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Alumni Profiles from Around the World
Volume 34, Number 1 Spring 2011 ALUMNI PROFILES FROM AROUND THE WORLD INSIDE: A conversation with Steve Case | Fifty years of Business Night Entrepreneurs compete for the top prize at The 2011 UH Business Plan Competition DEAN’S MESSAGE ALOHA, Welcome to the Spring 2011 issue of Kong venture capitalist Danny Lui and encourage you to become a part of this Shidler Business. It has been an action- philanthropist Bernard Osher. great group of business professionals and packed semester and we are very proud to Our alumni continue to be one of our learn more about the countless projects share all of our accomplishments with you greatest assets. Their contributions of time, that this organization has coordinated in the following pages. resources and knowledge have played a benefiting alumni, students and the business Most recently, the College received re- major role in the success of our students and community. accreditation from AACSB International, programs. For instance, this May countless It is truly a fun time to be a part of the the world’s leading accrediting institution alums volunteered to mentor students at Shidler ‘ohana. Thanks for sharing in our for business schools. This is the standard by Business Night’s 50th Anniversary event. success. As always, please keep in touch as which all business schools strive for and we In this issue, we explore the history of we welcome your comments and feedback. thank all of our stakeholders for helping us this popular gathering and the impact it to reach our goals. has had on students’ careers through the Sincerely, We hosted several fascinating guest decades. -
TCPDF Example
Beat: Music A TWENTY-TWO YEAR OLD MAN FROM HANOVER BECAME THE LATEST WINNER OF VIETNAM IDOL TRONG HIEU WAS TRAVELLING FOR HOLIDAYS PARIS - HANOVER - HANOI, 04.08.2015, 10:45 Time USPA NEWS - TRONG HIEU coming from Hanover was planning only to spend holidays in country where his parents grew up. However, he was about to make a name for himself as South-East Asian country's favorite "hot boy from GERMANY". TRONG HIEU was born in GERMANY where his parents emigrated from VIETNAM in 1991. Before leaving for VIETNAM, a friend of his told him that over there where held auditions for VIETNAM IDOL. Convinced about the idea, TRONG HIEU applied and after passing all the auditions, he became very quickly a favorite in the competition earning a nickname and the adoration of thousands of fans. Inundated with support, TRONG HIEU rounded off his time on the show with a rendition of Mark Ronson's "Uptown Funk". He earned seventy-one per cent of the votes, storming to victory ahead of competitor BICH NGOC. He resumed his victory with the high-level of presomption that his German's background helped a lot, Asian people loving EUROPE very much. He added also that his vietnamese was far from being perfect and his image was attractive because bringing something different and foreigner as being also with vietnamese origins. His success made him popular and recognizable. He is often spotted in the street and people either wave at him or ask for photos. However, he doesn't plan to stay in VIETNAM, just to travel back and forth between the 2 Article online: https://www.uspa24.com/bericht-4729/a-twenty-two-year-old-man-from-hanover-became-the-latest-winner-of-vietnam-idol.html Editorial office and responsibility: V.i.S.d.P. -
The Representations of Transgender Persons in Vietnamese Online Media
THE REPRESENTATIONS OF TRANSGENDER PERSONS IN VIETNAMESE ONLINE MEDIA by Bui Thi Thanh Hoa Master student Supervised by Barbara Baird Thesis submitted to Flinders University for the degree of Master of Arts (Women’s Studies) College of Humanities, Arts and Social Sciences 7th March 2018 TABLE OF CONTENT DECLARATION ................................................................................................. 1 ABSTRACT ......................................................................................................... 4 INTRODUCTION ............................................................................................... 5 CHAPTER 1: LITERATURE REVIEW ....................................................... 10 Part 1: Transgender Persons in Vietnam ........................................................................ 10 Part 2: Literature on transgender representation and the media in the world ........... 17 CHAPTER 2: METHODOLOGY .................................................................. 34 CHAPTER 3: CELEBRITY ............................................................................ 40 Transphobia: Mistaken pronouns ...................................................................................... 44 Transphobia: Odd but Costly Details ................................................................................. 46 Narratives of Beauty and Success ...................................................................................... 49 CHAPTER 4: LAW REFORM ...................................................................... -
Tạp Chí Nghiên Cứu Nước Ngoài
TẠP CHÍ NGHIÊN CỨU NƯỚC NGOÀI VNU JOURNAL OF FOREIGN STUDIES ISSN 2525-2445 Xuất bản 01 kỳ/02 tháng Ấn phẩm của Tạp chí Nghiên cứu Nước ngoài, Trường Tổng biên tập/Editor-in-Chief Đại học Ngoại ngữ, Đại học Quốc gia Hà Nội. Bản quyền Lâm Quang Đông đã được bảo hộ. Nghiêm cấm mọi hình thức sao chép, lưu trữ, phổ biến thông tin nếu chưa được Tạp chí Nghiên cứu Nước ngoài cho phép bằng văn bản. Tuy nhiên, việc Phó tổng biên tập/Deputy Editor-in-Chief sao chép độc bản các bài báo nhằm mục đích học tập hoặc nghiên cứu có thể không cần xin phép. Việc sao Nguyễn Hoàng Anh chép các hình ảnh minh họa và trích đoạn bài báo phải được sự đồng ý của tác giả và phải dẫn nguồn đầy đủ. Việc sao chép số lượng lớn bất kỳ nội dung nào của tạp Hội đồng biên tập/Editorial Council chí đều phải được Tạp chí Nghiên cứu Nước ngoài cho Lâm Quang Đông (Chủ tịch/Chairman) phép theo đúng qui định của pháp luật Việt Nam. Nguyễn Hoàng Anh Lê Hoài Ân Mai Ngọc Chừ Diana Dudzik Published by the VNU Journal of Foreign Studies, Lê Hoàng Dũng University of Languages and International Studies, Nguyễn Văn Hiệp Vietnam National University, Hanoi. All rights reserved. Nguyễn Hòa No part of this publication may be reproduced, stored Phan Văn Hòa in a retrieval system or transmitted in any form or by Đinh Thị Thu Huyền any means, electronic, mechanical, photocopying, Nguyễn Văn Khang recording or otherwise without the written permission Bảo Khâm of the VNU Journal of Foreign Studies. -
MP12 (Demo).Cdr
20 NHỮNG CON MAR DZUI DZẺ số THEÁ GIÔÙI EVENT DÖÔÙI BAØN TAY SINH VIEÂN M argroup 12 [THÁNG 12-2009] (tiếp theo trang 19) Tiếp tân Đây được xem là bộ mặt của chương trình vì họ tiếp xúc trực tiếp với sinh viên nhiều nhất. Vì thế, người tiếp tân phải luôn vui vẻ, tươi tắn và thông minh, khéo léo khi ứng xử với mọi người. “Nhiều lúc phải đứng suốt, mệt lắm nhưng không được để người khác thấy vẻ mệt mỏi của mình. Phải luôn cười và giữ cho mình tươi tỉnh” – bạn Thiên Phúc, người từng nhiều lần tham gia vị trí tiếp tân đã bộc bạch. Một nguyên tắc quan trọng của tiếp tân là luôn giữ nghiêm túc và bình tĩnh trong công việc, đối với Trưởng Tiếp tân thì hai yếu tố này lại càng quan trọng. “Khi bạn giữ được bình BẮT NHỊP TRI THỨC - NỐI KẾT TƯƠNG LAI tĩnh thì bạn mới có thể làm chỗ dựa cho người khác và đủ minh mẫn để đưa ra một quyết định đúng đắn khi xảy ra những vấn đề bất ngờ.” bạn Thùy Dung, Trưởng Tiếp tân chương trình “Shopper Behavior – Thế mạnh chinh phục người mua sắm” giải thích. Xin chân thành cảm ơn các bạn CTV-TV bộ phận Re-Ad và Event đã hỗ trợ phỏng vấn và cung cấp thông tin để thực hiện bài viết này. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ BAØI TOAÙN TIEÁP THÒ KIẾN THỨC MARKETING- ÑI TÌM LÔØI GIAÛI KHAÙC BIEÄT Tin sách Tư Duy Đột Phá Mar dzui dzẻ Việt Nam Một lãnh đạo của Toyota nói: “Để không thua người khác - Toyota cải tiến; nhưng để Những câu status thú vị thắng người khác - Toyota dùng tư duy đột trên facebook phá!” Thông điệp khi launching sản phẩm mới học từ xe bánh bao đối Thật vậy, một nhà lãnh đạo muốn đưa doanh diện với văn phòng: "Chào mừng nghiệp của mình ngày càng đi lên và vượt qua đối thủ của mình thì cần có những tư duy táo hai thành viên mới của gia đình bạo, đột phá. -
New Singapore Concert Platform Brings Together 60 Talents Under 25 Across the Region for Cultural Collaborations Between Singapore and Her Neighbours
New Singapore concert platform brings together 60 talents under 25 across the region for cultural collaborations between Singapore and her neighbours ● imagin.Asia concert will bring together 60 talents under 25 years old from Singapore and across Asia for a one day only concert held at Victoria Theatre (28 July 2018) ● Helmed by creative director Jeremiah Choy with music director Philip Tan, this year’s imagin.Asia concert theme ‘Artists Uncovered’ will also feature cultural and artistic traditions that youths in the region are keeping alive ● Highlights of imagin.Asia concert include: a Laotian puppetry theatre group comprising deaf performers; a Singaporean cancer survivor who is an aspiring singer-songwriter; and two Nepalese brothers who play traditional folk instruments SINGAPORE, 28 July 2018 – A new regional concert platform that brings together Singapore talents with their counterparts from across Asia will be launched this July at Victoria Theatre. Called imagin.Asia concert, this event will see a gathering of upcoming talents below the age of 25 who have inspired people and communities in which they live in through music, dance and theatre. Featuring more than 60 performers from 10 countries, the concert will take place on 28 July 2018. Elaborates Ms Karine Tan, senior cultural executive of not-for-profit arts and culture organisation, Global Cultural Alliance (GCA), the producer of the concert: imagin.Asia concert aims to serve as an international exchange platform for new and emerging Singapore arts talents to connect with their peers from Asia. This concert is an occasion for young talents from different countries and cultures to meet, initiate new dialogue and collaborate. -
The Faculty of Liberal Arts Thammasat University International Conference 2018
The Faculty of Liberal Arts Thammasat University Proceedings (Volume 1) International Conference 2018 ‘Superdiversity and Coexistence in Our Changing World’ 13-14 September 2018 Thammasat University, Bangkok, Thailand CONTENTS CULTURE SHOCK AND ADAPTATION OF AFRICAN EDUCATION 1 SOJOURNERS IN THAILAND FEDELIS ABAM AND WANNAPA TRAKULKASEMSUK ENGAGEMENT OF RELIGIOUS MORAL PRINCIPLES TO RESTRICTION OF 12 RELIGIOUSLY MOTIVATED HATE SPEECH IN AN ISLAMIC CONTEXT WORAPONG CHAROENWONG FINDING BALANCE OF BUILDING CHILDREN’S DIGITAL RESILIENCE 19 BETWEEN OFFLINE AND ONLINE WORLD SUJITTRA KAEWSEENUAL RE-READING BEAUTY MYTH: THE INFLUENCE OF LIVING VALUES 28 EDUCATION (LVE) ON YOUNG PEOPLE’S PERCEPTION OF THE CONCEPT OF BEAUTY SRI HARIYATMI “THE BALANCE OF NATURE’S RESTORED”: ECOLOGICAL HOLISM AND 37 MAGIC IN PONYO ON THE CLIFF BY THE SEA. WISARUT PAINARK ENGLISH IN CONTEMPORARY VIETNAM: OBSTACLES AND 55 OPPORTUNITIES HANH DUC NGUYEN L2 MOTIVATION IN VIETNAMESE CONTEXT: THE APPLICATION OF THE 65 MOTIVATION SELF SYSTEM INTO ENGLISH LANGUAGE TEACHING AT A UNIVERISY IN VIETNAM DAO NGUYEN¬A AND RATCHAPORN RATTANAPHUMMAB UNINTELLIGIBILITY: PROBLEMATIC LINGUISTIC AREAS OF 76 PRONUNCIATION AND THEIR IMPACT ON SELF-CONFIDENCE IN ENGLISH SPEAKING AMONG THAI ENGINEERING STUDENTS S. SINGHANUWANANON A AND K. CHATPUNNARANGSEE B AN ANALYSIS OF STUDENTS’ PERCEPTIONS TOWARDS PROMOTING 90 CRITICAL STANCE: A CASE STUDY OF AN ELF CLASSROOM IN BANGKOK WARAPON WONGWIT AND NUNTHIKA PUTTIKANON EXPLORING VOICE IN THAI EFL STUDENTS’ PARAGRAPHS 107 K. PAWABUNSIRIWONG A, S. -
American Idol: Should It Be a Singing Contest Or a Popularity Contest?
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Amegashie, J. Atsu Working Paper American idol: should it be a singing contest or a popularity contest? CESifo Working Paper, No. 2171 Provided in Cooperation with: Ifo Institute – Leibniz Institute for Economic Research at the University of Munich Suggested Citation: Amegashie, J. Atsu (2007) : American idol: should it be a singing contest or a popularity contest?, CESifo Working Paper, No. 2171, Center for Economic Studies and ifo Institute (CESifo), Munich This Version is available at: http://hdl.handle.net/10419/26215 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu AMERICAN IDOL: SHOULD IT BE A SINGING CONTEST OR A POPULARITY CONTEST? J. -
Exploiting Idols
Exploiting Idols A case study of international TV formats trading in the absence of intellectual property protection1 Authors2: Martin Kretschmer & Sukhpreet Singh 1 Forthcoming 2010 in Robert Burnett & A.J. Zwaan (eds), Your Fans are Waiting: An academic volume on Idol. Research for this case study was funded under ESRC (UK) Grant No. RES–186–27–0012 (2008-09): ‘The Exploitation of Television Formats: Intellectual property and non-law based strategies’. 2 Sukhpreet Singh ([email protected]) is an Associate Lecturer in Media Management and a Research Fellow at the Centre for Intellectual Property Policy and Management, Bournemouth University, UK. Martin Kretschmer ([email protected]) is Professor of Information Jurisprudence and Director of the Centre for Intellectual Property Policy and Management (www.cippm.org.uk). Martin Kretschmer was the principal investigator of the ESRC project; Sukhpreet Singh was the lead researcher, carrying out the bulk of the empirical work. The research design was developed jointly. We would like to acknowledge the contribution of Jon Wardle, Director of the Centre for Excellence in Media Practice at Bournemouth University, www.cemp.ac.uk), who (as a co-applicant of the ESRC grant) was responsible for the digital resource of the project: http://tvformats.bournemouth.ac.uk. 1 Abstract Television formats have become a major export industry for Britain and the United States (who together account for nearly two thirds of all format hours broadcast annually worldwide). Yet, there is no such thing as a television format right under copyright law. Any producer is free to develop game, reality and talent shows that are based on similar ideas. -
How Vietnam Can Sink Music Pirates
FEATURES Battles of Vietnam How Vietnam Can Sink Music Pirates Copyright violation and piracy levels in Vietnam rank among the highest in the world, with the recording industry estimating losses to unauthorized uses at 95%. From Ho Chi Minh City, Gage Raley proposes a strategy by which the Vietnamese music industry can get consumers to pay for their digital music downloads. he Vietnamese recording industry faces an existential threat from digital music piracy. The most popular way of T obtaining music in Vietnam is through copyright-infringing websites. Copyright violation and piracy levels in Vietnam rank among the highest in the world, with the recording industry Royalty Revenue in the Digital Age estimating losses to unauthorized uses at 95%. “These violations will kill Vietnamese music if we do not stop them,” composer and Generating royalty revenues in the piracy age is challenging. “Vietnam Idol” judge Quoc Trung recently warned. In light of this challenge, Vietnam has established an entire Two major events in 2012, however, brought hope that Vietnam entity – the Vietnam Center for Protecting Music Copyright may have turned a corner in its fight against music piracy. First, (VCPMC) – dedicated solely to protecting copyrights and Apple launched iTunes Vietnam, bringing its popular paid-music collecting royalties for artists. service to the Vietnamese market. Second, after an Associated T he music industry is also responding to the revenue crisis Press exposé on Zing’s facilitation of copyright infringement led with creative solutions. Borrowing from the model used to several multinational corporations to yank their ads from the site, support broadcast television, Pops.vn collects royalties for Zing promised to begin charging for music downloads. -
Vietnam in View a CASBAA Market Research Report
Vietnam in View A CASBAA Market Research Report In Association with Media Partners Asia Table of Contents 1. Executive Summary 4 1.1 High growth but still under potential 4 1.2 Technology choice: cable is still king 4 1.3 Accelerated consolidation and competition 5 1.4 Huge need for high-quality content 6 1.5 Consumer affluence 7 2. TV industry Data 8 2.1 Summary 8 2.2 TV penetration 8 2.3 Internet broadband penetration 9 2.4 Pay TV revenue 9 2.5 Advertising Spending 10 3. Pay-TV industry 11 3.1 Overview 11 3.2 Pay-TV growth 11 3.2.1 Major modern platforms are common 11 3.2.2 Cable continues to be king of the market 12 3.2.3 Satellite TV is still a fledgling market 14 3.2.4 Digital terrestrial remains a potential 17 3.2.5 IPTV is now a mainstream pay TV service 18 3.3 Industry structure 19 3.3.1 Relationships between players 19 3.3.2 Pay-TV Association 20 3.3.3 Structure of Pay-TV programming distribution 21 3.3.4 A more mature market 22 3.4 Programming 23 3.4.3 FTA channels 23 3.4.4 Turn around channels 24 3.4.5 Commissioned programs 24 3.4.6 In-house channels 24 3.4.7 Programming costs 24 3.5 Pricing 24 3.6 Market potential 24 3.6.1 Consumer affluence 24 3.7 TV advertising 26 3.8 Technological issues 29 3.8.1 Encryption and conditional access systems 29 3.8.2 Satellites and Satellite bands 30 3.8.3 Digital migration 30 3.9 Future developments 30 3.9.1 Existing players 30 3.9.2 New entrants 30 3.10 Growth constraints 32 3.10.1 Programming quality 32 3.10.2 Signal quality 32 3.10.3 Customer service 32 3.10.4 Pricing 32 3.10.5 Signal piracy by users 33 3.10.6 Online piracy 33 3.11 Piracy and unauthorized distribution 33 4. -
A Critical Anaysis of Identity, Media, and Popular Music in the Voice Of
WHOSE VOICE?: A CRITICAL ANALYSIS OF IDENTITY, MEDIA, AND POPULAR MUSIC IN THE VOICE OF CHINA Xinxin Jiang A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2018 Committee: Alberto González, Advisor Angela Ahlgren Graduate Faculty Representative Katherine Meizel Becca Cragin © 2018 Xinxin Jiang All Rights Reserved iii ABSTRACT Alberto González, Advisor This manuscript explores the relationships among identity, media, and popular music in Chinese society through an examination of a televised singing competition franchise, The Voice of China. I attempt to understand what role popular culture, in the form of a contemporary popular cultural product, plays in Chinese people’s everyday life and how the show is a site where Chinese people articulate, interrogate and negotiate aspects of identity. I provide a textual analysis to interpret the meaningful details of each episode while employing a critical-cultural approach to understand the socio-historical contexts and the online discourse that are conducive to the uniqueness of the international franchise. More specifically, I examine how societal discourses on the blind audition and the voting systems of the show reveal growing public awareness of and concern with issues of equity and fairness in the cultural arena of traditional aesthetic standards as well as the societal arena of electoral politics. I also explore how the show reinforces the ruling Party’s appropriations of nationalism in a sophisticated way to highlight a unified and supreme national voice, how it reflects both a loosening grip of the central government on gender representation and a growing social leniency toward gender diversity, and finally how the voice diversity was constructed by individuals who are in possession of or in need of various forms of social capital and who are from geographically diverse and economically disparate social backgrounds.