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Critical success factors for international travel fairs, using the Taipei International Travel Fair as an example
No full textThe travel industry has experienced operating difficulties because of the intense competition within the industry, difficulties in developing new products as well as the overly transparent and continuously increasing operating cost that reduces the profit margin. As a result, it is urgent that the business operating bottleneck be overcome and some strategies be implemented. These include dumping the conventional operating model, reducing basic operating costs, increasing the profit margin, and seeking alliances with companies from the same sector, relevant sectors, or even different sectors. In fact, exhibition and travel markets have originally been separate but with the booming of travel activities, more convenient transportation, greater accommodation and food options and the flourishing of local cultural attractions, the distinction between exhibition and travel has become less apparent. For the travel industry to compete for the market, providing simple travel-related services is no longer enough. Nowadays, travel agencies have to provide custom-tailored travel packages for companies or even pluralistic travel service consultations to attract clients. The study randomly sampled 500 subjects from the Taipei Travel Exhibition and asked them to complete a questionnaire. Of these, 342 valid responses were returned (68% response rate). The study found that the most emphasized aspects are the exhibition environment, followed by professional capacity, market demand, and the exhibition industry. The results of the survey clearly show that the environment is the most important aspect for holding an International Travel Fair. Of the 13 evaluation indicators, the top five most valued, in descending order, are software and hardware facilities, public relations and marketing, government’s planning policy, visibility, and knowledge and skills
Two Tocharian B fragments parallel to the Hariścandra-Avadāna of the Old Uyghur Daśakarmapathāvadānamālā
No full textThe collection of Buddhist legends entitled Daśakarmapathāvadānamālā (DKPAM) is attested in several native languages of Central Asia (Tocharian A, Tocharian B, Sogdian, Old Uyghur). While the Old Uyghur version is rather well preserved, only fragments remain of the DKPAM in Tocharian A, Tocharian B, and Sogdian. The article identifies two small fragments in Tocharian B as belonging to the avadāna of Hariścandra. They are interpreted with reference to the corresponding Old Uyghur version of the tale
Regular disharmonies in an early 18th-century Dačkerēn text: A diachronic interpretation
No full textThe present article proceeds from that stream of Turcological research according to which the category of “exception”, within the context of (Turkic) vowel harmony, is to be regarded as at least misleading. From a historical point of view, the perfect vowel harmony of contemporary Turkish may be considered a later development which evolved from a primitive, regularly disharmonic system. Through a thorough scrutiny of an 18th-century Armeno-Turkish text, we add new arguments to the debate, by observing that the vowel phonology of Turkic languages seems to have been ruled by at least two colliding processes: a primitive, regular disharmony-triggered morphemic marking [RDMM] versus a transmorphemic rightward vowel harmonising [RVH]. A possible interpretation of some local “disharmonic” phenomena — fossilised remains of a primitive stress assignment? — is proposed here
“Christ’s mighty shrine above His martyr’s tomb”: Byron and Liszt’s Journey to Rome
No full textThe influence of Byron on Liszt was enormous, as is generally acknowledged. In particular the First Book of the Années de pèlerinage shows the poet’s influence in its choice of Byron epigraphs in English for four of the set of nine pieces. In his years of travel as a virtuoso pianist Liszt often referred to “mon byronisme.” The work by Byron that most affected Liszt is the long narrative poem Childe Harold’s Pilgrimage which was translated into many languages, including French. The word “pèlerinage” that replaced “voyageur” is a Byronic identity in Liszt’s thinking. The Byronic hero as Liszt saw him and imitated him in for example Mazeppa and Tasso is a figure who represented a positive force, suffering and perhaps a revolutionary, but definitely not a public enemy. Liszt’s life, viewed as a musical pilgrimage, led of course to Rome. Is it possible that Byron even influenced him in this direction? In this paper I try to give a portrait of the real Byron that hides behind the poseur of his literary works, and suggest that what drew Liszt to the English poet was precisely the man whom he sensed behind the artistic mask. Byron was not musical, but he was religious — as emerges from his life and his letters, a life which caused scandal to his English contemporaries. But today we can see that part of the youthful genius of the rebel Byron was his boldness in the face of hypocrisy and compromise — his heroism was simply to be true. In this we can see a parallel with the Liszt who left the piano and composed Christus. What look like incompatibilities are simply the connection between action and contemplation — between the journey and the goal. Byron, in fact, can help us follow the ligne intérieure which Liszt talked about in the 1830s
„Der Himmel weiß! In welchem Geistesstall er sein nächstes Steckenpferd finden wird“ Liszts Interesse an der bildenden Kunst mit den Augen Heines gesehen
No full textIn German literature Heinrich Heine is regarded as one of the founders of musical feuilleton, a genre that he developed to the highest mastery with the means of irony and satire. In his music reviews Heine discussed repeatedly many of his musical contemporaries; he met leading composers of his time like Mendelssohn-Bartholdy, Meyerbeer, Berlioz, Chopin, Liszt, and Wagner personally. The fact that the relationship between Heine and Liszt (they got to know each other in 1831 in Paris) was not without problems, is a commonplace. Rainer Kleinertz describes it as ambivalent. The essay examines Heine’s musical judgements about Liszt, focussing on the question of Liszt’s interest in the fine arts. In the tenth letter from Über die Französische Bühne. Vertraute Briefe an August Lewald (1837), Heine accused Liszt of philosophical eclecticism, because he would change his beliefs like hobbyhorses. Are there contradictions and inconsistencies also in Liszt’s thinking about art and music that justified such an ambivalent attitude on the part of Heine? Finally, Liszt replied Heine in the seventh of his Lettres d’un bachelier ès musique, dated Venice, 15 April 1838
Stage and folk tradition in the cultural history of the Kállai kettős (Couple Dance of Kálló)
No full textZoltán Kodály’s Kállai kettős [Couple Dance of Kálló] was premiered by the Hungarian State Folk Ensemble in Budapest in 1951. However, it was not in Kodály’s work that the folk songs arranged in it were first presented to the cultured public. In the interchange of folk tradition and high culture they have already cropped up in the past three hundred years, among others in stage productions. This paper examines the folkloristic sources of Kodály’s work from a dual angle: how they were connected to the stage before Kodály’s arrangement and how their variants were embedded in the folk tradition. Today Kállai kettős is living also a “double life”: Kodály’s work is part of the national canon, but it is also present in the traditional productions of the revivalists of Nagykálló
Feszítőpászma tapadása nagyszilárdságú normál- és könnyűbetonokban
No full textA beton és a betonacél közötti együttdolgozás a vasbetonszerkezetek működésének alapja, amit általában a tapadással, ezen belül pedig a tapadási feszültség — relatív elmozdulás összefüggéssel (bond-slip curve) jellemzünk. Speciális vagy újszerű anyagok alkalmazásakor részletes, kísérletileg megalapozott információkra van szükség a tapadás pontos leírására. A fib Model Code (MC) 1990 (MC1990) és 2010 (MC2010), valamint az Eurocode 2 (EC2) részletesen tárgyalja a bordázott és a sima felületű betonacélok tapadási tulajdonságait, de nincs ilyen szintű információ a feszítőpászmák esetére. A sima felületű, és a pászma hossztengelye körül csavart elrendezésű feszítőhuzalokból álló feszítőpászmák építőipari felhasználása mind a magasépítésben, mint a híd- és mélyépítésben széles körű. Vizsgálataink elsődleges célja a csavart, hét huzalból álló (héteres) feszítőpászmák tapadási tulajdonságainak leírása kétfajta duzzasztott agyagkaviccsal készült könnyűbetonban (flcm,cube/= 63,4 MPa, 1800 kg/m3/, flcm,cube/ = 86,5 MPa, 1950 kg/m3/) és etalonként nagyszilárdságú normál-betonban (fcm,cube/= 85,2 MPa). A kísérlet során a betonok szilárdságát szabványos szilárdságvizsgálatokkal, a feszítőpászmák tapadási viselkedését kihúzóvizsgálatokkal (pull-out test) vizsgáltuk, majd az eredményeket — a szerkezettervezésben való alkalmazás okán — összehasonlítottuk azMCés az EC2 által javasolt vonatkozó értékekkel. Jelen cikk elsődleges célja a héteres feszítőpászmák tapadási viselkedésének kihúzóvizsgálatokkal történő kísérleti leírása.
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Bond between strands and high-strength normal-weight and lightweight aggregate concretes. Perfect bond between concrete and reinforcement, which is described by the bond-slip curve, is the basic assumption for reinforced concrete structures. When using special or new materials, detailed, experimental verification is necessary to thoroughly characterize the bond-slip behaviour. The fib Model Code 1990 (MC1990) and 2010 (MC2010) as well as the Eurocode 2 (EC2) include in detail the bond properties of reinforcing steel bars of smooth and ribbed surface, however, no information is given for prestressing strands. Strands consisting of seven prestressing wires of smooth surface, which are arranged in twisted position around the longitudinal axis of the strand, are widely used in various fields of building industry. The goal of this research was to experimentally describe the bond properties of the above prestressing strands embedded in two types of lightweight aggregate concrete with expanded clay pebbles as lightweight aggregate (flcm,cube/ = 63.4 MPa, 1800 kg/m3/ and flcm,cube/ = 86.5 MPa,1950 kg/m3/) as well as in usual high-strength etalon concrete (fcm,cube/ = 85.2 MPa) made of normal-weight aggregate. Strength of the applied concretes were tested by standardized tests; the bond properties of strands were tested by pull-out tests. The test results were compared with the relevant expressions and recommendations of the MCs and the EC2. The primary goal of this paper was to experimentally describe the bond-slip behaviour of prestressing strands of seven wires with pull-out tests
A fejlődési diszlexia neuropszichológia háttértényezői a NEPSY-I eljárás tükrében = Neuropsychological factors underlying developmental dyslexia, measured by NEPSY-I
No full textA tanulási zavarral diagnosztizált gyermekek megküzdési stratégiái = Coping strategies of children diagnosed with learning disability
No full textA vizuális reprezentációk megértésének fejlődése és vizsgálati lehetőségei = The development of visual-representation-understanding and its research methods
No full textA vizuális szimbólumok értelmezése, használata, alkotása olyan humánspecifikus képesség, melynek segítségével hatékonyan, akár indirekt módon is tanulhatunk. Tanulmányunk célja annak a közel három évig tartó fejlődési útnak a bemutatása, amely során a fejlődő gyermek képessé válik átlátni a vizuális szimbólum és referense viszonyát.Áttekintésünket annak az elméleti vitának ismertetése indítja, mely a vizuális szimbólumok megértésének kutatását életre hívta. Majd áttérünk a modernebb kutatásokra, amelyek empirikus módon közelítenek a kérdéshez, és integráltabb szemléletmódot közvetítenek. El kell különítenünk a reprezentált entitás felismerésének velünk született vagy korai képességét a tapasztalatszerzést igénylő szimbólummegértéstől. Bemutatjuk azokat az empirikus bizonyítékokat, amelyek igazolják a közös tapasztalatszerzés szerepét a megértés fejlődésében. Legvégül kitérünk a vizuális szimbólumok értelmezésének két feltételezett pillérére: vagyis azok kettős, illetve intencionális természetére. Hangsúlyos helyet kapnak áttekintésünkben azok a vizsgálati módszerek, melyek segítségével a két releváns jellegzetesség értése mérhető. A különböző paradigmák a szimbolikus viszonyok különböző mélységű átlátását várják el. E vizsgálati módszereknek köszönhetően tudhatjuk, hol tart a gyermek a szimbolikus viszonyok átlátásának fejlődésében, továbbá hogy milyen előfeltételek teljesülése mellett, hogyan alakul a korai szimbólummegértés.
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Comprehending, using, creating visual symbols is a human specific ability that enables us to indirectly learn about the world. This review article aims to introduce the almost three-year-long-lasting development of the understanding of the relation between the visual symbol and its referent.The article begins with a short introduction of the theoretical debate that grounded the research of visual symbols, which is followed by the current empirical research of the question. The results of this research supply an integrative approach, as we have to divide the might innate ability to recognize the represented entity from the experience expectant symbol comprehension. We supply some evidences which prove the effect of shared picture book reading on the development of symbol understanding. At the end we introduce the two factors which might play a crucial role in their understanding of visual symbols, their dual and intentional nature. We emphasize in our article the different research methods which enable us to measure the understanding of these factors. The applied paradigms expect the child to have a different level of visual symbol comprehension. Due to these paradigms, we know how developed the child’s comprehension of visual symbols is. Furthermore, due to them we can acquire the different preconditions which can influence this early symbol understanding