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Guidelines for community based tourism management approach : case study of Ban Phai Hu Chang Community, Banglen, Nakhonpathom
No full textวิทยานิพนธ์ (กจ.ม. (การจัดการการท่องเที่ยวและบริการแบบบูรณาการ))--สถาบันบัณฑิตพัฒนบริหารศาสตร์, 2565การวิจัยนี้มีวัตถุประสงค์ 1) เพื่อศึกษาปัจจัยด้านประชากรศาสตร์ที่ส่งผลต่อความคาดหวังและการรับรู้ของนักท่องเที่ยวที่เข้ามาเยี่ยมชมในชุมชนบ้านไผ่หูช้าง 2) เพื่อประเมินศักยภาพการจัดการการท่องเที่ยวโดยชุมชนบ้านไผ่หูช้าง และ3) เพื่อเสนอแนวทางการพัฒนาการท่องเที่ยวโดยชุมชนบ้านไผ่หูช้าง อำเภอบางเลน จังหวัดนครปฐม โดยใช้ระเบียบวิธีวิจัยแบบผสมผสาน การศึกษาวิจัยเชิงปริมาณได้ศึกษากับนักท่องเที่ยวชาวไทยที่เข้าเยี่ยมชมชุมชนบ้านไผ่หูช้าง จำนวน 400 คน โดยใช้แบบสอบถาม วิเคราะห์ข้อมูลโดยใช้สถิติเชิงพรรณนา เพื่อหาค่าความถี่ ค่าเฉลี่ยและส่วนเบี่ยงเบนมาตรฐาน รวมทั้งการวิเคราะห์ข้อมูลเชิงอนุมาน โดยใช้สถิติ T-Test และ One-way ANOVA และทำการศึกษาระดับความคาดหวังและการรับรู้ของนักท่องเที่ยวตามองค์ประกอบทางการท่องเที่ยว ด้วยการวิเคราะห์ความสำคัญและประสิทธิภาพ( Important Performance Analysis: IPA) เพื่อความสมบูรณ์ของเนื้อหาผู้วิจัยได้ทำการศึกษาวิจัยเชิงคุณภาพร่วมด้วย โดยการสัมภาษณ์เชิงลึก ใช้วิธีการเลือกผู้ให้ข้อมูลสำคัญแบบเฉพาะเจาะจง จำนวน 25 คน คือผู้มีส่วนเกี่ยวข้องในชุมชนท้องถิ่นที่เกี่ยวข้องกับการท่องเที่ยวโดยชุมชน ได้แก่ ชาวบ้านในชุมชนบ้านไผ่หูช้าง และเจ้าหน้าที่ภาครัฐท้องถิ่นที่มีส่วนร่วมบริหารจัดการในพื้นที่ชุมชน สัมภาษณ์เชิงลึกเกี่ยวกับศักยภาพของการจัดการการท่องเที่ยวโดยชุมชนแบบองค์รวมตามองค์ประกอบทางการท่องเที่ยวทั้ง 6 ด้าน ใช้การวิเคราะห์แก่นสาระเพื่อวิเคราะห์ข้อมูล และประเมินการจัดการในด้านต่างๆตามเกณฑ์การพัฒนาการท่องเที่ยวโดยชุมชนของประเทศไทย ผลการศึกษาพบว่า ระดับความคาดหวังโดยรวมทุกด้านขององค์ประกอบทางการท่องเที่ยวอยู่ในระดับมากที่สุด และเมื่อพิจารณาระดับการรับรู้ของนักท่องเที่ยวเป็นรายด้านโดยเรียงมากไปหาน้อย พบว่า ด้านแหล่งท่องเที่ยว และด้านการบริการเสริมทางการท่องเที่ยวอยู่ในระดับมาก ด้านสิ่งอำนวยความสะดวก ด้านการเข้าถึงแหล่งท่องเที่ยว ด้านที่พักแรม และด้านกิจกรรมการท่องเที่ยว อยู่ในระดับปานกลาง ด้านกิจกรรมการท่องเที่ยวเป็นด้านที่มีค่าระดับการรับรู้ต่ำสุด และอยู่ใน Quadrants A (Concentrate Here) ซึ่งถือเป็นจุดอ่อนของแหล่งท่องเที่ยวโดยชุมชนบ้านไผ่หูช้าง ที่ต้องให้ความสำคัญและหาวิธีการในการแก้ไขปรับปรุงในด้านการจัดกิจกรรมการท่องเที่ยวโดยเร่งด่วนและผลการศึกษาเชิงคุณภาพด้านกิจกรรมการท่องเที่ยวชุมชนมีความเห็นตรงกันว่ากิจกรรมที่จัดไว้สำหรับนักท่องเที่ยวไม่ได้รับความสนใจจากนักท่องเที่ยวเท่าที่ควรจึงจำเป็นต้องหาแนวแก้ไข ดังนั้นผู้วิจัยจึงเสนอแนวทางการพัฒนาการท่องเที่ยวโดยชุมชนบ้านไผ่หูช้าง ทั้ง 6 ด้านตามองค์ประกอบทางการท่องเที่ยวThe objectives of the research entitled “Guidelines for Community Based Tourism Management approach: Case study of Ban Phai Hu Chang Community, Banglen, Nakhonpathom”, 1) to study tourists’ demographic characteristics that affect the tourist’s expectations and perceptions in Ban Phai Hu Chang Community, 2) to assess the potential of community-based Tourism Management at Ban Phai Hu Chang, 3) to propose guidelines for the development of community-based tourism in Ban Phai Hu Chang community. A mixed research method was used into this study. The quantitative study was conducted with Thai tourists visiting Ban Phai Hu Chang community. using questionnaire as a research tool for data collection from 400 tourists. The data were analyzed by descriptive statistics included frequency, percentage, mean and standard deviation and T-test, One-way ANOVA. The level of tourists' expectations and perceptions of tourists according to the 6As tourism components was studied and the data were analyzed by the technique of Importance Performance Analysis (IPA). For the completeness of the content, the researcher also conducted a qualitative study by using an in-depth Interview with the local community groups who involved in CBT and local government officials who involved in tourist facilities and community tourism development plans in accordance to the potential of tourism management in Ban Phai Hu Chang community with 6As Theory, analyzed by Thematic Analysis and management in various fields according to the criteria for the development of community-based tourism in Thailand. The results of the study found that the overall level of expectation appeared the highest level. For the perception, it was found that the overall level of perception appeared the high level. When this was considered and put in order from high to low, a high level were Attraction and Ancillary services. Most were 4 dimensions which were at a moderate level respectively as follows: Amenities, Accessibilities, Accommodation and Activities. Quadrant A (Concentrate Here) consists of Activities. This component should be immediately considered for enhancing perceived on tourism destination in Ban Phai Hu Chang Community. Finding of this study could be analyzed to guidelines and development in 6 approaches according to tourism components
Deux ouvrages de climatologie générale : R. Arléry, H. Grisollet, B. Guilmet, Climatologie, Méthodes et Pratiques et Jen-Hu Chang, Atmospheric Circulation Systems and Climates
No full textPagney Pierre. Deux ouvrages de climatologie générale : R. Arléry, H. Grisollet, B. Guilmet, Climatologie, Méthodes et Pratiques et Jen-Hu Chang, Atmospheric Circulation Systems and Climates. In: Annales de Géographie, t. 84, n°465, 1975. pp. 606-609
(An) Analysis on the Performance Structure of "Sun-Hu-Chang" in Folk Songs and "Yang-Ban-Gwajang" in Mask Dance Drama
No full text이 논문은 민간전승으로서의 민요 선후창과 가면극 양반과장의 연행형식 구조에 대한 연구이다. 민요 선후창은 ＜사설＞ - ＜후렴＞교대진행방식이고 가면극 양반과장은 ＜대사＞-＜춤＞ 교대 진행방식이다.＜사설＞과 ＜대사＞는 민중의 표현욕구에 부응하는 연행요소로 有意味한 언어를 표현매체로 하고 있다는 데에 공통성이 있고, ＜후렴＞과 ＜춤＞은 無意味한 언어 또는 비언어적 표현매체로 부락공동체적 예술행위의 원시적 양태를 반영하고 있는 연행요소라는 데에서 공통적이다. 더우기 민요 선후창과 가면극 양반과장은 대응되는 두 연행요소 즉 ＜사설＞과 ＜후렴＞, ＜대사＞와 ＜춤＞을 교대로 진행시켜 나가는 연행형식을 갖추고 있다는 데에서도 공통적이다. 이 독특한 연행형식의 구조 및 그 의미를 밝혀 보려는 것이 본고의 의도이다.
민요 선후창의 연행구조는 우선 후렴의 고정적인 연행적 속성 세가지 즉 ＜흥＞ · ＜공동체적 공감＞ · ＜현장성＞을 기능소로 추출하고, 이를 선창의 사설 내용과 대비시키는 방법에 의해 분석되었다.
우선 후렴의 기능소 ＜흥＞과 ＜현장성＞이 사설 내용 중 긍정적인 것은 실제적인 동력(動力)으로 화(化)하게 하고 부정적인 것은 차단 · 해소되게 한다. 이로 일해 사설과 후렴의 형식적 긴밀성에 준한 형식적 기능소 ＜공동체적 공감＞은 내실화를 기하게 되어, 후렴은 참가 성원들의 진정한 공동체적 동질감을 확보할 수 있는 장(場)이 된다. 그러고 이 과정에서 획득된 모든 무형 (無形)의 자원(資原)들은 다시 생활의 일부로서의 실제적인 노동에 투여된다.
위와 같은 민요 선후창의 연행구조는 민중의 소망을 압축적으로 대변하고 있는 지신밟기 노래의 사설에 나타난 무교(巫敎)적 가치관과 일치한다. 즉 민요 선후창은 무교의 핵심적 기능인 '기복(析福)'과 '풀이'를 그 연행형식구조의 요체로 삼고 있는 것이다.
가면극 양반과장의 연행구조는 ＜극적 갈등＞ - ＜극적 해소＞ - ＜신명＞의 순차적 구조이다. ＜극적 갈등＞ - ＜극적 해소＞부분은 기존 신분질서의 연극적 전도(顚倒)를 꾀하는 연극적 표현 부분이고, ＜신명＞은 전도된 신분질서의 세계를 민중이 마음껏 향유하고 만끽하는 부분이다. 이러한 연행구조는 무교의 현실주의 및 변증법적 사유체계와 일치한다. 본고는 이를 ＜무교적 변증법＞의 구조라 요약하고 도해(圖解)하였다.
민요 선후창에서 문학적으로 보다 발달된 서정적 사설들이 대개 부정적 정서를 표출시키고 있고 이 부정적 정서가 후렴에 의해 차단 · 해소된다고 할 때, 이 역시 ＜무교적 변증법＞의 구조라 할 수 있다. 그러나 가면극 양반과장에 비해 민요 선후창의 연행형식구조는 보다 원시적이라고 지적될 수밖에 없다.
결국 민요 선후창 및 가면극 양반과장은 모두 무교로부터 전수받은 역동적 미의식을 연행형식구조의 요체로 삼고 있는 것이 된다. 그러나 이러한 역동적 연행형식이 성립될 수 있었던 것은 민요 선후창 및 가면극 양반과장이 폐쇄적 부락공동체 사회를 배경으로 한 두레패 연행예술이기에 가능했던 것으로 보인다. 이것은 곧 민요 선후창 및 가면극 양반과장 연행형식의 시대적 한계를 지적하는 것이다. 이 한계를 의식할 때, 보다 개방적인 연행예술인 판소리의 역동적 연행형식이 갖고 있는 연행예술사적 의의가 새삼 돋보이게 되나, 이는 이후의 과제로 돌려질 수밖에 없다.;This thesis is a study on the performance structure of "Sun-Hu-Chang(songs before and after)" in Korean folk songs and "Yang-Ban-Gwajang (the nobility section)" in Korean mask dance drama.
"Sun-Hu-Chang" takes an alternating form of ＜words＞-＜refrain＞, and "Yang-Ban-Gwajang" takes on alternating form of ＜dialogue＞-＜dance＞. The common characteristics of ＜words＞ and ＜dialogue＞ lies in that they are performance elements corresponding to the desire of expression of the folks, and they takes the meaningful language as the expression media. ＜refrain＞ and ＜dance＞ have the common characteristics in that they are performance elements which reflect the primitive modes of artistic activity of traditional community by means of meaningless language or non-linguistic expression media. Moreover, "Sun-Hu-Chang" and "Yang-Ban-Kwajang" also show the common characteristics in that they are made up of performing form which is alternatively proceeded by the two contrasting performance elements lies, ＜words＞ and ＜refrain＞, or ＜dialogue＞ and ＜dance＞. The destination of this study is to explore the structure and meaning of the performance form.
First, the three performing properties such, as ＜Heung (amusements)＞, ＜Communal Response＞ and ＜Context＞ were extracted from the generally accepted knowledge for the ＜refrain＞ in the capacity of performance functional factors, and then the performance structure of "Sun-Hu-Chang" was analyzed by the correlation of the functional factors with the contents of ＜words＞. ＜Heung＞ and ＜Context＞ make the hopeful aspects in the contents of ＜words＞ be the actual dynamics, while they make the gloomy sides be intercepted and dissolved. Accordingly the formal factor ＜Communal Response＞ comes to get the substantial meanings, and the ＜refrain＞ also becomes a part which can secure the authentic communal sympathy of the attendance. And, all the invisible products obtained through this performing process comes to return to the labour as a part of life.
The performance structure of "Sun-Hu-Chang" described above agree with the shamanistic outlook which appears in the words of ritual song "Ji-Shin-Bal-Gi' which concisely represents the thought of folks. That is, "Sun-Hu-Chang' takes the 'praying for happiness' and 'dissolution' which are the main functions of the shamanism as the core of performance structure.
Performance structure of "Tang-Ban-Gwajang" has the gradual structure of ＜Dramatic Conflict＞-＜Dramatic Dissolution＞-＜Shinmyong＞. The two parts, ＜Dramatic Conflict＞ and ＜Dramatic Dissolution＞, are the dramatic expression parts which intend to make a dramatic upset of the established social status system. ＜Shinmyong＞ is the part that the folks enjoy the upset of status system.
Such a performance structure agrees with the realism and the dialectical outlook of the shamanism. The author summurized this as a ＜Shamanistic dialectic＞ structure and illustrated it.
If the lyrical words which were much more advanced literarily in "Sun-Hu-Chang" generally express the gloomy sentiment of the folks and such gloomy sentiment is intercepted and dissolved, this also can be looked upon as a structure of the shamanistic dialectic. But, comparing performance structure of "Sun-Hu-Chang" with the "Yang-Ban-Gwajang", the structure of "Sun-Hu-Chang" is the more primitive one.
Ultimately, both "Sun-Hu-Chang" and "Yang-Ban-Gwajang" contain the dynamic aesthetic-consciousness handed over from the shamanism as the core of performance structure.
The establishment of such a dynamic performance structure, however, may be ascribed to the fact that t "Sun-Hu-Chang" and "Yang-Ban-Gwajang" was a 'DURE-group performances' in a closed village community. This indicates the limitation of "Sun-Hu-Chang" and "Yang-Ban-Gwajang".논문개요 = ⅳ
Ⅰ. 서론 = 1
A. 연구의 타당성 및 의의 = 1
B. 연구 방법 = 12
Ⅱ. 민요 선후창의 연행 구조 = 14
A. 농업노동요 = 16
B. 유희요 = 34
C. 의식요 = 43
D. 小結 = 47
Ⅲ. 가면극 양반과장의 연행 구조 = 50
A. 자료제시 = 51
B. ＜단락-춤 1＞의 경우 = 56
C. ＜삽화-춤2＞의 경우 = 73
D. 양반과장 연행구조의 의미 = 81
Ⅳ. 해석 = 88
Ⅴ. 결론 = 96
참고문헌 = 98
Abstract = 10
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