published_or_final_version / abstract / Business / Master / Master of Philosophy

There is common theme within the literature that a store represents the tangible and intangible values of the company's commercial and retail organisational philosophy. Given this, it could be considered as a brand, with all the associated competitive advantages that correspond to this entity. Operationally, a store's brand competitiveness can be viewed from the image it transmits and the impact it has in the minds of consumers. However, as markets and consumer tastes vary between countries, there have been calls for further inquiry into how the domestic store brand image, with its inherited competitive advantage, can be transferred abroad. A means for achieving this is via a standardised transfer strategy. In the international marketing literature, standardisation is referred to as the identical offering of the entire marketing mix in several different countries. Likewise, within the context of retail intenationalisation, standardisation is defined as the faithful replication of a successful domestic store concept abroad. Despite all the citations found within the wider literature on international retailing the notion of standardisation lacks of clear definition when concern upon the transfer of store brand image. Thus, the aim of this thesis is to provide an insight into the debate of store brand image standardisation in international retailing. From the limitations identified in the existing literature, a new research framework is proposed for examining store brand image standardisation. The framework includes the conventional 'Store Image per se' comparative process, where examination is undertaken from a store image attribute perspective between markets. In addition, two new elements are introduced. First, the comparative process of 'Relative Marketplace', where a comparison of the domestic and foreign store image is conducted within their relative markets. Second, the 'Store Image Dimension perspective', where the two comparative processes, 'Store Image per se' and 'Relative Marketplace', are examined after the store image attributes have been aggregated into broader dimensions. This proposed framework was employed to examine the store image transferability of the Spanish limited line food discounter DIA. Through a pluralist methodological approach of both qualitative and quantitative methods, a shopper survey was conducted in Spain (the home market) and Greece (a host market) to measure the company's store brand image between and within its marketplaces. From the juxtaposition of the three components of the proposed framework, the results indicate that store brand image standardisation should be examined from an 'Absolute,' and 'Relative' standpoint. Moreover, depending on the standpoint undertaken to examine the transfer of the store brand image, standardisation can be conceptualised in three ways. 'Absolute Standardisation': A standard to be applied by faithfully replicating the store's domestic image into a host market; 'Core Standardisation': A standard to be secured by faithfully replicating the store's domestic unique selling proposition, that satisfies the needs of global markets while maintaining intact the company's entire concept; and 'Relative Standardisation': A standard to be achieved by faithfully replicating the store's domestic positioning into the host market. It is argued that these three aspects of store brand image standardisation should not be viewed as distinctive concepts, but rather as a transitional process of two ends of the same continuum.

Thesis submitted in full fulfilment of the requirements for the degree of doctor of philosophy (Marketing) at the University of the Witwatersrand, Johannesburg. November 2017. / With increased competition in the banking industry, particularly in developing economies, United Bank of Africa Plc (UBA) in Nigeria has been thriving. The bank is a multinational financial services provider, which operates in 22 African countries. It also has offices in the US, UK and France. UBA has about 626 global branches and serves more than seven million retail, commercial and corporate global customers. Positioned as a pan-African bank, the UBA Group is firmly in the forefront of driving the renaissance of the African economy. It is also well positioned as a one-stop financial services institution, with growing reputation as the face of banking on the African continent. UBA Plc has grown over the years from being just a brand name to a house hold name in Nigeria. In 2011, it was reported that UBA’s total assets was worth about $12.3 billion. The bank is also gearing to be one of the dominant and leading banking brands in Africa. While the measurement of UBA’s asset worth is important as it reveals information of its financial performance, it can be more important to measure the worth of its intangible assets, which is being captured from the assessment of its brand equity. Brand equity does not only comprise of an organization’s intangible assets, but does reflect the values consumers hold of a brand and can also secure long-term commercial and competitive advantages for companies. With the notion that the value or power of a brand lies in what customers perceive in their minds concerning the brand, most studies have measured brand equity mainly from the customer-based brand equity (CBBE) perspective using Aaker’s (1996a) and Keller’s (1998) models. Aaker’s (1996a) model is however considered to be the most comprehensive CBBE model and it measures brand equity from five dimensions – brand awareness, brand association, perceived quality, brand loyalty and proprietary assets. While CBBE can secure long-term market performance, it is being recommended that the contribution of employee-based brand equity (EBBE) should also be measured. This is particularly important in the service sector, such as banking, where “what is delivered is less important than how it is delivered”. More so, with the increasing importance of internal branding, there is a need to measure EBBE, which assesses how knowledgeable, happy and committed employees are willing to deliver on the brand promises to build brand equity. v In addition to the importance of measuring both CBBE and EBBE, there is also the need to further compare the extent to which both CBBE and EBBE predict market performance, an outcome anticipated, but rarely empirically tested. This study therefore employs Aaker’s (1996) CBBE model and Kwon’s (2013) EBBE model to examine the sources of UBA’s CBBE and EBBE respectively and the extent to which each of the equities drive market performance indicators, such as consumer purchase intention, willingness to pay a price premium and brand preference. A positivist research paradigm with a quantitative survey of 182 UBA employees and 178 UBA customers were used to test the hypotheses. The relationships hypothesized in the conceptual model were empirically tested using structural equation modeling (SEM). The results indicated that the conceptual model satisfactorily fitted the data and provided reasonable explanations among variables. In terms of the relationships, it was found that UBA’s CBBE was accounted for by brand associations or image and brand loyalty. UBA’s overall CBBE positively and significantly affected all the market performance indicators of purchase intention, willingness to pay a price premium and brand preference. UBA’s EBBE which was found to be positively and significantly driven by role clarity and brand commitment could only positively and significantly predict the bank customers’ willingness to pay a price premium. Conclusively, it was found that while UBA’s EBBE make some contribution to the bank’s market performance, its CBBE is the major driver of its performance. This study theoretically contributes by not only empirically testing Aaker’s (1996b) CBBE and Kwon’s (2013) EBBE in the Nigeria’s banking sector, but by also showing how both models explain market performance. Practically, the study reveals sources of CBBE and EBBE, which not only UBA should prioritize in improving their market performance, but other service sectors in Nigeria and the continent should take special note of. Keywords: Brand equity, customer-based brand equity (CBBE), employee-based brand equity (EBBE), United Bank for Africa (UBA) Plc, market performance, structural equation modelling (SEM), consumer purchase intention, willingness to pay a price premium and brand preference / GR2018

by Shum, Wing Fai David, Tsang, Leung Lun Lennon. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references (leaves 93-94). / ACKNOWLEDGEMENTS --- p.i / ABSTRACT --- p.ii / TABLE OF CONTENT --- p.vi / Chapter / Chapter I. --- INTRODUCTION --- p.1 / Advertisement Variation --- p.1 / Research Objective and Title --- p.4 / Chapter II. --- LITERATURE REVIEW --- p.5 / Background of the Ban on Cigarette Television Advertising --- p.5 / Situation after Bans in Other Nations --- p.8 / Rationale of the Research --- p.9 / Chapter III. --- THE RESEARCH HYPOTHESES --- p.11 / The Repetition-Variation Hypoptheses and the Elaboration Likelihood Model --- p.11 / Research Hypotheses --- p.14 / Chapter IV. --- RESEARCH METHODOLOGY --- p.17 / Causal Laboratory Experiment --- p.17 / Subjects and Design of the Experiment --- p.18 / Procedure of the Experiment --- p.20 / Non-experimental Independent Variables --- p.21 / Experimental Independent Variables ´ؤ´ؤX --- p.22 / Dependent Measures -- Oij --- p.23 / Consumer Research --- p.24 / Questionnaire Design --- p.24 / Sample Design --- p.25 / Chapter V. --- RESULTS DISCUSSIONS --- p.26 / Results Discussions of the Causal Laboratory Experiment --- p.26 / Brand Name Recall --- p.26 / Overall Attitudes toward the Cigarette Brand --- p.28 / Results Discussion of the Consumer Research --- p.31 / Brand Awareness of the Cigarette and the Corresponding Extended Product --- p.31 / Marlboro Classics --- p.36 / Kent Leisure --- p.37 / Mild Seven Freedom Holidays --- p.39 / Overall Feeling towards the Advertisements --- p.41 / Recall of the Brand's Cigarette when Viewing the Advertisement --- p.42 / Purchase Intent --- p.43 / Chapter VI. --- COMMENTS AND RECOMMENDATIONS --- p.45 / Persuasive Process --- p.45 / Information Processing --- p.47 / Brand Processing --- p.47 / Nonbrand Processing --- p.48 / Implications from Laboratory Experiment --- p.49 / Limitations --- p.50 / Implications from Consumer Research --- p.51 / Brand Product Extension --- p.53 / Chapter VII. --- CONCLUSIONS --- p.56 / APPENDIX / Chapter 1. --- MEDIA EXPENDITURE FOR 1990 一一 CIGARETTE --- p.59 / Chapter 2. --- PROCEDURE FOR THE EXPERIMENT --- p.60 / Chapter 3 . --- OBSERVATIONS OF THE DEPENDENT MEASURES --- p.63 / Chapter 4. --- QUESTIONNAIRE FOR CONSUMER RESEARCH --- p.65 / Chapter 5. --- SCORES OF TOP-OF-MIND AWARENESS --- p.70 / Chapter 6. --- PERCENTAGE OF RESPONDENTS WHO KNOW ABOUT THE PRODUCT EXTENSION OF THE CIGARETTE BRANDS THEY HAVE NAMED IN Q1 --- p.71 / Chapter 7. --- PERCENTAGE OF RESPONDENTS WHO HAVE SEEN ADVERTISEMENTS OF THE EXTENDED PRODUCT --- p.72 / Chapter 8. --- PERCENTAGE BREAKDOWN OF CHANNELS FROM WHICH THE RESPONDENTS SAW THE ADVERTSIEMENTS --- p.73 / Chapter 9. --- ATTITUDE TOWARDS THE ADVERTISEMENT OF MARLBORO CLASSICS --- p.74 / Chapter 10. --- ATTITUDE TOWARDS THE ADVERTISEMENT OF KENT LEISURE --- p.77 / Chapter 11. --- ATTITUDE TOWARDS THE ADVERTISEMENT OF MILD SEVEN FREEDOM HOLIDAYS --- p.80 / Chapter 12. --- OVERALL FEELING TOWARDS THE ADVERTISEMENT OF THE EXTENDED PRODUCT --- p.83 / Chapter 13. --- PURCHASE INTENT OF THE CORRESPONDING CIGARETTE --- p.84 / Chapter 14. --- PHOTOGRAPHS OF THE DUMMY PRINT-ADVERTISEMENTS --- p.86 / Chapter 15. --- PHOTOGRAPH OF THE PRINT-ADVERTISEMENT OF THE TESTING CIGARETTE --- p.91 / Chapter 16. --- PHOTOGRAPH OF THE PRINT-ADVERTISEMENT OF THE EXTENDED PRODUCT --- p.92 / BIBLIOGRAPHY --- p.93

This study examines the effects of two types of consumer knowledge, product and brand knowledge, on consumer fit perceptions between an extension and its parent brand, so as to further investigate the role of consumer knowledge in brand extension evaluations. Based on the reviewed literature four hypotheses were proposed. The first two hypotheses predicted that both product and brand knowledge has an impact of consumer perceived fit between an extension and its parent brand. The other two hypotheses proposed that product knowledge affect more on the fit perceptions between a functional brand and its extension, while brand knowledge affect more on the fit perceptions between a prestige brand and its extension. An experiment was performed to examine these hypothesized relationships. Two hypotheses related to brand knowledge are supported, while the other two hypotheses related to product knowledge are not supported statistically. The results reveal that product and brand knowledge have different effects on consumer fit perceptions between an extension and its parent brand in terms of different brand types, functional vs. prestige brand. The experimental findings demonstrate that brand knowledge has an impact on consumer fit perceptions between an extension and its parent brand, and its effect dominant in prestige brand extension evaluations.

�Every poet who takes language seriously is working against a culture of clear marketable meanings and commodified production� states New Zealand novelist, essayist and poet Gregory O�Brien. This statement is the motivation for research that is explored in a collaborative ethnographic study of brand culture perceptions in New Zealand. It takes its inspiration from The Poetics of Space (Bachelard, 1978) and provides intimate lyrical insights into the experience of brands and brandscapes. Gregory O�Brien describes the artists that inspire him as: �Those who resolutely stand on their own creative terms, working towards their own objectives, as oblivious as they can be to any market forces.� O�Brien�s observations are relevant to the research project in two essential ways: first to cast light on a shared cultural commodity construct such as a brand from its proposed opposite cultural site of individual imagination and secondly, to accept the poetic in the form of the undiluted voice of vocational poets as valuable media in their own right to achieve insightful interpretations. Critical marketing projects have the duty to generate an alternative �marketing gaze� sufficient to the task of �revelation� (Brownile & Hewer, 2007). With regards to individual artists and poets specifically, critical marketing concepts implicitly pose the main research question as to the scenarios that are conceivably available to consumers: how does �working against marketable meanings� imaginatively work? The project proposes the new construct of co-imagination as the co-active mental and spiritual engagement of consumers with the cultural artefacts of brandscapes that invite individual meaning making. It substantiates this individuality in a poetic evocation of brandscapes by thirteen artists. It analyses the holistic imaginative process on the basis of mental models, strategic scenarios and evocative aesthetics, in order to assess how talented consumers work against marketable meaning. It subsequently offers the relationship of co-imagination with existing co-optive concepts in marketing, literature and consumer behaviour, such as co-creation (Prahalad & Ramaswamy, 2004), co-performance (Deighton, 1992) and co-duction (Booth, 1988). It results in a collaborative artistic inquiry that assembles individual evocations of enchantment and disenchantment with the beauty and ugliness of brandscapes, through newly created poetry. The research introduces the new concepts of aesthetic scarcity and aesthetic community and in its collaborative method of inquiry offers an alternative to a poetic tradition in consumer behaviour of the poet / researcher conflation (Sherry & Schouten, 2002). As a result, the project complements the understanding of the individual meaning-making process in brand culture and is relevant to both practitioners and researchers in consumer behaviour and brand strategy. The design of the project included a four month research journey that covered the North and the South Island of New Zealand with the objective of meeting a variety of poets in their local inspirational environments and brandscapes and catalyse an unusual creative cooperation of highly individual radical artists. In the thick description and analyses of the extensive field research, the project implicitly adds to existing work on brand culture (Schroeder, Salzer Morling, & Askegaard, 2006), brand aesthetics (Saizer-Mörling & Strannegård, 2004) and the relationship between artists and brands (Schroeder, 2005). The research includes design elements based on romantic pragmatism (Rorty, 2007a) and cognitive aesthetics (R. H. Brown, 1977), both post-romantic concepts that explore aesthetic perception as perspectival knowledge and aesthetic distance as a means to transcend the dichotomy of objectivity and subjectivity.

Thesis (Ph.D.)--York University, 2006. Graduate Programme in Administrative Studies. / Typescript. Includes bibliographical references (leaves 102-116). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR46022

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on December 18, 2009). Thesis advisor: Dr. Jung Ha-Brookshire. Includes bibliographical references.

Thesis (M.B.A.)--University of Hong Kong, 1986.

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