Dissertations / Theses on the topic 'Cross-cultural aesthetics and concepts'

The current Japanese counseling profession is in the process of reforming and uniting the system and training together for counseling and related professions. Supervision is one of significant training piece in this profession; however, its familiarity among Japanese counseling professionals is very unclear. This study explored how Japanese counseling professionals conceptualize the ideal figure of a clinical supervisor based on the identified fundamental elements of clinical supervision in the US. The preliminary analysis indicates that each aspect of the U.S. clinical supervision models might be adoptable to Japanese counseling professionals. Yet the small sample size does not confirm the conceptual framework of the ideal clinical supervisor for Japanese counseling professionals, the main analysis indicated an alternative culturally appropriate conceptual framework. Further research embracing Japanese cultural characteristics and sound ethical manner in the professional counseling and supervisory relationship would enrich the clinical supervision in Japan.

This thesis engages with aspects of Witi Ihimaera's oeuvre that demonstrate influences from cultures other than Maori. These may be overt in the fiction, such as plot settings in Venice, Vietnam and Canada, or implicit in his writing mode and style, influenced by English romanticism, Pakeha cultural nationalism, Katherine Mansfield's modernist epiphanies, and Italian verismo opera. In revealing Ihimaera's indebtedness to cultural and aesthetic influences commonly seen as irrelevant to contemporary Maori literature, this thesis reveals a depth and richness in Ihimaera's imaginary that is frequently overlooked and undervalued in New Zealand literary interpretation. Illuminating cross-cultural influence in Ihimaera's works calls into question the applicability of biculturalism as a comprehensive manner of accounting for both Maori cultural ambitions of self-determination and the Maori relationship with Pakeha on the national level. Far from an "us-versus-them" dialectic based on a separatist notion of two individually self-sufficient and complete cultures, Ihimaera's fiction shows Maori culture to have been shaped by a long history of interaction and influence with the colonial British and the Pakeha. This is manifest in the way that the Maori sovereignty and renaissance movements, which gathered force in the 1970s, have been inspired by European concepts of modernity, the structures of nation building and, more recently, by Western globalization described in the theories of transculturation and diaspora. Similarly, in New Zealand literature, Maori writing is commonly considered a parallel genre which describes a distinctive Maori worldview and literary style. Contrary to the familiar interpretation of Ihimaera's fiction from this standpoint, this thesis argues that an emphasis on difference tends to lose sight of fiction's capacity to bring into play issues of differentiation, originality and hybridity through its very form and function. In effect, Maori negotiation of its sovereign space in its literature takes place in its forms rather than in its storyline, for example in multiple linguistic significations, in the text's unstable relationship with reality, and the way that imagery escapes concrete, definitive explanation. In this optic, this thesis analyses little-discussed aspects of Ihimaera's fiction, including his love of opera, the extravagance of his baroque lyricism, his exploration of the science-fiction genre, and his increasing interest in taking Maori into the international arena. While reading against the grain of current New Zealand literary practice, this thesis does not intend to contest such reading. Rather, it endeavours to present an additional, complementary analytical framework, based on a conviction that contemporary Maori-Pakeha cultural and literary negotiation and contestation is far from unique, but a local manifestation of other international and historical efforts for recognition and respect.

Made available in DSpace on 2016-07-27T13:52:33Z (GMT). No. of bitstreams: 1 LUZANIR LUIZA DE MOURA PEIXOTO.pdf: 2557039 bytes, checksum: bf64c150e9a549f58da8273cf2790866 (MD5) Previous issue date: 2011-09-15<br>The current study had as a investigative focus the learning of the concept of aesthetics on the perspective of historical-cultural theory, especially based on the contributions of V. Davydov s developmental teaching theory. This research privileged a form of a teaching organization of an art content, in addition to conventional teaching procedures, would contribute to the formation of theoretical thinking, combining ownership of content required for formation of the aesthetics concept with the development of related intellectual capacities. With this intention, the investigative proposal was directed to research the following questions: How does the teaching of visual arts can be organized so that student learning results in the formation of concepts? Working on the concept of aesthetic theory and cultural history? What are the advantages and difficulties in implementing this type of teaching organization? The research objectives were: to investigate and analyze the application of the methodology proposed by Davydov for learning the aesthetics concept; organize the teaching of visual arts to a class of 3rd year of high school in order teach the aesthetics concept, identifying the advantages and difficulties of implementing Davydov s proposal considering the context of a public High School. The survey consisted on the implementation and monitoring of an didactic training experiment. Data were collected through an observation of teachers and students activities during the execution of the teaching experiment, with reference on the teaching plan developed from the perspective of cultural historical theory. Besides the observation of classes, we used semi-structured interview with the teacher of the class, document analysis and focus groups with students. The research subjects were the art teacher and students from the 3rd class in high school. In the development of the experiment were systematically evaluated the effects of teaching procedures carried out in the promotion and expansion of the students mental processes, especially the ownership / internalization of concepts, the mental domain actions that correspond to it, the development of logical thought procedures and the ability to apply more general concepts to particular situations. The results point to the real possibility of using the methodology of teaching art that, based on content, values the students intellectual capacities formation. The main contribution of this research was to show what is possible in developmental teaching, that students learn more effectively in the arts content, particularly as regards the formation concepts, but the teacher must attend to the contradictions that surround her achievement. It is believed that their results are also useful to all who care about the issue of teaching art.<br>O presente estudo teve como foco investigativo a aprendizagem do conceito de estética na perspectiva da teoria histórico-cultural, especialmente com base nas contribuições da teoria do ensino desenvolvimental de V. Davydov. A pesquisa privilegiou uma forma da organização do ensino de um conteúdo de arte que, para além dos procedimentos didáticos convencionais, viesse contribuir para a formação do pensamento teórico do conceito de estética pelos alunos. A proposta de investigação foi direcionada para as seguintes indagações: De que modo o ensino de artes visuais pode ser organizado para que a aprendizagem dos alunos resulte em formação de conceitos? Como trabalhar o conceito de estética na Teoria histórico-cultural? Quais as vantagens e dificuldades na concretização desse tipo de organização do ensino? Os objetivos da pesquisa foram: investigar e analisar a aplicação da metodologia proposta por Davydov para a aprendizagem do conceito de estética; organizar o ensino de artes visuais para uma turma do 3º ano do Ensino Médio tendo em vista a aprendizagem do conceito de estética; identificar as vantagens e dificuldades da proposta de Davydov considerando o contexto de uma escola pública de Médio. A pesquisa consistiu na realização e acompanhamento de um experimento didático-formativo. Os dados foram coletados por meio de observação da atividade do professor e dos alunos no decorrer da realização do experimento didático. Além da observação das aulas, foi utilizada a entrevista semi-estruturada com o professor da classe, a análise de documentos e o grupo focal com os alunos. Os sujeitos da pesquisa foram o professor de arte e os alunos de uma turma de 3º ano do ensino médio. A análise focou efeitos dos procedimentos de ensino na promoção e ampliação dos processos mentais dos alunos, especialmente, quanto à apropriação/interiorização do conceito de estética. Os resultados mostram a possibilidade do ensino do conteúdo de estética como conceito a ser formado pelos alunos. A principal contribuição da pesquisa foi revelar as contradições que se apresentam no ensino desenvolvimental no contexto concreto da escola. Acredita-se que seus resultados são úteis também a todos que se preocupam com o tema da didática de artes.

Purpose. The purpose of this study was to investigate an instrument, the Cross-cultural Understandings in Multicultural Education (CUME) Assessment, which was devised to measure third grade students' understandings of selected crosscultural/ multicultural concepts. These concepts were derived from a cultural anthropological perspective of human similarities and differences. Procedures. The study examined the reliability and validity of the CUME Assessment, a multiple-choice, domain referenced test consisting of twenty-one items based on seven instructional objectives. Third grade students, whose teachers indicated on a Teacher Questionnaire having taught these objectives as a part of the formal curriculum, were assessed. Three instruments were administered to this group (N = 100): the CUME Assessment, the Student Interview, and People Pictures, an instrument devised to measure attitudes toward foreign peoples. The CUME Assessment was examined and evaluated by a group of educational experts. Additionally, a quasi-experimental design was used to compare the CUME scores of the treatment group with those of a control group selected on the basis of the Teacher Questionnaire. Data were analyzed using both descriptive statistics and inferential statistics. Findings. Analysis of the data established adequate reliability for the CUME Assessment. Expert evaluation of the item-objective congruence of the CUME yielded moderate to high mean scores for all subtests. The total scores of the Student Interview and the CUME Assessment were moderately correlated and significant (p Conclusions. A moderately high degree of content validity of the CUME Assessment was established. The investigation indicated adequate support for the reliability, construct validity and the concurrent validity of the assessment. Recommendations. The CUME Assessment may be justifiably, but cautiously, utilized by educators to assess third grade students. It is an efficiently administered instrument which evaluates the quality of curriculum and instruction.

Research on aesthetic perception of dance has been recently generating considerable interest within the field of Psychology of Aesthetics. There are, however, a number of methodological and conceptual gaps in our knowledge such as the application of the method of production, as well as understanding the role of motion smoothness, synchronous movement, and cultural factors in aesthetic perception. The present basic research addresses those gaps through five psychological experiments. In study 1, participants generated static sequences of images according their preference. Smooth continuation of meaningful objects was preferred when considering implied motion. In study 2, participants sorted images into moving sequences that they would like to see. Participants liked movements with smooth motion. In study 3, participants rated different schematic video animations depicting two dancers. Participants preferred smooth movements preformed in synchrony. In study 4, participants rated video animations depicting different types of motion performed by human body or abstract shapes. Participants preferred smooth synchrony. In study 5, British and Japanese participants watched synchronous and asynchronous actual dance video clips, rated the videos according their aesthetic judgement and answered questionnaires about motivations and individualism/collectivism. British participants preferred asynchronous dance while Japanese participants preferred synchronous dance. Studies 1 and 2 applied the method of production for the first time to study aesthetic preference for human movement, studies 1 to 4 support the neurocognitive model of aesthetic appreciation in the performing arts. Study 5 supports our cultural hypothesis: British participants preferred asynchrony (in line with analytical perceptual style, Western focus on individual movements), whereas Japanese participants preferred synchrony (holistic style, Eastern focus on group movement). Convergence between the neurocognitive model and the cultural hypothesis is discussed. The present research opens new lines of research in perception of human movement and performing arts: the method of production, motion smoothness, synchrony, and cross-cultural aesthetics.

This PhD consists of an artistic work (an album of music) and an exegesis. The album contains eleven works for a variety of ensembles, including an eight-piece pop fusion group, a string quartet, an eleven-piece a cappella ensemble, a five-piece contemporary classical ensemble and a six-piece percussion ensemble. Each of these works embraces a blend of African and Western techniques and aesthetics. These works are the result of a compositional praxis which is closely integrated with a theoretical framework that I develop in the exegesis. The purpose of the exegesis is to provide a framework from which to understand the compositions. Perspectives such as postcolonialism are immediately engaged because of the fact that two distinct world cultures are referenced by these compositions. Similarly, the musical aesthetics of the two source cultures are examined because I need to understand the ways that the value systems are expressed in musical terms, and how they might interact in cross-cultural composition. Examination of the literature reveals that there has been a trend in recent decades towards cultural analysis of cross-cultural music but very little work has been done on the technical analysis of such works (Utz 2003). A preliminary list of issues is developed from a survey of ten relevant composers’ works and these issues are categorised into three analytic dimensions: the contextual (cultural), aesthetic and technical. African “musics” and musical cultures are discussed with regard to issues of Western interpretation (Agawu 2003) and appropriate representation, social and cultural preferences and aesthetic values. Likewise Western musical culture is examined in order to understand its colonial impact, its stylistic consistency and ideas that have emerged about aesthetic preferences and the interpretation of meaning (Cone 1972; Kivy 2001). Four frameworks are developed to address each of these analytical dimensions. The first deals with cultural identity and the appropriation of musical ideas, the second with the sensitivity of certain materials. The third framework enables the examination of the aesthetic preferences for each of the cultures involved and the fourth framework provides a taxonomy and vocabulary of terms for use in analysis of the structural and other technical features of cross-cultural Western/African musics. These four frameworks are applied to the eleven compositions that I have completed for this project. I identify distinct approaches to appropriation, aesthetic preferences, the predominance of rhythmic structure and the performative embodiment and narrative transformational processes in my compositions. I conclude by categorising the technical and stylistic preferences embodied in my work, and identifying possible future directions for my compositions and the development of the analytical frameworks.

Der Beitrag formuliert Gemeinsamkeiten und Unterschiede zwischen einem musikdidaktischen Konzept „Aufbauender Musikunterricht“ und einem als „Musikpraxen erfahren“ konkretisierten Konzept ästhetischer und kultureller Bildung. In vier Abschnitten werden (1) Gemeinsamkeiten, (2) Populäre Musik in „Aufbauendem Musikunterricht“ und „Musikpraxen erfahren“, (3) Musikbegriffe sowie (4) Einwände und Erwiderungen dargestellt. Im vierten Teil werden in dialogischer Form das Verhältnis von schulischen Lernsituationen und musikalischer Erfahrung, die jeweilige Normativität des musikpädagogischen Musikbegriffs, die jeweilige Sach- und Schülerorientierung, das Verhältnis von instruktiven und offenen Lehr-Lernsituationen und Konzepte für einen roten Faden im Musikunterricht reflektiert. Das jeweilige Verständnis von dem, was unter Musik verstanden wird, erweist sich als folgenreich für das musikdidaktische Konzept<br>The article deals with similarities and differences between a music teaching concept "Music teaching step by step" and an alternative one which is specified as a concept of aesthetic and cultural education known as "Experiencing musical practices". Topics are exposed in four sections: (1) common positions, (2) the role of popular music within "Music teaching step by step" as well as within "Experiencing musical practices", (3) what does "music" mean? and (4) objections and replies. The fourth section is presenting a dialogue, dealing with the relation between learning situations in the classroom and musical experience, as well as with the specific normativity of the music teaching concepts. Moreover, this chapter is asking, if the concepts are appropriate to the subject's and to the pupil's needs and if these concepts take into account the ratio of instructive teaching versus open teaching-learning situations as tools to increase the learning outcomes. The particular understanding of what we mean by "music" is seen to be crucial for music teaching concepts

Der Beitrag formuliert Gemeinsamkeiten und Unterschiede zwischen einem musikdidaktischen Konzept „Aufbauender Musikunterricht“ und einem als „Musikpraxen erfahren“ konkretisierten Konzept ästhetischer und kultureller Bildung. In vier Abschnitten werden (1) Gemeinsamkeiten, (2) Populäre Musik in „Aufbauendem Musikunterricht“ und „Musikpraxen erfahren“, (3) Musikbegriffe sowie (4) Einwände und Erwiderungen dargestellt. Im vierten Teil werden in dialogischer Form das Verhältnis von schulischen Lernsituationen und musikalischer Erfahrung, die jeweilige Normativität des musikpädagogischen Musikbegriffs, die jeweilige Sach- und Schülerorientierung, das Verhältnis von instruktiven und offenen Lehr-Lernsituationen und Konzepte für einen roten Faden im Musikunterricht reflektiert. Das jeweilige Verständnis von dem, was unter Musik verstanden wird, erweist sich als folgenreich für das musikdidaktische Konzept.<br>The article deals with similarities and differences between a music teaching concept "Music teaching step by step" and an alternative one which is specified as a concept of aesthetic and cultural education known as "Experiencing musical practices". Topics are exposed in four sections: (1) common positions, (2) the role of popular music within "Music teaching step by step" as well as within "Experiencing musical practices", (3) what does "music" mean? and (4) objections and replies. The fourth section is presenting a dialogue, dealing with the relation between learning situations in the classroom and musical experience, as well as with the specific normativity of the music teaching concepts. Moreover, this chapter is asking, if the concepts are appropriate to the subject''s and to the pupil''s needs and if these concepts take into account the ratio of instructive teaching versus open teaching-learning situations as tools to increase the learning outcomes. The particular understanding of what we mean by "music" is seen to be crucial for music teaching concepts.

Aussitôt après que les œuvres de Gustave Flaubert ont été traduites en chinois, elles ont tout de suite suscité une grande attention de la part des lecteurs chinois. Ses pensées philosophiques, son objectivité et son exactitude dans l’écriture ont provoqué une résonance dans les milieux lettrés chinois d’alors et ont influencé profondément leurs écrits. Le traducteur-romancier chinois, Li Jieren, qui fut le premier traducteur du roman Madame Bovary, avoue qu’il s’est beaucoup inspiré du style de Flaubert présent dans ce roman. En 1935, dix ans après sa première traduction de Madame Bovary, il a commencé la rédaction de son chef-d’œuvre Rides sur les eaux dormantes, qui est depuis considéré par les milieux critiques chinois comme Madame Bovary en Chine. Nous pouvons constater une similarité surprenante entre les deux héroïnes selon différents aspects. Mais on ne peut tout de même pas apparenter le roman de Li Jieren à une réécriture du roman français, car hormis certains points communs, on observe aussi de nombreuses divergences sur la conception des deux femmes, et en particulier dans leurs destinées. La présente thèse est consacrée à l’étude des raisons expliquant les dissemblances de dénouement, dans l’histoire de chacune des héroïnes. Premièrement au niveau du contenu du roman, les raisons se basant sur les éléments de différenciation des deux femmes et sur leur condition sociale ; puis, sur le plan de l’auteur, les raisons sont abordées sous l’angle interculturel, telles que les objectifs d’écriture, les choix littéraires ainsi que la conception de vie de Gustave Flaubert et de Li Jieren<br>As soon as the works of Gustave Flaubert were translated into Chinese, Chinese readers immediately paid great attention to them. His philosophical thoughts, objectivity and accuracy in writing caused a resonance in Chinese literary circles of the time and profoundly influenced their writings. Chinese translator and novelist, Li Jieren, who was the first translator of Madame Bovary, admitted he was much inspired by the style of Flaubert in this novel. In 1935, ten years after the first translation of Madame Bovary, he began writing his masterpiece Ripples across stagnant water which has been considered by Chinese critics as the Chinese Madame Bovary. Astonishing similarities can be noticed between the two main characters from various aspects. Despite these similarities, Li Jieren’s novel is not just a simple rewriting of the French novel, for there are also many differences in the perspectives of the two women and especially in their fate. This thesis is focusing on the reasons that can explain the major differences in the outcome of each heroine’s story. First within the content of both novels, reasons based on elements differentiating the two women and on their social class. Then, studying at the author’s level, we will look at reasons from a cross-cultural perspective, such as the writing objectives, literary choices and living concepts of Gustave Flaubert and Li Jieren

Products are designed to satisfy user needs. Thus, industrial designers are expected to have a thorough understanding of user needs and to incorporate those understandings into the design of products; however, it is not a straightforward task for designers to translate their conditional understanding into a product. The gap between product and user can be even wider when latent user needs, such as cultural ones, are calculated into the problem. Therefore the meanings and functions imbued in products by the designer may not be recognized and acknowledged by users, due to the differences in cultural preferences of designers and users from separate cultures. In spite of the fact that user satisfaction has been extensively supported in the design literature, it seems that such an approach allows only a passive role for designers, who actually act as cultural intermediaries; that is, the designers' role is merely presumed to catalyze the process and match user requirements to the end product. Thus, the impact of designers' cultural preferences is considered as incidental, or at least overlooked. A content analysis method was triangulated to collect and analyze diverse visual and textual data relating to the concept generation stage of the product development process. To collect data, professional industrial designers in the two culturally diverse countries of Australia and Iran were recruited to participate in half-hour design exercise sessions to sketch to a design brief, followed by responding to an interview questionnaire. The analysis of data revealed that: (1) designers' cultural preferences do influence their approaches toward tackling the design problem; (2) there are nexuses between the design aspects of the concepts generated and the cultural dimensions of the values of the societies in which the designers were born and has lived, and; (3)potential users can unconsciously comprehend the meaning invested in the product by the designer. This thesis breaks new ground for further advancing the study of the Designer-Precedent Approach (DPA) in other cultural and social contexts, while it challenges the conventional approaches of user-centered design (UCD) broadlyperceived as the ultimate method of incorporating users' wants into products.

The aim in this study was to explore a different approach to examine the influence of culture on accounting practice by adapting Schwartz’s (1992) universal structure of individual-level human motivational values to the domain of accounting. A mail survey was conducted on accountants in Malaysia to obtain their attitudes, beliefs and opinions about their motivational goals, and their interpretations and judgments in financial reporting. The results reveal a set of individual-level accounting motivational values that is a more comprehensive and theoretically valid representation of the accounting sub-culture compared to the Hofstede-Gray framework. Significant relationships were found linking the accountants’ motivational values with their interpretations and judgments in financial reporting. Empirical evidence of cultural diversity within the accounting sub-culture was also found. Although the low response rate was a problem, the consistency of the respondents’ demographic profile with the population and the insignificant non-response bias suggest that the results are generalisable. The discovery of the accounting motivational values has contributed to the understanding of the depth, richness and complexity of the accounting sub-culture and its effects on accounting practice. As an individual-level construct, the motivational values can be applied to explain the influence of culture on judgments and decisions in accounting. The existence of cultural diversity within the accounting sub-culture provides evidence of the importance of intra-country cultural variations. The knowledge of the accounting motivational values and its effects on judgments and decisions have important implications to the global drive for convergence in accounting and auditing practices, as well as the formulation of accounting education and professional development strategies.

This is a practice-based research project that explores a new aesthetic perspective and approach in the Western medium of photography, through the application and interpretation of contemporary Chinese master artist Qi Baishi’s philosophical notion of between likeness and unlikeness. Rooted in Chinese ink painting tradition, Qi Baishi [齊白石] (1864-1957) developed and created his theory of achieving likeness in spirit and unlikeness in form as the ultimate goal of painting aesthetics. Adapting Qi’s aesthetics and design approaches to inform the research, and through theoretical explorations and photographic practices, a series of works will be developed that manifests the fusion of Chinese aesthetics with Western photography, to propose a confluent cross-cultural aesthetic thought. The aspiration of drawing upon Qi’s aesthetics at a philosophical level, which is unfamiliar in the context of Western photography, has posed a challenge to the creative exploration. The final outcome is intended to trigger aesthetic resonance in the viewers to further dialectic discussion. The outcome of this research project is presented through a series of photographic works and displayed in a gallery environment.

Thesis (Ph. D.)--Florida State University, 2003.<br>Advisor: Dr. John Degen, Florida State University, School of Theater. Title and description from dissertation home page (viewed Sept. 29, 2003). Includes bibliographical references.

This study establishes what the Akan and Biblical concepts of a human being are in terms of origin, constitution, gender, body form, age, status, moral behaviour, ethnic affiliation, and communality. It then compares the Akan concepts with the Biblical concepts to see what the similarities are, and, what the differences are? The findings are that in terms of origin, constitution, gender, age, status, moral behaviour, ethnic affiliation and communality, the concepts are similar even though there are some differences. For example, while in both Akan and Biblical thought, the human being consists of material and immaterial components, the Akan have five components, namely, :Jkra, honhom, sunsum, mogya and nipadua, and the Biblical has three, body, soul and spirit. In terms of body form, Akan thought is completely different from Biblical thought. The presence of such differences in thought poses a problem in evangelism as it often leads to conflict. Yet this should not be for it then affects the effectiveness of evangelism. This study therefore illustrates how Akan culture, just as it is, can be interpreted by the Bible and thus establishes that it is possible to evangelise cross culturally without creating conflict so that the Christian faith can be integrated into the culture. This is possible only if evangelists know and understand the culture in which they try to evangelise, if they know what needs their beliefs and practices meet for them. The study proposes that for effective evangelism to take place, the church must take up the study of cultures seriously and provide funds for it.<br>Thesis (M.Th.)-University of Natal, Pietermaritzburg, 2000.

碩士<br>大仁科技大學<br>文化創意產業研究所<br>101<br>Since 1980, many state-owned enterprises in Taiwan have been gradually privatized, coupled with transformation, relocation, or shutdown of different traditional industries. Up to now, there have been many vacant spaces around the island, each of which contains a wealth of historical, cultural, and epochal significance. Such vacant spaces are found in various kinds of factories, such as salt plants, sugar plants, chemical plants, cement plants, lumber mills, paper mills, distilleries, mines, and brick kilns. In recent years, Taiwan’s public and private sectors associated with cultural & creative industries have invested a huge amount of money, promoting reuse of vacant assets as cultural resources. However, as for converting vacant spaces into cultural assets, there are three tough challenges: namely, inadequate administrative experience, overall differences between premises, and lack of sustainable business strategies. Therefore, effective allocation of resources is not realized in the process of transformation, and reuse or rebirth of vacant cultural assets is not achieved, either. This study was divided into four phases: i.e., 1） analysis of main literature, 2） case-related fieldwork along with interviews, 3） abstraction, and 4） comparative analysis. In the first phase, the author examined the relevant literature on reuse of vacant spaces as well as applicable government policies. Moreover, related strategies proposed by the academic circle were investigated. Also, it was explored how reuse of vacant spaces had developed at home and broad. Thereafter, Rende Sugar Refinery was chosen as the research target. Specifically, the author probed into how Ten Drum Percussion Group reused the vacant sugar refinery, combing traditional art, ecological aesthetics, environmental aesthetics, and aesthetic concepts. Meanwhile, it was studied how the management team kept alive the historical significance of the vacant spaces and converted it into a cultural & creative park. After analyzing individual cases, the author discovered that, based on the purposes, target customers and approaches, there are four types of management concerning reuse of vacant spaces: 1） preserving original functions, 2） state-owned and state-managed modes, 3） state-owned and privately-managed modes, and 4） outsourcing. As for Ten Drum Culture Village located at Rende Sugar Refinery, it was founded on a lease contract, and the private management body was fully responsible for subsequent profits or losses. Afterwards, several added values were created, including music teaching, performing arts, art brokerage, and leisure industry. Based on old space of the sugar refinery, the managers exerted their ingenuity to rebuild it, breathed life into it, and reused the spaces so cleverly as to incorporate historical significance and modern functionality. Thanks to the admirable management of Ten Drum Percussion Group, Rende Sugar Refinery turns out to be a successful case where reuse of vacant space has been put into effect in our country. However, how to keep the culture park sustainable is the important challenge faced by the group. The author hereby suggests that our government should assist Ten Drum Culture Village in achieving sustainable and innovative development, with the features of Taiwanese drum culture preserved for tourists. Keywords: vacant space, reuse, artistic and aesthetic, Ten Drum Culture Village, cultural and creative park, cultural and creative industries

Text in Afrikaans<br>This study was aimed at the development of a multicultural counselling model for tertiary education with the emphasis on experiential learning and integration on all levels. Although the South African Qualifications Authority (SAQA) is prescriptive about the outcomes concerning multicultural involvement it does not clearly prescribe experiential learning - causing educational institutions to underplay experiential learning. Ignorance exists about multiculturalism in training programmes. Educational institutions often implement programmes randomly without proper consideration of the multicultural needs of the student population. People from different cultures often experience the caregiver as having little understanding and respect for diverse cultures, often leading to the early termination and inaccessibility of professional services. To provide guidelines to educational institutions about multicultural counselling training, the researcher provided a paradigmatic perspective as foundation to the drafting of a counselling model for training. The Grounded Theory was used to obtain scientifically based information about the multicultural counselling training phenomenon in South Africa as well as the development of a multicultural counselling model for tertiary education. People in professional services were interviewed and compared to literature, whereafter all applicable concepts, principles, processes and elements grounded in the paradigmatic perspective were examined, identified and coded as components of the multicultural counselling model, with the aid of a core category, categories and subcategories. Henceforth a multicultural counselling model for training was developed. The central thesis of the research is that the multicultural counsellor has certain skills that stem from the training received at South African educational institutions, which does not necessarily encompass the concept of multiculturalism. It therefore does not equip the student to successfully help patients from a diverse culture. This problem can be intercepted through a training model with appropriate components of multiculturalism in the curriculum of educational institutions in South Africa. Conclusions and recommendations were made according to the Grounded Theory. The findings of the scientific procedure were evaluated according to reliability as well as the criteria of Chinn en Kramer (1991). Answers were obtained through scientific reasoning and empirical research to produce a model for the implementation of multicultural training within the context of South African educational institutions.<br>Social Work<br>D. Diac. (Play Therapy)

Международные выставки являются эффективным коммуникационным инструментом между глобальными корпорациями, предприятиями и сообществами. При этом, для успешного осуществления международной коммуникации организаторам и участникам интернациональных выставок необходимо учитывать культурные особенности международной аудитории при разработке концепции выставки или участия в ней. В этой работе предпринята попытка изучить специфику организации межкультурной коммуникации на международных выставках. В работе проанализированы особенности международных выставок как коммуникационного инструмента, определена модель для анализа выставочной концепции, проведен сравнительный анализ международных выставок из России и Европы в сферах искусства, образования и спорта. На основе полученных результатов разработана концепция участия языкового центра в международной образовательной выставке «Study World 2019» в Лондоне с учетом культурных особенностей данного рынка.<br>The international exhibition is an effective communication tool for global corporations, enterprises and communities. However, successful act of communication is only possible on condition that participants and exhibition planners take into consideration cultural features of their international audience while developing exhibition concept. This work attempts to analyze specificity of organizing cross-cultural communication at international exhibitions. In this work, we examined specific features of international exhibitions as a communication tool. We defined a five-step-model to analyze exhibition concepts and compared international exhibitions from Russia and Europe in the spheres of sport, education and art. Basing on the collected data, we gave some advice on how to develop a concept of participation in the international education exhibition in “Study World 2019” in London.