This thesis explores the co-production of public services in the case of asylum seekers in Glasgow. It makes contributions on the theoretical and empirical levels. First, it integrates two theoretical standpoints on co-production from the public administration/management and services management literatures. This integration forms the basis for the development of an original conceptual framework which differentiates three modes of co-production at the level of the individual service user: consumer co-production; participative co-production; and enhanced co-production. The thesis then extends co-production to consider organizational modes, considering specifically the role of voluntary and community organizations (VCOs) in the production of services. This discussion contributes to the expansion of the conceptual framework, by introducing the concepts of co-management and co-governance to refer to VCOs co-production in service delivery and in service planning and delivery, respectively. The result is the development of a ‘Typology of Co-production’ which differentiates all five types of co-production according to who co-produces public services and when. These two conceptual frameworks are used to explore the case of asylum seekers and the social welfare services they receive in Glasgow. The case of asylum seekers is particularly interesting given the marginal nature of the group and their legal position as non-citizens. This serves to sharpen the focus on co-production. Three research questions emerged from the theoretical work which are explored in the case of asylum seekers: to what extent is co-production dependent upon citizenship? Can co-production act as a conduit to build social inclusiveness and citizenship? And is individual service user co-production a prerequisite for co-production and partnership working by public service organizations? The study took a mixed methods approach, consisting of policy/practice interviews, a small survey of public service organizations providing services to asylum seekers and an embedded case study design of Glasgow, which involved a series of interviews, observations and document analysis. The empirical context provided a fertile ground to explore and better understand the five types of co-production differentiated in the theory. It further suggests that citizenship is not a prerequisite for each mode of co-production and also that the co-production of public services can positively impact the lives of asylum seekers, particularly around issues of integration.

This research investigates the institutional implications of co-production as a strategy for development. The study is located within international debates on global development targets beyond 2015 and how cities of the Global South meet the challenges of urbanisation and informality. With forecasts indicating the continuing growth of urban populations, there is an urgent need to consider how governments, working collaboratively with communities, meet the burgeoning demand for housing and basic services and create the institutions necessary for sustainable urban development. Co-production is examined empirically through an embedded case study with the Zimbabwe Homeless People’s Federation, its partner NGO Dialogue on Shelter Trust and the City of Harare Council. The research traces how co-productive relations have evolved between these stakeholders over the period 1997 to 2013. Co-production is considered as a mediating function that supports the creation of spaces for dialogue and problem-solving in complex urban environments. Drawing on sociological institutional theory, the thesis examines the implications of co-productive working on the discursive representation of people in poverty and the institutionalised practices of the state toward low income communities. The research finds that the organisational and deliberative processes associated with co-production are formative: contributing to the efficacy of low income communities and the state to address housing and basic service needs. The thesis reports firstly that community mobilisation has a significant role in bringing together the financial and human resources needed to contribute to co-production. More importantly mobilisation provides the social infrastructure needed to create agential communities. Secondly, where organised communities are involved in the governance of development projects, there is an enhanced capacity to problem solve, which galvanises state support for progressive policies. Thirdly, the research in Harare identified that processes and practices of co-production stimulate adaptation of institutional arrangements. These gain significance over time as they accumulate to affect discourse, epistemic practice and lead to small scale institutional change. The research confirms the potential significance of co-production for sustainable urban development. For communities, co-production serves to shift their subjectivity within existing institutional configurations; creating the potential to act outside of normatively defined roles. For the state, co-production creates an opportunity to establish spaces of deliberation that provide an infusion of resources and can bolster failing legitimacy. However, evidence from Harare also underlines that co-production is contextually defined and adaptive change is fragile in the face of stronger forces of politics and elite interests.

The scientific and socio-political dimensions of volcanic hazards have been realigned since the eruption of Eyjafjallajökull in 2010, and have highlighted the need for volcanic activity to be studied from interdisciplinary perspectives. By focussing on communication, adaptability and resilience, this research explains the links between hazard management and social constructivism. The research question asks how Iceland’s networked approach to managing volcanoes can be understood by analysing the development of communication channels between human stakeholders and non-human technical devices and systems. Fieldwork was conducted in both Iceland and the UK, and a mixed methods approach was used to engage with the network. Research methods consisted of semi-structured interviews, participant observations and archival research. Findings explain the evolution of knowledge exchange, the value of technical innovation, and the need for interactions between local, national and international stakeholders. The study concludes that actors are increasingly empowered by the use of participatory technologies within hazard management, and the development of collaborative engagements between stakeholder communities from scientific and socio-political backgrounds. This research is relevant as it illustrates how the adaptive capacity of hazard networks can be expanded, potentially influencing the approaches that are taken to manage volcanic hazards in less economically developed contexts. In addition, this study can encourage continued interaction between scientists, at-risk communities and the aviation industry in multi-hazard environments such as Iceland.

This thesis develops our understanding of the roles and processes underlying the co-production of public services. The co-production concept encapsulates the joint contribution made by service users and service providers to the delivery of services, acknowledging the expertise, inputs and role of service users. There has been an expanding stream of literature within the public management field focusing on co-production, recently enhanced through combinatory insights drawn from the service management literature. The thesis builds on this perspective, and addresses a current gap in understanding regarding the processes and roles that underpin the concept of co-production. In particular the research questions consider: the factors that facilitate co-production; the features of co-production that are evident within everyday service interactions; how service users and employees interact within the processes of co-production; and how these impact upon the delivery of public services at an individual level. The research for the thesis is undertaken within the context of community health and social care services for older people, at two locations in Scotland. An interpretivist, constructionist approach is taken to the inductive study which adopts a qualitative case study methodology. The research findings are drawn from semi-structured interviews with managers, older people and employees delivering services, together with observations of meetings and service interactions. Extant research has often conflated the roles of employees and public service organisations, and equal attention is rarely paid to the co-productive roles of service users and employees. The study makes a theoretical contribution by: developing the concept of active co-production; highlighting the complexities of the roles and processes underpinning co-production; revealing the different types of learning occurring within co-production; and developing a model to explicate the processes that combine the expertise of older people and employees, during the delivery of public services. On a practical level the study also highlights how more advanced and ‘active’ forms of co-production have developed, and the impact this has on the delivery of health and social care services for older people in Scotland.

Abstract The goal of this research is to know whether higher degree of customer involvement in the service value creation would help firms build stable and valued relationship with customers. To be more specific, this research studies whether firms can implement co-production as the strategy to develop bonds with customers and to strengthen the relationship with customers. In this thesis, a research is conducted by studying the customers¡¦ feedback of a law firm which specializes in resolving disputes regarding intellectual property rights. This research focus on studying the relationship in the business to business context as the customers of the law firm are mainly foreign associates and foreign and domestic companies in different business field. The author develops a framework and investigates the correlation between co-production and customer¡¦s loyalty and their future intention by using overall satisfaction, trust, and commitment as intermediate factors. The testing results show co-production is positively related to overall satisfaction, trust, and commitment and each of these intermediate factors has a positive relationship with customer loyalty and future intention. Also, future intention is positively related to loyalty. This study provides valuable insights for firms and managers by demonstrating that firms can create competitive advantage by retaining customer loyalty and influencing future intention of purchases through the implementation of co-production.

This study uses the case study method to investigate how IT facilitates business model innovation. The A Steel Corporation (A Company) is chosen for this study. We consider the business model and information technology (IT) factors andanalyze how A Company use IT to facilitate business model innovation. Regarding thebusiness model factor, we describe the A Company¡¦s value propositions, value configuration, and key resources for co-production; further we identify the needed abilities for each stakeholder among the value network to make the co-production business model possible. For the IT factor, we present what ITs are developed and deployed among the value configuration in order to make the business model work. Finally, we report A Company¡¦s performance after its innovation. The case company, applied for industrial technology development projects sponsored by the goverment policy as strategies to introduce their new collaborating-commerce business model.They invoked their strategies to integrate the supply chains for expansion through startup a new business model for partners to understand, communicate and improve the value chain to link to the global companies. The performances cause high impacts on collaborative effectiveness among value chain partners. This thesis, based on a case study of A Company,is to analyze and find the key factor how to use the knowledge management makes strategies success and enable to expend the enterprise worth.

The local language production strategy (LLP) emerged in the early 1990s and developed into a key practice for major media corporations operating in Latin America, Europe, and Asia. This dissertation analyzes where Sony’s international production strategies intersect transformations in the Brazilian and Spanish film industries during the mid-1990s to 2010. The LLP strategy, widely perceived as a corporate product of globalization and market power of Sony, is simultaneously viewed as a culturally specific media product intended for local Portuguese or Spanish-language audiences using national tax incentive policies and talent. This project provides a multi-layered history of Sony’s trans/national practices, Latin American and European regional industries, Brazilian and Spanish national policies and conditions, and the creative agency and power of local film production companies. Adapted from Timothy Havens, Amanda D. Lotz, and Serra Tinic’s critical media industry studies approach and Paul du Gay’s “circuit of culture,” I conducted archival research and on-site field interviews in Rio de Janeiro, São Paulo, Madrid, and Brussels with local producers, distributors, policymakers, lobbyists, and Sony executives. The study is grounded equally in box office data, co-production financing specifics, and cultural policy as well as first-hand accounts and industry discourse. Instead of labeling the LLP another all-powerful strategy of Global Hollywood, I explore the everyday practices, power relations, and complex negotiations involved in local and national agents working alongside large transnational media company to produce commercial films like Chico Xavier (2010) or Salir Pitando (2007). Sony’s local operations have to balance the global corporate strategy and logic with changing local conditions, policies, practices, technologies, and partnerships. Each location study illustrates a unique strategy and situation ranging from the quasi-autonomous operation in São Paulo to the short-lived, highly micro-managed Sony European operation in based in Madrid. I challenge traditional theoretical and industrial understandings of national cinema, media imperialism, media convergence, and the classification of Sony Pictures Entertainment as solely an American or Japanese company. What results is a close institutional analysis exploring issues such as what defines “local” media industries, the flexibility of the nation, and the position of transnational media companies outside the U.S. / text

This thesis seeks to understand collective practices of urban grassroots, rationalities behind the practices and their potential role in urban politics. The study used insurgent planning and co-production frameworks to highlight practices of the studied organization and adopted theories about relationship between the local and the global. The thesis addressed questions about collective practices for building self-reliance, practices that aim to directly engage the state and how being part of an international network of slum dwellers shapes the collective practices of the local organization. The research is based upon a case study of Zambian Homeless and Poor People’s Federation. The empirical data was collected during two months of fieldwork in Zambia using observations and semi-structured interviews. The results indicate that the studied organization uses elements of both insurgent planning and co-production in its practices. The federation starts with self-help and building financial assets to continue with practices aimed at engaging the state. The results suggest that, as an affiliate of an international network, the federation is influenced by the flow of ideas in the network and that the international cooperation has potential implications for the local urban politics.

AN ABSTRACT OF THE DISSERTATION OF Yuhui Tai, for the Doctor of Philosophy degree in Mass Communication and Media Arts, presented on October 31, 2013, at Southern Illinois University Carbondale. TITLE: DEVELOPMENT OR DEPENDENCY? THE EMERGING CHINESE CULTURAL-LINGUISTIC TV MARKET AND IDOL TV DRAMA IN TAIWAN AND CHINA MAJOR PROFESSOR: John Downing and Jyotsna Kapur The global expansion of neo-liberalism and the new development of media technology have opened up national TV markets worldwide and the changing structure--a weakened local TV industry, multiple TV channels, and the increasing need for importation--has prepared the historical contingency for the emergence of regional cultural centers. The Chinese regional market based on China, Hong Kong and Taiwan is the most prosperous regional market due to the China hub effect, and it is playing an increasingly important role in world economy. In this research, I examine the formation and the driving forces behind the Chinese cultural-linguistic TV market, the dynamic dialectical global/regional/local relationships, the directions in which these forces push, and the major contradictions between these forces in the context of a global capitalist system. This research indicates that the dominant "cultural proximity" argument tends to naturalize the dominance of the regional cultural center and conceals multiple factors interwoven in the formation process. This research argues that it is important to examine the dialectical relationship between the position of a domestic country in the global capitalist system and its development in the regional cultural market. Second, the confluence of the popular cultural/creative policy and the soft power discourse strengthens the ambition and the competition between different states to pursue the crown of the regional cultural center. Third, the domestic state policy plays a determinant role in the dynamic formation of a regional cultural market. Fourth, the political motivation and manipulation might not be easy to recognize but are influential powers forging the regional cultural market. For example, the Chinese Communist Party (CCP) proposed the China-Taiwan TV drama co-production policy near the end of 2007 in order to improve the prospects of Taiwan's pro-China party in the 2008 presidential election in Taiwan. In addition, it is not self-evident to assume that a regional cultural center definitely challenges the existing cultural dominance and that a regional cultural-linguistic market is emancipating. It requires careful examination to scrutinize the power relationships among those societies involved in the regional market to determine whether it increases the cultural diversity in this area. This research examines the power relationship in the Chinese cultural-linguistic TV market and argues the possible existence of dual suppression, in that a member of the regional cultural-linguistic market might simultaneously suffer from the dominance of the global center and the regional center. This research examined the historical development of idol drama in Taiwan and found that the Chinese censorship system has great impact on the production and distribution of cultural products in the Chinese cultural-linguistic TV market. Producers either tend to lower the potential risks by taking a conservative, non-historical approach to making TV drama, or, selling cultural products containing specific cultural odor, such as President Ma Ying-jeou's slogan, "Chinese culture with Taiwan characteristics (Ma, 2011.01.01)." Third, this research analyzes the production mode of idol drama in Taiwan and China from 2000 to 2012 and points out that the Taiwan TV industry has been moving on a dependency road through three phases, with four aspects of dependency. After 2005, some Taiwanese TV producers turned to the secondary export market due to the deepening neo-liberalism and the deteriorating Taiwan TV industry, which impedes its advancement in the regional market. In this stage, the emergence of the first wave of Taiwanese-made Chinese TV drama proved that the combination of the CCP's protectionist policy and a lucrative Chinese domestic market creates magnetic effects and attracts TV workers from the deteriorating region. In the second stage from 2008 to 2010, the CCP's cooptation policy, which encourages Taiwan-China co-produced TV drama, and the Kuomintang's China-centered CCI Policy emphasized the importance of the China market and strengthened the orientation to focus on the secondary export market rather than improve the quality of Taiwanese TV drama and aim at Asia and the global market. In 2010, the CCP denounced the phenomenon of "pseudo China-Taiwan co-produced TV drama," which was the byproduct of the strict Chinese censorship system, and issued a warning against it. It pushed some Taiwanese producers to abandon the Taiwan market and spurred the second wave of Taiwanese-made Chinese TV drama which appeals to Chinese audiences, and lowers or even closes the production business in Taiwan. This research demonstrates the four aspects of the dependency relationship in the Chinese cultural-linguistics TV market, which includes capital, export market, production chain, and cultural products flow. First, sufficient Chinese capital provides the CCP leverage to mold the Chinese cultural-linguistic TV market, purchase resources, and expand its influence into Taiwan society. Second, being the largest TV market in the world makes China an attractive export market, even with strict Chinese censorship. Third, the CCP's cooptation policy and the deteriorating Taiwan TV market gradually make Taiwan TV workers a supplement rather than a force in Chinese TV drama production. Fourth, the exportation of Chinese TV programs, including conventionally weak genres, into Taiwan is increasing. In short, the Taiwan TV industry has suffered from the dual crises of neo-liberalism and the dependency relationship with China, which is making Taiwan a dumping site for regional cultural product exporters, mainly from Korea, China, and Japan.

Background: Commitment to patient engagement in research provides significant opportunities to advance our understanding of patients’ experience whilst fostering sensitivity and progress in research. Yet, people who are frail or seriously ill are rarely given the opportunity to partner across the course of a research study. Little is known about their impact on the conduct of research and the best ways of ‘meaningfully’ involving them as research partners. A series of studies using multiple methods were conducted to explore meaningful engagement of frail and seriously ill patients as partners in research. Study 1: A systematic review with narrative synthesis was conducted to describe the engagement of frail and seriously ill patients as research partners across the research cycle. Thirty eligible studies showed emerging evidence that research partnerships with frail and seriously ill patients can be achieved successfully. Frailty and serious illness present legitimate concerns due to the vulnerability of patient-partners but can be successfully mitigated when researchers ensure timing and methods of engagement are flexible and practical, and emotional needs of patient partners are consistently addressed. Study 2: A qualitative sub-analysis of the prior systematic review was conducted to identify ethical considerations of engaging frail and seriously ill patients as research partners. Findings revealed that researchers and patients should work together to clarify the intent and outcomes of the partnership, actively address relational and intellectual power differentials, recognize and minimize the potential for unintended harm, and strive to maximize the benefits of partnership. Study 3: An analytic autoethnography was conducted to explore how patient engagement is embodied and situated during serious illness. Findings provide a unique contribution to the discourse on representation and contested identity. Current concerns of tokenism are countered through recognition of ways in which patients ‘find’ and ‘make’ meaning through research partnerships. Partnering with seriously ill patients offers enormous potential to advance research through harnessing the power of embodied knowledge production. Conclusion: This dissertation highlights the importance of ensuring that the voices of frail and seriously ill patient-partners’ are heard first-hand. It further demonstrates, the current methodological imperative of patient engagement requires novel approaches to both enacting and evaluating patient engagement.