Over the past two decades, the resource-based view of the firm (RBV) has emerged as one of the more influential paradigms from the field of strategic management. However, the theory has been subjected to a number of criticisms, particularly related to the use of methodologies in past research. Many RBV studies have tended to use averaged findings across broad industry samples. Approaches reliant on "averaging" methods will only uncover what is the case for the average, "representative" firm, and will not identify those unique, firm-specific assets that can result in sustained profitability. In order to examine the implications of methodological choice and the RBV, the subjective approach of Q methodology was used in a sample of music industry firms to identify a key resource set for the context of interest, identify strategic groups within the sample based on resource emphasis, and explore the ways in which managers use their resources to generate firm profits. A comparative approach examined resource outcomes by performance group, over multiple levels of analysis. The findings revealed (i) a number of relevant and new, context-specific resources from the music industry, (ii) the identification of three distinct clusters of firms that emerged from the sample based on resource preferences, firm characteristics, and managerial perceptions (iii) key resource findings that varied by level of analysis and by firm performance, and (iv) distinct processes through which the resources become valuable at the level of the firm--even when the same resources are considered. The outcomes of this thesis illustrate how methodological choice can affect findings when using the RBV to uncover important sources of advantage. Furthermore, the outcomes in this thesis point to the weaknesses of many past RBV studies that investigate the impact of resources and capabilities on firm performance, and remind scholars that a defining feature of the RBV is that its intention was to identify sources of advantage at the level of the firm. Moreover, the findings show that past RBV research using aggregated data across multi-industry samples can be misleading in its prescription to managers.

This paper surveys the history of Czechoslovak monetary policy from its formation till the year 1993 when the currency Koruna československá (Kčs) was ceased. It outlines the first Czechoslovak banking within the Austria-Hungary, the rise of independent Czechoslovak banking system after 1918 and the 1919 monetary reform, monetary policy of the following years of freestanding republic till the years of German occupation and 2nd World War. Next there is also a chapter about the postwar monetary reform and monetary policy during the people's democratic period till 1948. Further this paper involves monetary policy development under the direction of Communist Party of Czechoslovakia (KSČ), also the 1953 currency reform, fruitless attempts to reform the system and the consequent return to the original condition after 1968. Last chapter deals with the monetary policy after 1989 till the separation of Czechoslovakia and extinction of Kčs in 1993. Together with each chapter there is a rubric describing creative contents of then paper currency and bank notes, their comprehension and propagandistic context.

[pt] Esta tese refere-se ao estudo, pesquisa e fundamentação teórica dos vínculos e interações entre o Design e a propriedade intelectual (PI). As criações intelectuais em Design têm características compatíveis com a maioria das modalidades de resguardo definidas na PI. Contudo, é necessário entender corretamente o fluxo que estas percorrerem no sistema legal. O pouco domínio dos seus conteúdos e de suas interações acarreta dificuldades na gestão plena das criações intelectuais utilizando-se do sistema. Para permitir a compreensão do conjunto foi desenvolvida uma classificação sistematizada (taxonomia) dos conteúdos criativos da PI permitindo uma visão panorâmica do sistema a partir das características estéticas e técnicas das criações, dos conteúdos criativos derivados e dos objetos criativos híbridos. Com a taxonomia desenvolvida foi possível identificar os conteúdos criativos mínimos relacionados com cursos superiores de conteúdos projetivos e, especificamente, com habilitações e especialidades em Design. Foram tratados também dos espaços de interação entre o Design e a PI quando da coleta e análise de dados para projeto ou tomada de decisões estratégicas; da proteção, defesa, negociação e apropriação das criações intelectuais; e do exercício de novas competências pelo designer. Relacionadas com cada espaço de interação são indicadas as habilidades esperadas a serem alcançadas a partir do ensino-aprendizagem de PI. São habilidades baseadas nas recomendações de conteúdos curriculares de PI formuladas para cursos de Design. / [en] This thesis is on the study, research, and theoretical basis of the connections and interactions between design and intellectual property (IP). The intellectual creations of design encompass characteristics that are compatible with most protection modalities defined in IP. However, it is necessary to accurately comprehend their flow in the legal system. Limited knowledge of their contents and interactions poses difficulties in comprehensive management of intellectual creations using the system. To allow it to be understood in its entirety, a systemized classification has been developed (taxonomy) of the creative content of IP, enabling an overview of the system from the perspective of the aesthetic and technical characteristics of the creations, the derived creative content, and the hybrid creative objects. With the taxonomy, it was possible to identify the minimal creative content that corresponds to higher education courses of projective content and, specifically, to qualifications and specialties in design. Attention was also paid to the areas of interaction between design and IP related to the collection and analysis of project data or making strategic decisions; the protection, defense, negotiation, and appropriation of intellectual creations; and the exercise of new skills by the designer. The skills expected to be developed through teaching and learning IP are shown to be related to each area of interaction. These skills are based on the recommendations of the IP curriculum content, which is formulated for design courses.