Univ., Diss.--Göttingen, 2004. / Literaturverz. S. 173 - 195.

Thesis (M.B.A.)--University of North Carolina Wilmington, 2009. / Title from PDF title page (February 22, 2010) Includes bibliographical references (p. 30-33)

No description available.

The purpose of this study was to explore issues of ethics as they relate to corporate sponsorship within Division IA college athletics. The research was conducted as a case study of a private Division IA college athletic department. Data were collected through a series of semi-structured interviews with areas of inquiry including corporate sponsorships, allocation of funding, and related budgetary concerns. Twenty individuals were interviewed. These included coaches, athletic administrators, and marketing representatives. All interviews were taped, subsequently transcribed, and analyzed for content and themes. Quotes were examined in terms of content and grouped according to similarity of themes. A number of themes were identified and categorized in line with "ethical phenomena" as discussed in the literature. The results revealed eleven categories and subcategories. These included Gender Inequity, Financial Elitism, Corporate Sponsorship Ethics, Corporate Sponsorship Advancement, Coach's Roles, Winning is Everything, Budget Inequities, Marketing Responsibility, Organizational Concerns, Sponsorability and Fundraising Necessity. Similarities existed between the groups of respondents. Specifically, the coaches responded similarly to questions relating to gender inequity. Additionally, the athletic administrators differed in their views from the coaches in matters of funding and marketing. In conclusion, analysis suggests an inequality of financing between revenue producing sports and non-revenue producing sports. Conflicting views existed between administration and coaches in regards to the organizational structure of the athletic department. Corporate sponsorships were found to be an essential part of an athletic department for the present and future. Gender discrepancies appeared when marketing corporate sponsorships within an athletic department. Further discussion focuses on the need for corporate sponsorships.

Channel relationships, market knowledge, strategic partnerships and brand equity are examples of marketing resources which firms can possess. Marketing resources are especially valuable when they are properly leveraged by agents of the firm (Srivastava, Fahey, and Christensen 2001). This dissertation examines how one marketing resource - corporate sponsorships - can be leveraged by companies to enhance financial performance. Based on the tenets of social identity theory (Tajfel and Turner 1985), two conceptual models are developed which propose corporate sponsorship can develop the attractiveness of a company's identity and thus enhance levels of company identification among salespeople (Study 1) and customers (Study 2). It is further proposed that through this strengthening of company identification, these stakeholders will become motivated to perform supportive behaviors on behalf of the company which will lead to the firm's enhanced performance. To empirically test the conceptual models, data were collected from the sales force and a sample of customers of a Fortune 1000 company which actively engages in a single national corporate sponsorship. The data set used in Study 1 includes survey responses from 490 sales representatives (21.7% response rate) which are combined with objective sales data gathered from company records. The data were analyzed utilizing linear regression and Hierarchical Linear Modeling. The conceptual model developed in Study 2 was tested utilizing structural equation modeling of survey data collected from 246 active customers. The two studies contained in this dissertation make several important theoretical and substantive contributions to both marketing theory and practice. First, evidence is provided that company identity can be influenced by a company and its marketers. By affiliating with a prestigious entity through a corporate sponsorship, a firm can enhance the attractiveness of its identity which in turn, influences levels of identification among salespeople and customers. The studies also provide additional evidence highlighting the power of identification in terms of predicting firm-directed supportive behaviors. The analysis in Study 1 shows that company identification influences salesperson sales growth and Study 2 confirms that customer-company identification leads to customer sales and positive word-of-mouth communications. Implications of these findings are provided.

Thesis (MBA)--Stellenbosch University, 2011. / Each year, companies spend more money on sponsorship, and consequently the importance of sponsorship as a marketing communication tool has increased significantly. As a result, answering the question of how effective this investment is for a company has become increasingly important. Previous research of analysing the measurement of sponsorship effectiveness has been inconsistent. This research study analyses the relationship between key variables which measure sponsorship effectiveness, namely: brand awareness, corporate image, and purchase intention. In addition, the influence of the variable sports involvement on the other variables has been measured. The data was collected using a questionnaire during the international soccer federation (Fédération Internationale de Football Association, FIFA) World Cup 2010 which was the first international sports event of this dimension on the African continent. This, in conjunction with the fact of inconsistent findings of previous research and the increasing importance of sponsorship for companies, contribute to a unique and new era of sponsorship research. Findings of this research indicate that consumer involvement has a direct positive effect on the perceptions of corporate image, as well as on consumers‟ purchase intention of sponsors‟ products. Purchase intention is also favourably influenced by brand awareness and corporate image of consumers. These findings are to a certain extent different than the results of Ko, Kim, Claussen and Kim (2008: 79-94) who conducted a similar study during the FIFA World Cup 2002. Consequently, this is a further indication that findings concerning sponsorship effectiveness research are inconsistent. The geographical area of data collection also has an influence on the results. In the case of South Africa, it was possible to observe that the different socio-demographic variables, gender and ethnical background had an impact on responses to the different research variables.

This investigation accepts that art is a term of western culture and that advertising is a creation of an historical and social process firmly linked to the economies of western industrialised nations. A cultural niche theory of the visual arts is employed to define the various visual art forms and it is in this context that the development of the notion of fine art, which had its origins during the Renaissance, is investigated with a view to how this led to the commodification of art. The phenomenon of art as a commodity accelerated throughout the nineteenth century and was moulded by the same political, cultural, social, economic and technological forces that gave rise to advertising when, during the second half of the century, the capitalist system of production became geared towards mass production of products for consumption. This was also the period of significant European colonial expansion in southern Afiica and consequently the development of both art and advertising in the region was cast in a colonial, European mould, the effects of which are investigated throughout this research project. This body of research also seeks to explain how the meaning and the value of the art object and its reproduced image, changed and became exchangeable as technology developed. Significantly this occurred at a time when the needs of advertising shifted from a simple system of proclamation and announcement on the periphery of the national economy during the nineteenth century to become a sophisticated system of communication which acts as an influential social institution at the end of this millennium. That this appears to have occurred at a time when the influence of fine art began to decline as a cultural force is significant as it is in this context that advertising has become a primary carrier of meaning in society. This research project works within this paradigm to investigate the history and motives of business support for the arts, particularly the visual arts, in the form of sponsorship with particular reference to a culturally diverse and politically dynamic South Africa. In addition, specific rhetorical devices that advertising employs, as a strategic tool of marketing, to appropriate and (ex)change meaning from the value laden visual art object is investigated with reference to contemporary advertising in South Africa. / Thesis (M.A.)-University of Natal,1998.

Thesis. (M. Tech. (Dept. Marketing, Faculty of Management Sciences))--Vaal University of Technology, 2011. / The phenomenal growth of special events sponsorship as a promotional tool is evident in the increase in the number of companies and their expenditure on sponsoring events. Currently, football (for the purpose of this study, the term football and soccer are used interchangeably) has become the most heavily sponsored sport in terms of value and number of sponsorship deals. International events such as the Federation of International Football Association (FIFA) World Cup™ and the Olympic Games are the biggest sporting events staged globally which makes them particularly lucrative for sponsor investment. The high media coverage and duration offers an ideal platform to create high brand awareness, consumer’s recall and recognition for the participating sponsors. The FIFA Soccer World Cup™ tournament with its huge audience is perhaps the premier place for companies to display their brands on an international stage. Millions of rands are spent on sponsorship in general every year and on sports sponsorship in particular. Yet little is known about the effectiveness of this expenditure. Sponsors are often unsure whether only their brands benefit from a sponsorship or whether competing brands in the same product category also benefit from their efforts. The primary objective of this study was to determine sponsorship effectiveness through consumers recall and recognition. In addition, the study sought to determine the perception of official sponsorship and ambush marketing during the 2010 FIFA World Cup™. The event attracts billions of viewers and a huge number of companies associate their products with this event. A quantitative approach was adopted for the study. The data was collected using a convenience sample of 462 fans, supporters and followers of the 2010 FIFA Soccer World Cup™ in Gauteng, South Africa. To determine sponsorship effectiveness, consumer-aided and unaided recall tests were conducted after the 2010 FIFA World Cup™ in an attempt to quantify sponsorship recall of official and non-official responses In addition, the study sought to establish consumers’ perceptions of official sponsors and the purchase intentions of their products and brands. Finally, consumers perceptions towards unofficial (ambush marketers) sponsors were ascertained. The high frequency of inaccurate responses through unaided recall suggests that there was confusion in the minds of respondents regarding those who were official sponsors of the 2010 FIFA World Cup™. This has serious implications for both marketers and sponsors as the effectiveness of sponsorship as a marketing communication tool comes into question. This may work to the advantage of ambush marketers who could effectively use the confusion in consumers’ minds to market their products and brands. Possible reasons for the inaccurate responses could be attributed to the fact that the World Cup™ is a once-off event that attracts individuals because of the novelty of the event and the multiple distractions that are associated with the event. The inaccurate responses may also have implications for future purchase intentions of the product since a recall level of awareness could be a determining factor in the purchase decision. This study revealed that sponsorship recall is enhanced by aided recall and prior knowledge of the sponsor. The responses with regard to aided recall suggest that consumers were able to recognise brands that were housed and marketed in South Africa. Brands such as Seara, Yingu Solar, Satyam, NeoAfrica, Aggreko and Prasa are relatively unknown brands in South Africa – therefore they were not easily recognised by the respondents. From a marketing perspective, the question arises whether it is feasible for foreign-based companies such as Emirates and Mahindra Satyam to invest in sponsorship ventures that are unlikely to achieve the desired results. These companies did not widely advertise in the local South African market. However, because the 2010 FIFA World Cup™ had a worldwide impact, this does not mean that global brands failed to achieve their objectives elsewhere in the world. In other words, they could have been playing to a much wider audience, in much stronger markets than that of the host country. An interesting revelation was that most consumers were able to recall brands that were global, mass-marketed and consumer-oriented such as Coca-Cola and McDonalds. This may partially be because during the event they were intensively engaged in advertising their sponsorship in the 2010 FIFA World Cup™. / Central Research Committee, Vaal University of Technology.

A pesquisa teve como objetivo compreender as motivações que sustentam o patrocínio artístico do Banco do Brasil, a partir da análise dos critérios utilizados na seleção dos projetos e na estruturação da programação do Centro Cultural Banco do Brasil (CCBB) São Paulo, nas áreas de artes cênicas e artes plásticas, nos anos de 2005 e 2006. Identificou-se que o CCBB situa-se na intersecção dos campos econômico e artístico que, não obstante obedecerem a normatividades muitas vezes antagônicas, estabelecem, na ação de patrocínio, dinâmica de interdependência, que também é permeada por conflitos. Para o mantenedor, as ações de patrocínio se justificam por quatro razões fundamentais: a busca pela melhoria de sua imagem diante de seus públicos de interesse, a necessidade de se afirmar como empresa socialmente responsável, a utilização do patrocínio como instrumento de marketing de relacionamento e a obtenção de benefícios tributários. Essas justificativas se ancoram em universo valorativo próprio do campo econômico, calcado em racionalidade que se sustenta pela busca constante de lucratividade e conquista de mercados. Por outro lado, na qualidade de instituição cultural, o CCBB seleciona os projetos a serem patrocinados e estrutura a sua programação, a partir de juízos próprios do campo artístico (inovação, relevância conceitual e temática, grau de consagração de obras e artistas, dentre outros). Se houvesse a preponderância dos julgamentos econômicos na seleção das obras, a arte patrocinada perderia a sua moeda de troca, já que seu capital simbólico decorre justamente da negação de qualquer constrição externa ao campo artístico. Analisando a programação do CCBB nas áreas pesquisadas, identificamos que o resultado das escolhas é coerente com o principal eixo curatorial da instituição que é a diversidade. Apesar do destaque dado a nomes consagrados, artistas menos conhecidos também são contemplados, ainda que em menor número e com espaços reduzidos. Nas artes cênicas, a preocupação central é com a presença de atores renomados, sendo que sua programação não se qualifica nem como teatro comercial, nem como teatro experimental. Nas artes plásticas, aparece também uma posição dúbia, já que ao tempo em que promove a arte contemporânea, correndo certa dose de riscos em suas escolhas, privilegia, por outro lado, formas de patrocínio menos arriscadas, como as mostras museológicas e coletivas (essas abrangendo outras manifestações que não apenas as contemporâneas). A exposição nos meios de comunicação de massa e a quantidade de público nos eventos patrocinados são os principais fatores considerados na qualificação do patrocínio como bem sucedido. Isso revela características eminentemente narcísicas que envolvem as ações de patrocínio, nas quais a repercussão na mídia garante a amplificação da imagem benevolente e pretensamente desinteressada da empresa, mesmo junto aos públicos não fruidores das artes patrocinadas. A preocupação com a percepção desse público foi decisiva na opção da empresa em retirar uma obra iconoclasta da exposição Erotica, no momento em que a instituição foi confrontada por segmentos da população que julgaram que seus símbolos religiosos haviam sido vilipendiados. / This study aims to explore the reasons behind Banco do Brasils sponsorship of the arts. To this end, an analysis of the criteria used both for selecting theater and visual arts projects and designing Banco do Brasils Cultural Center (CCBB) program of cultural activities between 2005 and 2006 was carried out. It was found out that the CCBB lies at the interface between the economic and artistic fields, which, albeit governed by conflicting normativities, become interdependent when it comes to sponsoring, but not without dispute. Justification for the banks sponsorship activities is fourfold: as an attempt to improve its image with the banks various stakeholders; the need to become publicly known as a socially responsible company; the use of sponsorship as a tool of relationship marketing; and the possibility of earning tax benefits. These reasons stem from a set of values that are typically from the economic field. The rationality behind them is an ongoing search for profit and the conquest of new markets. As a cultural institution, however, the CCBB uses artistic criteria such as innovation, conceptual and thematic relevance, and the reputation of art works and artists to select artistic projects for sponsorship and to design its own program of cultural activities. If economic criteria prevailed, the sponsored art, whose symbolic capital stems precisely from the denial of any external restraint to the artistic field, would lose its role as a medium-ofexchange. By analyzing CCBBs theater and visual arts programs, the choices that were made were found to be consistent with its main curatorial policy, namely, that of promoting diversity. Although highly renowned artists prevail, minor artists are also present but in smaller numbers, and taking less space. As for theater projects, the CCBBs main concern is to ensure that widely acclaimed actors are included in its theatrical program, which can be neither regarded as purely commercial nor experimental theater. In the visual arts, the institutions position is also ambivalent. Although it promotes contemporary art, which includes a fair amount of risk-taking, sponsorship of less risky pieces, such as museum collections (including art from other historical periods) and group shows, prevail. Media exposure and the number of viewers attending sponsored events are perceived as the main indicators of a successful event. Sponsoring therefore can be seen as highly narcissistic: media repercussion ensures that the companys supposedly unbiased benefactor image is widely spread, even among those who do not attend the sponsored events. Concern about the perception of the latter group was critical when the company chose to withdraw an iconoclastic piece from a show called Erotica. The institution had been challenged by members of the public who believed their religious symbols had been profaned.

A pesquisa teve como objetivo compreender as motivações que sustentam o patrocínio artístico do Banco do Brasil, a partir da análise dos critérios utilizados na seleção dos projetos e na estruturação da programação do Centro Cultural Banco do Brasil (CCBB) São Paulo, nas áreas de artes cênicas e artes plásticas, nos anos de 2005 e 2006. Identificou-se que o CCBB situa-se na intersecção dos campos econômico e artístico que, não obstante obedecerem a normatividades muitas vezes antagônicas, estabelecem, na ação de patrocínio, dinâmica de interdependência, que também é permeada por conflitos. Para o mantenedor, as ações de patrocínio se justificam por quatro razões fundamentais: a busca pela melhoria de sua imagem diante de seus públicos de interesse, a necessidade de se afirmar como empresa socialmente responsável, a utilização do patrocínio como instrumento de marketing de relacionamento e a obtenção de benefícios tributários. Essas justificativas se ancoram em universo valorativo próprio do campo econômico, calcado em racionalidade que se sustenta pela busca constante de lucratividade e conquista de mercados. Por outro lado, na qualidade de instituição cultural, o CCBB seleciona os projetos a serem patrocinados e estrutura a sua programação, a partir de juízos próprios do campo artístico (inovação, relevância conceitual e temática, grau de consagração de obras e artistas, dentre outros). Se houvesse a preponderância dos julgamentos econômicos na seleção das obras, a arte patrocinada perderia a sua moeda de troca, já que seu capital simbólico decorre justamente da negação de qualquer constrição externa ao campo artístico. Analisando a programação do CCBB nas áreas pesquisadas, identificamos que o resultado das escolhas é coerente com o principal eixo curatorial da instituição que é a diversidade. Apesar do destaque dado a nomes consagrados, artistas menos conhecidos também são contemplados, ainda que em menor número e com espaços reduzidos. Nas artes cênicas, a preocupação central é com a presença de atores renomados, sendo que sua programação não se qualifica nem como teatro comercial, nem como teatro experimental. Nas artes plásticas, aparece também uma posição dúbia, já que ao tempo em que promove a arte contemporânea, correndo certa dose de riscos em suas escolhas, privilegia, por outro lado, formas de patrocínio menos arriscadas, como as mostras museológicas e coletivas (essas abrangendo outras manifestações que não apenas as contemporâneas). A exposição nos meios de comunicação de massa e a quantidade de público nos eventos patrocinados são os principais fatores considerados na qualificação do patrocínio como bem sucedido. Isso revela características eminentemente narcísicas que envolvem as ações de patrocínio, nas quais a repercussão na mídia garante a amplificação da imagem benevolente e pretensamente desinteressada da empresa, mesmo junto aos públicos não fruidores das artes patrocinadas. A preocupação com a percepção desse público foi decisiva na opção da empresa em retirar uma obra iconoclasta da exposição Erotica, no momento em que a instituição foi confrontada por segmentos da população que julgaram que seus símbolos religiosos haviam sido vilipendiados. / This study aims to explore the reasons behind Banco do Brasils sponsorship of the arts. To this end, an analysis of the criteria used both for selecting theater and visual arts projects and designing Banco do Brasils Cultural Center (CCBB) program of cultural activities between 2005 and 2006 was carried out. It was found out that the CCBB lies at the interface between the economic and artistic fields, which, albeit governed by conflicting normativities, become interdependent when it comes to sponsoring, but not without dispute. Justification for the banks sponsorship activities is fourfold: as an attempt to improve its image with the banks various stakeholders; the need to become publicly known as a socially responsible company; the use of sponsorship as a tool of relationship marketing; and the possibility of earning tax benefits. These reasons stem from a set of values that are typically from the economic field. The rationality behind them is an ongoing search for profit and the conquest of new markets. As a cultural institution, however, the CCBB uses artistic criteria such as innovation, conceptual and thematic relevance, and the reputation of art works and artists to select artistic projects for sponsorship and to design its own program of cultural activities. If economic criteria prevailed, the sponsored art, whose symbolic capital stems precisely from the denial of any external restraint to the artistic field, would lose its role as a medium-ofexchange. By analyzing CCBBs theater and visual arts programs, the choices that were made were found to be consistent with its main curatorial policy, namely, that of promoting diversity. Although highly renowned artists prevail, minor artists are also present but in smaller numbers, and taking less space. As for theater projects, the CCBBs main concern is to ensure that widely acclaimed actors are included in its theatrical program, which can be neither regarded as purely commercial nor experimental theater. In the visual arts, the institutions position is also ambivalent. Although it promotes contemporary art, which includes a fair amount of risk-taking, sponsorship of less risky pieces, such as museum collections (including art from other historical periods) and group shows, prevail. Media exposure and the number of viewers attending sponsored events are perceived as the main indicators of a successful event. Sponsoring therefore can be seen as highly narcissistic: media repercussion ensures that the companys supposedly unbiased benefactor image is widely spread, even among those who do not attend the sponsored events. Concern about the perception of the latter group was critical when the company chose to withdraw an iconoclastic piece from a show called Erotica. The institution had been challenged by members of the public who believed their religious symbols had been profaned.