Rules and premium list of the ... annual Pacific International Live Stock Exposition.

Title varies slightly.

North Carolina State Fair [serial].

Vols. for 1976- have individual titles on cover.

Official catalog ... annual California National Livestock Show.

Mode of access: Internet.

Overseas export promotion calendar

Mode of access: Internet.

Agriculture in the United States;

Mode of access: Internet.

Official report of the California State Agricultural Society's fourth annual fair, cattle show and industrial exhibition, held at Stockton, Sept. 29th, 30th, Oct. 1st and 2d, 1857 /

Mode of access: Internet.

Premium list rules and regulations of the ... Central California Fair

"To be held at Hanford, Kings County, California."

Premium list, rules and regulations of the annual Napa County Fair

Mode of access: Internet.

Program and premium list

Mode of access: Internet.

Empathy and Its Potential in Museum Practice

Thesis (Master's)--University of Washington, 2016-06

Chaos Theory as an Approach to Understanding MICE in Time of Crisis

MICE (meetings, incentives, conventions, and exhibitions), has generated high foreign exchange revenue for the economy worldwide. In Thailand, MICE tourists are recognized as ‘quality’ visitors, mainly because of their high-spending potential. Having said that, Thailand’s MICE sector has been influenced by a number of crises following September 11, 2001. Consequently, professionals in the MICE sector must be prepared to deal with such complex phenomena of crisis that might happen in the future. While a number of researches have examined the complexity of crises in the tourism context, there has been little focus on such issues in the MICE sector. As chaos theory provides a particularly good model for crisis situations, it is the aim of this paper to propose a chaos theory-based approach to the understanding of complex and chaotic system of the MICE sector in time of crisis.

Paulicéia literária: páginas e suplementos literários em jornais paulistanos (1920-1964)

Este trabalho tem por objeto central páginas e suplementos literários. Trata-se de uma pesquisa que buscou localizar, identificar e caracterizar páginas e suplementos literários, inseridos em jornais paulistanos de grande circulação e prestígio, no período entre 1920 e 1964. Os jornais escolhidos para este estudo foram: Correio Paulistano, O Estado de S. Paulo, Diário Popular, A Gazeta, Folha da Noite, Folha da Manhã, Folha da Tarde, Diário de S. Paulo e Última Hora. Por meio de uma abordagem qualitativa, percebemos que os espaços para as artes e espetáculos, nos jornais analisados, se davam de diversas maneiras, e não apenas em páginas e suplementos literários, como a publicação de seções diárias de artes e espetáculos, cadernos de cultura, páginas sem títulos , rodapés de crítica literária, romances-folhetins, entre outros. Também verificamos que a prática de inserir suplementos literários, nos jornais paulistanos, iniciou-se no fim da década de 1920, com a publicação do Supplemento Dominical do Diário de S. Paulo. No entanto, foi no pós-1945 que a inclusão de páginas e suplementos literários, nos jornais da capital paulista, passou a ocorrer com maior freqüência. Localizados páginas e suplementos literários, analisamos a seção Resenha Bibliográfica do Suplemento Literário de O Estado de S. Paulo, com o objetivo de entender como estes veículos atuavam, enquanto divulgadores do mercado editorial.(AU)

Without a trace? The Sámi in the Swedish History Museum

Around 2005, the Swedish History Museum (SHM) in Stockholm reworked their Vikings exhibition, aiming to question simplistic and erroneous understandings of past group identities. In the process, all references to the Sámi were removed from the exhibition texts. This decision has been criticised by experts on Sámi pasts. In this article, it is argued that we can talk about a Sámi ethnic identity from the Early Iron Age onwards. The removal of references to the Sámi in the exhibition texts is discussed accordingly, as well as the implicit misrepresentations, stereotypes and majority attitudes that are conveyed through spatial distribution, choice of illustrations, lighting, colour schemes and the exhibition texts. Finally, some socio-political reasons for the avoidance of Sámi issues in Sweden are suggested, including an enduring colonialist relation to this minority.

The other on display: translation in the Ethnographic Museum

The ethnographic museum in the West has a long and troubling history. The display of 'exotic peoples' in travelling exhibitions began as early as the sixteenth century, but it was the mid and late nineteenth century that saw the great expansion of museums as sites to show artefacts collected - under anything but reputable circumstances - from what were considered the 'primitive', 'natural', or 'tribal' peoples of the world. Today the ethnographic museum is still a feature of large European cities, though faced with newly formulated dilemmas in the postcolonial world. For how can the material culture of a non-western people be collected and displayed in the West without its makers being translated into wordless and powerless objects of visual consumption? In national museums the processes of choosing, contextualizing and commentating exhibits help form national identity; in the ethnographic museum, similarly, they shape perceptions of the apparently distant Other. Like written ethnography, the museum is a 'translation of culture', with many of the associated problems traced by Talal Asad (1986). Like the written form, it has to represent the dialogic realities of cultural encounters in a fixed and intelligible form, to propose categories that define and order the material it has gathered. As the public face of academic ethnography, the museum interprets other cultures for the benefit of the general reader, and in that task museum practice, like all ethnography, operates within very specific historical and political parameters. How are museums in western Europe responding to the issues raised by critical ethnographers like James Clifford (1988), with their focus on the politics of representation? Is globalisation increasing the degree of accountability imposed on the ethnographic museum, or merely reinforcing older patterns? What opportunities and problems are raised by the use of more words - more 'translation' in the narrower sense - in ethnographic museums, and how do museums gain from introducing a reflexive and contextualizing concept of "thick translation" (Appiah 1993) into their work of interpretation?