Und Parasoziale Beziehungen (Psb)

Total Page:16

File Type:pdf, Size:1020Kb

Und Parasoziale Beziehungen (Psb) DIPLOMARBEIT Titel der Diplomarbeit Parasoziale Interaktion mit Serienprotagonisten Zusammenhänge zwischen parasozialen Beziehungen, Kontrollerwartung, Selbstkonzept und Wertvorstellungen am Beispiel von: Die Waltons, Eine himmlische Familie, Gilmore Girls und Sex and the City. Verfasserin Nicole Petra Jezek Angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, Jänner 2008 Matrikelnummer: 9825600 Studienkennzahl lt. Studienblatt: A 301 295 Studienrichtung lt. Studienblatt: Publizistik- und Kommunikationswissenschaft. (Gewählte Fächer statt 2.Studienrichtg: Psychologie und Pädagogik) Betreuerin: Univ.-Ass. - Mag. Dr. Andrea Payrhuber Inhaltsverzeichnis 3 INHALTSVERZEICHNIS INHALTSVERZEICHNIS .................................................................................................3 ABBILDUNGEN..................................................................................................................7 GRAFIKEN..........................................................................................................................9 TABELLEN........................................................................................................................11 VORWORT........................................................................................................................15 EINLEITUNG....................................................................................................................17 1 MEDIENWIRKUNGSFORSCHUNG.....................................................................23 1.1 Entwicklung der Wirkungsforschung ..................................................................23 1.2 Symbolischer Interaktionismus............................................................................26 1.3 Nutzenansatz........................................................................................................26 1.4 Uses-and-Gratifications Approach......................................................................27 2 DAS FERNSEHEN....................................................................................................29 2.1 Nutzen von Fernsehen .........................................................................................31 2.2 Nutzen von Familienserien ..................................................................................32 2.3 Wirkung von TV-Serien ......................................................................................34 2.4 Freunde aus dem Fernsehen.................................................................................35 2.5 Zusammenfassung ...............................................................................................36 3 DIE TV-SERIE ..........................................................................................................37 3.1 Seriennutzung ......................................................................................................37 3.2 Begriffsdefinition: „fiktive Fernsehserie“ ...........................................................38 3.3 Gattungen, Formate und formale Gestaltung.......................................................39 3.3.1 Einteilung nach Hickethier......................................................................................... 39 3.3.2 Einteilung nach Mikos................................................................................................ 41 3.3.3 Einteilung nach Monaco............................................................................................. 42 3.4 Genres ..................................................................................................................43 3.4.1 Einteilung nach Monaco............................................................................................. 43 3.4.2 Das beliebteste Genre................................................................................................. 43 3.5 Wichtige Merkmale von Serien ...........................................................................48 3.5.1 Die seriellen Hilfsmittel ............................................................................................. 48 3.5.2 Der Dialog.................................................................................................................. 51 3.5.3 Handlungsstränge....................................................................................................... 52 3.5.4 Gestaltung................................................................................................................... 53 3.5.5 Charaktere .................................................................................................................. 53 3.5.6 Die Serien der Untersuchung im Vergleich................................................................ 55 3.6 Zusammenfassung ...............................................................................................55 4 PARASOZIALE INTERAKTION (PSI) UND PARASOZIALE BEZIEHUNGEN (PSB).....................................................................................................57 4.1 Geschichte und Verlauf.......................................................................................57 4.2 Begriffsdefinitionen.............................................................................................61 4 Inhaltsverzeichnis 4.2.1 Interaktion................................................................................................................... 61 4.2.2 Soziale Interaktion...................................................................................................... 61 4.2.3 Parasoziale Interaktion................................................................................................ 62 4.2.4 Parasoziale Beziehungen ............................................................................................ 64 4.3 Der aktive Zuschauer ...........................................................................................66 4.4 Mediale Interaktionspartner bzw. Persona/e........................................................67 4.4.1 Personenanalyse.......................................................................................................... 69 4.4.2 Identifikation, Sympathie und Empathie .................................................................... 70 4.5 Empirische Untersuchungen................................................................................71 4.5.1 PSI-Skala .................................................................................................................... 71 4.5.2 Explorative Studie zu parasoziale Beziehungen (Peter Vorderer).............................. 74 4.5.3 Vergleich zwischen parasozialen und realen sozialen Beziehungen (Uli Gleich)...... 76 4.6 Zusammenfassung................................................................................................80 5 WERTEKONZEPTE ................................................................................................82 5.1 Begriffsdefinition.................................................................................................82 5.2 Wertekonzept nach Rokeach................................................................................84 5.3 Wertekonzept nach Klages...................................................................................87 5.4 Wertewandel ........................................................................................................89 5.4.1 Zwei Ansätze des Wertewandels ................................................................................ 90 5.4.2 4 mögliche Szenarien für die zukünftige Wertentwicklung ....................................... 90 5.5 Der „Wert“ der Familie bzw. Die Familie als Wert.............................................91 5.5.1 Definition Familie....................................................................................................... 91 5.5.2 Familie im Fernsehen ................................................................................................. 94 6 SELBSTBILD BZW. SELBSTKONZEPT..............................................................95 6.1 Begriffsdefinitionen .............................................................................................95 6.1.1 Das Selbst, Selbstkonzept und Selbstbild................................................................... 95 6.1.2 Persönlichkeit ............................................................................................................. 98 6.1.3 Einstellung .................................................................................................................. 98 6.1.4 Selbstkonzeptmessung.............................................................................................. 100 7 LERNEN, MOTIVATION UND KONTROLLERWARTUNG .........................103 7.1 Soziale Lerntheorie............................................................................................103 7.1.1 Prämissen zur sozialen Lerntheorie .......................................................................... 104 7.1.2 Begriffsdefinitionen.................................................................................................. 105 7.1.3 „social category theory“ ........................................................................................... 106 7.2 Motivationstheorie .............................................................................................106 7.2.1 Grundmodell der klassischen Motivationspsychologie ...........................................
Recommended publications
  • THE APPA Newsletter Oct. 23, 2007 See This Weekend MISSION
    THE APPA Newsletter Oct. 23, 2007 See This Weekend MISSION STATEMENT: Promote full utilization of the capabilities of the Enterprise's employees and champion the betterment of the company and community. Promote interest in Asian Pacific issues and culture and act as a bridge to all groups within our community. (substitute in your Enterprise and company, etc…) --------------------------------------------------------------------- ed. by Douglas Ikemi ([email protected]) ------------------------------------------------------------------------- Back issues of the newsletter for all of 2000, 2001, 2002, 2003, 2004, and 2005 are available at http://www.ikemi.info/APPA/newsletters.html if you want to look up some past event. The website www.apa- pro.org no longer exists. This newsletter was originally published under the auspices of the Hughes Asian Pacific Professional Association (no longer extant). It currently has no affiliation and is available to anyone who is interested in downloading it. ---------------------------------------------------------------------- Please send in information on cultural events and news items to [email protected] or [email protected] . Thanks to those who have. Long range calendar items: Chinatown Farmers Market EVERY THURSDAY FROM 2-6PM, the Chinatown Farmers' Market takes place at Hill & Alpine bringing fresh fruits and produce by California Farmers to the Chinatown Community. FRIED BANANA, FRIED YAM, HAWAIIAN CHICKEN. We invite you to come and experience the Chinatown Farmers' Market. Free parking with purchase. The Downtown Arts District/Little Tokyo Farmers' Market Weller Court 2nd & San Pedro in Little Tokyo Summer Hours 10-3pm Features fresh produce, Hawaiian Chicken, more food gifts...and live jazz band. Tuesdays from 10 a.m.- 3 p.m. The weekly market is held every Tuesday from 10 a.m.- 3 p.m year round, rain or shine.
    [Show full text]
  • By Carla Ching Bart Delorenzo
    50th Season • 474th Production JULIANNE ARGYROS STAGE / OCTOBER 6-27, 2013 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents the world premiere of FAST COMPANY by Carla Ching Keith Mitchell Ann Closs-Farley Tom Ontiveros John Ballinger SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC/SOUNDSCAPE Jason H. Thompson Kelly L. Miller Joshua Marchesi Jennifer Ellen Butler* PROJECTION DESIGN DRAMATURG PRODUCTION MANAGER STAGE MANAGER Directed by Bart DeLorenzo FAST COMPANY was workshopped and developed in the 2013 Pacific Playwrights Festival Commissioned with support from The Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project Developed in the Lark Play Development Center’s Playwrights Workshop Fast Company • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Blue ......................................................................................... Jackie Chung* H .................................................................................................. Nelson Lee* Francis ................................................................................... Lawrence Kao* Mable ...................................................................................... Emily Kuroda* SETTING Time: Now LENGTH Approximately two hours, including one intermission. PRODUCTION STAFF Casting ......................................................................... Joanne DeNaut, CSA Production Assistant ..........................................................................
    [Show full text]
  • CREATIVITY WORLDMAKING WORLD Race, Per for Mance, and MAKING the Work of Creativity
    DORINNE KONDO WOR L D- M A K I NG RACE, PERFORMANCE, AND THE WORK OF CREATIVITY WORLDMAKING WORLD Race, Per for mance, and MAKING the Work of Creativity Dorinne Kondo Duke University Press Durham and London 2018 © 2018 Duke University Press All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Designed by Heather Hensley Typeset in Chaparral Pro by Westchester Publishing Services Library of Congress Cataloging- in- Publication Data Names: Kondo, Dorinne K., author. | Container of (work): Kondo, Dorinne K. Seamless. Title: Worldmaking : race, performance, and the work of creativity / Dorinne Kondo. Description: Durham : Duke University Press, 2018. | Includes bibliographical references and index. Identifiers: lccn 2018020447 (print) | lccn 2018027617 (ebook) isbn 9781478002420 (ebook) isbn 9781478000730 (hardcover : alk. paper) isbn 9781478000945 (pbk. : alk. paper) Subjects: lcsh: Asian American theater—Social aspects. | Theater and society—United States. | Racism and the arts—United States. | Creation (Literary, artistic, etc.) —Social aspects—United States. | American drama—Asian American authors—History and criticism. Classification: lcc pn2270.a75 (ebook) | lcc pn2270.a75 k66 2018 (print) | ddc 792.089/950973—dc23 lc record available at https://lccn.loc.gov/2018020447 Duke University Press gratefully acknowledges the Dorothy Leonard Endowment for Visual Anthropology from the Center for Visual Anthropology, University of Southern California; and the Office of the Dean at the Dornsife College of Letters, Arts and Sciences, University of Southern California, that provided funds toward the publication of this book. all per for mance rights to the play, seamless, are retained by the author. Cover art: Yong Soon Min, American, born South Korea, Movement, 2008, clear vinyl records, compact discs, mirrors of varying sizes, painted image.
    [Show full text]
  • Read an Excerpt
    THE THEORY OF EVERYTHING A Play by PRINCE GOMOLVILAS Dramatic Publishing Woodstock. nlinois • England • Australia • New Zealand © The Dramatic Publishing Company, Woodstock, Illinois *** NOTICE *** The amateur and stock acting rights to this work are controlled exclusively by TIlE DRAMATIC PUBLISHING COMPANY without whose pennission in writing no performance of it may be given. Royalty fees are given in our current catalog and are subject to change without notice. Royalty must be paid every time a play is perfonned whether or not it is presented for profit and whether or not admission is charged. A play is perfonned any time it is acted before an audience. All inquiries concerning amateur and stock rights should be addressed to: DRAMATIC PUBLISHING P. O. Box 129, Woodstock, nlinois 60098 COPYRIGHT LA W GIVES THE A UTHOR OR THE AUTHOR'S AGENT THE EXCLUSIVE RIGHTTO MAKE COPIES. This law provides authors with a fair return for their creative efforts. Authors earn their living from the royalties they receive from book sales and from the perfonnance of their work. Conscientiouc; obiervance of copyright law is not only ethical, it encourages authors to continue their creative work. This work is fully protected by copyright No alterations, dele­ tions or subititutions may be made in the work without the prior written consent of the publisher. No part of this work may be reproduced or transmitted in any fonn or by any means, electronic or mechanical, including photocopy, recording, video­ tape, film, or any infonnation storage and retrieval system, without pennission in writing from the publisher. It may not be perfonned either by professionals or amateurs without payment of royalty.
    [Show full text]
  • (Don't) Wear Glasses: the Performativity of Smart Girls On
    GIRLS WHO (DON'T) WEAR GLASSES: THE PERFORMATIVITY OF SMART GIRLS ON TEEN TELEVISION Sandra B. Conaway 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 2007 Committee: Kristine Blair, Advisor Julie Edmister Graduate Faculty Representative Erin Labbie Katherine Bradshaw © 2007 Sandra Conaway All Rights Reserved iii ABSTRACT Kristine Blair, Advisor This dissertation takes a feminist view of t television programs featuring smart girls, and considers the “wave” of feminism popular at the time of each program. Judith Butler’s concept from Gender Trouble of “gender as a performance,” which says that normative behavior for a given gender is reinforced by culture, helps to explain how girls learn to behave according to our culture’s rules for appropriate girlhood. Television reinforces for intellectual girls that they must perform their gender appropriately, or suffer the consequences of being invisible and unpopular, and that they will win rewards for performing in more traditionally feminine ways. 1990-2006 featured a large number of hour-long television dramas and dramedies starring teenage characters, and aimed at a young audience, including Beverly Hills, 90210, My So-Called Life, Buffy the Vampire Slayer, Freaks and Geeks, and Gilmore Girls. In most teen shows there is a designated smart girl who is not afraid to demonstrate her interest in math or science, or writing or reading. In lieu of ethnic or racial minority characters, she is often the “other” of the group because of her less conventionally attractive appearance, her interest in school, her strong sense of right and wrong, and her lack of experience with boys.
    [Show full text]
  • East West Players, Inc. Records PASC.0115
    http://oac.cdlib.org/findaid/ark:/13030/tf1489n74f No online items Finding Aid for the East West Players, Inc. Records PASC.0115 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by D.MacGill UCLA Library Special Collections Online finding aid last updated on 2020 October 23. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the East West PASC.0115 1 Players, Inc. Records PASC.0115 Contributing Institution: UCLA Library Special Collections Title: East West Players, Inc. records Creator: East West Players (Los Angeles, Calif.) Identifier/Call Number: PASC.0115 Physical Description: 60.9 Linear Feet(113 boxes and 11 flat boxes) Date (inclusive): 1965-1992 Abstract: As the first Asian American theater founded in 1965, East West Players and its history provide valuable account of Asian Pacific American experience. The collection spans 1965 to 1992 and includes administrative files, financial records, and production related files consisting of scripts, photographic material, programs, publicity, sound recordings and videos. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisual materials. Audiovisual materials are not currently available for access, unless otherwise noted in a Physical Characteristics and Technical Requirements note at the series and file levels.
    [Show full text]
  • Download PDF File
    ART MAGAZINEVolume 38 Issue 6 MercuryHg Company II ART MISSION Artists Repertory Theatre’s mission is to produce intimate, provocative theatre and provide a home for a diverse community of artists and audiences to take creative risks. ANTI-RACIST STATEMENT Artists Repertory Theatre recognizes that we are a predominately white organization and operate within systemic racism and oppression, and that silence and neutrality are actions of complicity. We recognize the critical role the arts play in our culture and national conversation, and accept our responsibility to make positive change through our work, our practices, and our policies. We commit ourselves to the work of becoming an anti-racism and anti-oppression organization, and will work with urgency to end racial inequities in our industry and our culture. ARTISTS REP gratefully acknowledges our theatre rests on the traditional lands of the Multnomah, Wasco, Cowlitz, Kathlamet, Clackamas, Bands of Chinook, Tualatin Kalapuya, Molalla and many other tribes who made their homes along the Columbia River. ARTISTSREP.ORG 2 TODAY IS MY BIRTHDAY AUDIO by SUSAN SOON HE STANTON Mercury Company Dámaso Rodríguez, Executive Artistic Director J.S. May, Executive Director Kisha Jarrett, Managing Director CAST DJ Loki ................................................................................................ Andrés Alcalá Mrs. Asuncion (Landon’s Mom) ............................................................. Lava Alapai^~ Sebastian ............................................................................................
    [Show full text]
  • Telling the .Untold .JA Stories
    Spring Campaign Fighting Hate Help fill the pot at the end A bill seeks to expand the definition of hate crimes. of the rainbow to improve , , , the P.G.'s Web site. NATIONAL NEWS PAGE 3 COUPON PAGE 2 Bainbridge Island commemorates the first evacuation of JAs. The National Publication of the Japanese American Citizens League A Pioneering Japanese Colony to be Resurrected Study Finds Census Bureau Reported, JAs to U.S. Security Agencies in WWII Local JA groups and the American River Conservancy are working together to pur­ By Pacific Citizen Staff . Mori, JACL national director. "During World War II, 120,000 pe0- chase land where the Wakamatsu Colony GovermiIent documents show the ple of Japanese ancestry, the majori­ - the first Japanese colony to settle in U.S. Census Bureau provided infor­ ty of whom were U.S. citizens, were North America - was established. mation to U.S. surveillance agencies forced into American concentration , - including the Justice Department camps. Many others were immedi­ By CAROLINE AOYAGI-STOM and Secret Service - to identify ately plucked from their homes by Executive Editor Japanese Americans during World the FBI and War II, despite decades of official carted off to In four weeks time during the first Saturday of May, denials. undisclosed Tom Fujimoto, 81, will get into his car and drive about Historians Margo Anderson and imprison­ 40 miles east of his home in Sacramento, taking an Okei-san, a pioneering Japanese colonist, is William Seltzer discovered docu­ ment facili­ annual trip that he hasn't missed since 1970. It's a trip buried on top of Gold Hill, the site of the former ments in the Commerce Department ties.
    [Show full text]
  • Writing Fragments Home
    THEATREWORKS SILICON VALLEY SUPPORTS AAPI COMMUNITY THROUGH BENEFIT LIVESTREAM Writing Fragments Home By Jeffrey Lo Directed by Victor Malana Maog Video Production by Stephen Muterspaugh Livestream 7pm PDT Saturday, June 5 (PLus streaming on-demand June 6-9) A fundraiser for the Bay Area AAPI Community through Compassion in Oakland REDWOOD SHORES, CA (12 May 2021) – In a time where the manifestation of prejudice and violence toward the Asian American and Pacific Islander (AAPI) community has reached an extreme high, TheatreWorks SiLicon ValLey will stream a benefit reading of Writing Fragments Home to raise funds to support and uplift the AAPI community. Written by Filipino American playwright and TheatreWorks Director of Community Partnerships/ Casting Director Jeffrey Lo, this comedic play is an unapologetically Filipino American story about art, family, and culture, exploring one playwright’s journey to rediscover his voice while combatting systemic racism. Co-presented by more than 40 leading theatres and arts organizations in the Bay Area and beyond, this reading will benefit Compassion in OakLand, a nonprofit formed in response to the surge of anti-Asian attacks and dedicated to promoting safety and community in Oakland Chinatown and beyond. Writing Fragments Home will be streamed live 7pm PDT, Saturday, June 5, 2021 (with streaming on-demand access available June 6 at 12pm PDT through June 9 at 7pm PDT). Viewers can sign up at TheatreWorks.org to receive a link to view Writing Fragments Home without charge, although donations are encouraged to support Compassion in OakLand—donation levels from $10-$100 are available in tiers named for popular Filipino dishes, including Lumpia Platter, Lechon, Pancit, and Adobo.
    [Show full text]
  • Remington Steele Episo De Guide
    Remington Steele Episo de Guide Version Compiled by Raymond Chen Revision history Version Septemb er Version Version Version Version x February internal Version Decemb er c Copyright Raymond Chen all rights reserved Permission is granted to copy and repro duce this do cument provided that it b e distributed in its entirety including this page No charge may b e made for this do cument b eyond the costs of printing and distribution No mo dications may b e made to this do cument Preface This episo de guide b egan as a collection of private notes on the program Remington Steele which I had kept while watching the show on NBC in the eighties Yes I take notes on most television programs I watch Call me analretentive Sometime in early I got the crazy idea of creating an episo de guide and the rst edition of this guide eventually app eared later that year Still not satised and unable to recall the plots of most of the episo des b eyond the sketchiest of descriptions I decided to give my feeble brain cells a breather and write out more detailed plot summaries as I watched the episo des I consider using a VCR to b e cheating and b esides you can read a plot summary faster than you can watch a tap e There you have it the confessions of a neurotic televisionwatcher Not in the printed guide but available in the guide source is a summary of musical themes and a list of quotes Remington Steele still gets my vote for the show with the b est incidental music No other show I know comes even close The quotes you can add to your favorite
    [Show full text]
  • New Eyes Festival 2021: (Un)Scene Is Made Possible, in Part, by the Following Sponsors
    NEW EYES FESTIVAL 2021: (UN)SCENE May 21 - 29, 2021 Broadcast Online RBC Wealth Management is a presenting sponsor of New Eyes Festival: (Un)Scene. This year’s New Eyes Festival plays are being developed with support from our friends at Playwrights’ Center. Aditi Brennan Kapil’s piece was commissioned by Company One Theatre for its Acts of Joy program in 2021. SUPERMANIFESTO PLAYWRIGHT Aditi Brennan Kapil DIRECTOR Sara Ochs ASST. STAGE MANAGER Jessica Yates SUPERMAN Meghan Kreidler* THE THAW AND THE GROUND BELOW PLAYWRIGHT Lisa Marie Rollins DIRECTOR Katie Bradley ASST. STAGE MANAGER Chengyuan “Eva” Huang ROSE Michelle de Joya AMY Dexieng Yang BILL Adam Whisner SEAN Dan Piering* RAW PIG BLOOD SOUP PLAYWRIGHT Saymoukda Duangphouxay Vongsay DIRECTOR Lily Tung Crystal ASST. STAGE MANAGER Sunny Thao ASIAN WOMAN Emily Kuroda* DETECTIVE Phasoua Vang BONES OF A HORSE PLAYWRIGHT Isabella Dawis DIRECTOR Rick Shiomi ASST. STAGE MANAGER Rachel A. Lantow DEVIN Francesca Dawis BILL Eric Sharp* DAN PATCH Alex Galick* WALKING PLAYWRIGHT Carla Ching DIRECTOR Jennifer Weir STAGE MANAGER Lyndsey R. Harter WOMAN Katie Bradley* EMMY Taj Ruler MARGOT Janelle Tangonan Anderson BOBBY Gregory Yang PRODUCTION TEAM CO-PRODUCER Katie Hae Leo PRODUCTION STAGE MANAGER Lyndsey R. Harter* STREAMING PRODUCER Joshua Dyrud * Member of ACTORS’ EQUITY ASSOCIATION, the union of professional actors and stage managers in the United States KATIE BRADLEY she/her. Katie Bradley is an actor based in Minneapolis. Select theater credits include: Guthrie Theater (Guys and Dolls, A
    [Show full text]
  • Center of Northern California
    JAPANESE CULTURAL AND COMMUNITY CENTER OF NORTHERN CALIFORNIA WINTER 2007, CENTER VOLUME 15 Executive Director’s Message Fifty years ago, San Francisco Mayor George Christopher made history when, at the suggestion of President Dwight Eisenhower, he sent a four-member delegation from San Francisco to Osaka to establish the nation’s first sister city relationship with Japan. This year, in celebration of the 50th Anniversary of the San Francisco-Osaka Sister City relationship, the JCCCNC in cooperation with the San Francisco-Osaka Sister City Association will be organizing three tours to Osaka to help strengthen and improve new relations between our two cities. The first will be the official trip of Mayor Gavin Newsom and a 44-member delegation in February to help promote friendship and the revitalization of Japantown. The second is the Shinzen Nikkei Youth Sports Exchange Program which will bring 20 youth and their families, totaling about 90 participants, to encourage youth to become grassroots ambassadors. The third is the San Francisco-Osaka Culinary Tour which will bring a delegation of 75 representing the finest in San Francisco’s culinary arts in an effort to promote cultural exchange between our two cities. As we look forward to the 50th Anniversary activities, we hope to make this year a historical event by bringing together our two cities most valuable resources – the citizens of San Francisco and Osaka. The mission of these citizen ambassadors is to learn, share and dialogue with the people of Osaka so that we may continue to improve understanding and develop new relationships toward enduring friendship and peace.
    [Show full text]