. This essay will argue that reading literature is an aesthetic experience, which is what separates literary texts from other non-literary texts. Aesthetic experiences have to do with the way student’s feel about and experience certain texts, and also with the artistic values of a text. To have an aesthetic experience is very important since the English classroom is a place where the students´ feelings and experiences normally are not given enough neither time nor space.

This essay attempts to show that by looking at stereotypical characters in Pride and Prejudice, as well as looking at what qualities in men and women were considered desirable, a very interesting discussion might arise in the classroom, concerning gender roles, and inequality between men and women. A discussion of this sort gives the students an opportunity to question the gender roles we have in today’s society, as well as the relationship between men and women.

Keywords: Literature, reading, aesthetic experience, gender, stereotypes.

The artists and writers of my dissertation -- Robert Smithson, Ed Roberson, Rodolfo Kusch, Alejandra Pizarnik, Nancy Holt, Lygia Clark, and Clarice Lispector -- teach us to feel the ground on which we stand as an earth that quakes, and this feeling implies a radical reconfiguration of our relation to the world, one which makes perception, language, art, and world otherwise. Against an aesthetics of representation, predicated on a regime of pleasurable feeling and form which neutralizes the world into an empty space filled with objects, and which I argue lingers as the hegemonic framework for the study of American literature, they offer an understanding art and literature as an embodied engagement with the weight of a world that presses in and pulls down. I call this feeling an aeisthesis of ground and offer it as a way to rethink the ethics of our relation to the world. From this trembling ground, these artists and writers struggle to make the world and our relation to it otherwise. In so doing, they contribute to the project of decolonizing the aesthetic imaginary of the Americas. They propose a different point of departure for the study of American literature, one which allows us to cultivate unlikely lines of kinship between authors and texts on both sides of the Rio Grande. Engaging the work of these authors and artists contributes to current work in the humanities which has turned to aesthetics as a way to rethink our human relation to the world in the face of our global ecological crisis. It, however, also radically departs from these efforts precisely in its point of departure, remaking this relation from the more unsteady ground of American art, letters, and life that these artists help us unfold.

Few symbols of 1950s-1960s America remain as central to our contemporary conception of Cold War culture as the iconic ranch-style suburban home. While the house took center stage in the Nixon/Khrushchev kitchen debates as a symbol of modern efficiency and capitalist values, its popularity depended largely upon its obvious appropriation of vernacular architecture from the 19th century, those California haciendas and Texas dogtrots that dotted the American west. Contractors like William Levitt modernized the historical common houses, hermetically sealing their porous construction, all while using the ranch-style roots of the dwelling to galvanize a myth of an indigenous American culture. At a moment of intense occupational bureaucracy, political uncertainty and atomized social life, the rancher gave a self-identifying white consumer base reason to believe they could master their own plot in the expansive frontier. Only one example of America’s mid-century love affair with commodified vernacular forms, the ranch-style home represents a broad effort on the part of corporate and governmental interest groups to transform the vernacular into a style that expresses a distinctly homogenous vision of American culture. “Other than a Citizen” begins with an anatomy of that transformation, and then turns to the work of four poets who sought to reclaim the vernacular from that process of standardization and use it to countermand the containment-era strategies of Cold War America.

In four chapters, I trace references to common speech and verbal expressivity in the poetry and poetic theory of Charles Olson, Robert Duncan, LeRoi Jones/Amiri Baraka and Gwendolyn Brooks, against the historical backdrop of the Free-Speech Movement and the rise of mass-culture. When poets frame nonliterary speech within the literary page, they encounter the inability of writing to capture the vital ephemerality of verbal expression. Rather than treat this limitation as an impediment, the writers in my study use the poem to dramatize the fugitivity of speech, emphasizing it as a disruptive counterpoint to the technologies of capture. Where critics such as Houston Baker interpret the vernacular strictly in terms of resistance, I take a cue from the poets and argue that the vernacular, rooted etymologically at the intersection of domestic security and enslaved margin, represents a gestalt form, capable at once of establishing centralized power and sparking minor protest. My argument also expands upon Michael North’s exploration of the influence of minstrelsy and regionalism on the development of modernist literary technique in The Dialect of Modernism. As he focuses on writers from the early 20th century, I account for the next generation, whose America was not a culturally inferior collection of immigrants but an imperial power, replete with economic, political and artistic dominance. Instead of settling for an essentially American idiom, the poets in my study saw in the vernacular not phonetic misspellings, slang terminology and fragmented syntax, but the potential to provoke and thereby frame a more ethical mode of social life, straining against the regimentation of citizenship.

My attention to the vernacular argues for an alignment among writers who have been segregated by the assumption that race and aesthetics are mutually exclusive categories. In reading these writers alongside one another, “Other than a Citizen” shows how the avant-garde concepts of projective poetics and composition by field develop out of an interest in black expressivity. Conversely, I trace black radicalism and its emphasis on sociality back to the communalism practiced at the experimental arts college in Black Mountain, North Carolina, where Olson and Duncan taught. In pressing for this connection, my work reveals the racial politics embedded within the speech-based aesthetics of the postwar era, while foregrounding the aesthetic dimension of militant protest.

Not unlike today, the popular rhetoric of the Cold War insists that to be a citizen involves defending one’s status as a rightful member of an exclusionary nation. To be other than a citizen, as the poets in my study make clear, begins with eschewing the false certainty that accompanies categorical nominalization. In promoting a model of mutually dependent participation, these poets lay the groundwork for an alternative model of civic belonging, where volition and reciprocity replace compliance and self-sufficiency. In reading their lines, we become all the more aware of the cracks that run the length of our load-bearing walls.