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La investigación realiza un análisis y un recorrido histórico del término assemblage, relacionándolo con los procesos técnicos conceptuales del arte objetual como: ready-made, objet trouvé, objeto surrealista, montaje, ensamblaje y principio collage. La primera acepción sobre la concepción del objeto como arte, la genera Salvador Dalí, creando el término objeto surrealista (1935). Sin embargo, el assemblage fue acuñado por Jean Dubuffet en 1953 para referirse a su serie de collages "Butterfly wings" y, utilizado para concretar la primera exposición sobre el término "The Art of Assemblage" (1961) organizada por William Seitz para el Museum of Modern Art en Nueva York. Los artistas internacionales que trabajaron el assemblage como una manera de yuxtaponer objetos con formas híbridas y asentaron el término, son Robert Rauschenberg con su combine painting, Jasper Johns con objetos ensamblados en sus lienzos. Arman con acumulaciones de artefactos, Kurt Schwitters con su "Merz" y Edward Kienholz con escenografías objetuales. El primer argumento de la tesis lo esgrime William C. Seitz, Tom Flynn y Thomas Karin, piensan ante el assemblage que el término es genérico. Y otros como André Breton, Timothy Hilton, William Jeffett y Juan Antonio Ramírez, asumen que el assemblage sustentó las vanguardias artísticas del siglo XX. El segundo argumento de tesis lo plantea William C. Seitz, Simón Marchán Fiz, Timothy Hilton, Gerardo Estrada, José de las Casas y Octavio Paz, que ante el ensamblaje piensan que es un método técnico-conceptual. Y otros como Arthur C. Danto, Hal Foster, Francisco Javier San Martín, William Tucker, José de las Casas, Elena Blanch y Anna Maria Guasch, especulan que el ensamblaje es una propuesta vigente en el arte. El marco teórico de la tesis fundamenta el ensamblaje con la estrategia de la deconstrucción, palimpsesto, impulso alegórico, efectos del montaje y el dispositivo de apropiación. En México carecemos de una bibliografía sobre assemblag / Estévez Kubli, PJ. (2012). EL ENSAMBLAJE ESCULTÓRICO: ANÁLISIS Y TIPOLOGÍAS OBJETUALES EN EL ARTE CONTEMPORÁNEO MEXICANO [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/16544

This paper provides a systematic review of studies and opinions on the debate over whether entrepreneurs are born or made. Attention has been paid to reducing bias and locating as many credible sources as possible. Unfortunately, peer reviewed, quantitative studies and data on this topic seem to be lacking. Research on whether or not secondary, formal education is required in entrepreneurship and if so, the effects are also analyzed. After much review, information on both sides of the argument seems to be well founded and evenly split. An audience polled before and after an argument on the subject was also relatively even and any change in opinion was not statistically significant. The necessity of secondary education was also split depending on the goal. However, capital creation and financial success down the road are two areas in which the results are statistically significant and should be looked into further.

DIPLOMOVÉ PRÁCE english: This thesis defines the term of a ready-made company. It describes the purchase of a ready-made company, its process and particular phases. The thesis also deals with other areas and specifics of this segment of market economy. It compares the situation in the Czech Republic to other countries, especially to EU member states. It includes also trends and anticipated future development of market with ready-made companies. Finally, the thesis evaluates the position of ready-made companies in market economy

Nesta dissertação, procuramos, a partir da Grande Exposição Universal de Londres em 1851, o início de um debate mais intenso de aproximação da arte com a indústria para, assim, perceber como elementos estéticos começam a permear a vida cotidiana. Essas questões ganham fôlego com as vanguardas, principalmente, com a Bauhaus de Walter Gropius e com o ready-made de Marcel Duchamp. Problematizar como cada um desses artistas buscou o novo, para aproximar Arte e Vida, usando estratégias diferentes, mas recorrendo ao mesmo suporte: o objeto. Ao longo do século XX, perceberemos como, no pós-segunda guerra, há uma mudança no contexto histórico e como as artes plásticas e aplicadas respondem ao debate: arte e indústria, ready-made e Bauhaus. Veremos que as respostas serão com a pop art e as vanguardas italianas do design. Nas décadas de 1960 e 1970, analisamos a sobrecarga da narrativa moderna, tendo a implosão do conjunto residencial Pruitt-Igoe como marco desse processo. O resultado é o ocaso das vanguardas e a centralidade da cultura Kitsch, que inverte a questão levantada por elas de aproximar arte e vida; agora, é a vida cotidiana naquilo que tem de mais banal que se aproxima da arte. As consequências dessa mudança são as repetições de imagens do passado e a descontinuidade na história da arte. Assim, demonstraremos como a arte e os objetos de uso colaboraram com a construção do modo de vida nessa nova tradição. / In this research, we have studied, as from the Great Exhibition of the Works of Industry of All Nations in 1851, in London, the start-up of a more intense debate on the approximation of Art with Industry for, thus, realizing how aesthetic elements begin to make part of everyday life. Such issues are increased with the Avant-Gardes mainly with Walter Gropiuss Bauhaus and the Marcel Duchamps Ready-mades. We have also studied how each of these artists had searched the \"new\" to approach Art and Life using different strategies but the same support: the object. During the 20th century, after the second World War, we may realize that there is a change in the historical context and how Visual Arts and Applied Arts answer to the debate: Art and Industry, Ready-made and Bauhaus. We may see that the answers will be with Pop Art and the Italian Design Vanguards. In the decades of 1960 and 1970, we have analised the overload on the modern narrative, having the implosion of the Pruitt-Igoe residential condo as this process\' milestone. The result is the Avant- Gardes twilight and the Kitsch culture centrality, which inverts the issue they bring up in order to approach Art and Life; now, on the other hand, it\'s everyday life that is close to Art in what it has of most banal. This change consequences are the repetitions of past images and the discontinuity in Art History. Thus, we may demonstrate how Art and objects of use have contributed with the way life construction in this new tradition.

A work made by an employee, upon an order and a collective work Abstract This thesis deals with the topic of commissioned works protected by copyright; more specifically, with the issue of works made by employees, works made upon order and collective works. The aim of the thesis is to examine the Czech legal regulation of these works and assess how the Czech Copyright Act manages to balance the conflicting interests of the author on one side and the employer or ordering party on another. The thesis consists of six chapters. In order to put the issue of commissioned works in a broader context of the Czech copyright law, the introductory part of the thesis is dedicated to explanation of some of the essential principles and rationale of the Czech regulation of copyright, as these directly impact the regulation of commissioned works. The first chapter deals with the concept of a work protected by copyright (author's work). The second chapter clarifies the notion of author of the work within the meaning of the Czech Copyright Act. The third chapter concerns the subjective rights of the author of the work, especially the different nature of the economic and moral rights included in copyright. The fourth chapter is dedicated to the issue of commissioned works. Legal regulation of works made by employees, works...

Aujourd’hui, les consommateurs sont sans cesse sollicités à consommer de manière responsable… en achetant des produits respectueux de l’environnement ou issus du commerce équitable. Depuis quelques temps maintenant, il leur est demandé de privilégier les produits made in France pour soutenir économiquement les fabricants français et plus globalement la santé économique du pays. Mais ces consommateurs français se sentent-ils responsables et engagés envers la santé économique de leur pays ? Et si oui, cela a –t-il une influence sur la formation de leurs préférences pour un produit industriel « made in France » ? En effet, malgré les sondages qui affirment qu’ils sont prêts à payer plus cher pour un produit domestique, l’écart existant entre leurs intentions et leurs comportements ne fait aucun doute. L’objet de cette thèse sera tout d’abord de conceptualiser ce qu’est la responsabilité et l’engagement économique du consommateur. Elle visera ensuite à identifier le rôle de ces concepts sur la formation de préférences des consommateurs pour ces produits « made in France ». Pour cela, après une étude qualitative exploratoire, une expérimentation in vivo est mise en place auprès d’un échantillon représentatif de 596 répondants. Considérant que la dimension économique ne doit pas être déconnectée des autres préoccupations sociétales des consommateurs (environnementales et sociales), nous analysons également l’influence parallèle de ces préoccupations sur l’utilité accordée par le consommateur à l’origine domestique du produit. Enfin, le rapport qu’entretient le consommateur avec son territoire est lui aussi étudié, en cherchant à comprendre son influence sur la décision du consommateur à s’engager pour la santé économique de son pays. / Consumers today are constantly asked to consume responsibly ... buying products environmentally friendly or fair trade. For some time now, we even asked to favor products made in France to economically support the French manufacturers and, more generally, the country's economic health. But do consumers feel responsible and committed to the economic health of their country? If so, what is the influence on the formation of their preference for an industrial product "made in France"? Indeed despite the various surveys that say, they are willing to pay more for a domestic product, the largest gap between their intentions and actual behavior is no doubt. The purpose of this thesis will be, first, to conceptualize the consumer economic responsibility and engagement. This research also aims to identify the role of these concepts on the formation of consumer preferences for these products. For this, after an exploratory qualitative study, in vivo experiment is set up with a representative sample of 596 respondents. This research then will highlight the impact of the various components of economic responsibility of consumers (ERC) on their economic engagement, and, be joined, also, to identify the role of this commitment on the formation of preferences. But the economic dimension should not be disconnected from other societal concerns of consumers (environmental and social). We therefore analyze, too, the influence of these parallel concerns about the utility provided by the consumer to the domestic origin. Finally, the relation that the consumer with its territory will also be scrutinized, seeking to understand its role in the consumer's decision to commit to the economic health of the country.

This paper investigates how professionals within the Italian fashion industrycollaborate and communicate to develop the nation brand Made in Italy. Theproblem of brand confusion, which occurs when the different parties within anation does not cooperate towards a distinct brand message, is analysed.Based on a theoretical review of previous studies in nation branding,interviews and observations in the area of Florence and a desk study ofscientific papers, articles and literature, the model “The Nation Brand Tree”was developed. This was applied to the case of Made in Italy. Conclusions: Thecertification “100% Made in Italy” was proven to be an ineffective solution ofsaving the Italian heritage of craftsmanship and quality. The Italian nationbrand is currently being preserved by private investors, but there is a need forincreased governmental support to create a stronger and unified nation brandfor Made in Italy. / Program: Textilekonomutbildningen

Η παρούσα Διπλωματική Εργασία, η οποία υλοποιείται στα πλαίσια του μεταπτυχιακού προγράμματος "Νέες Αρχές Διοίκησης Επιχειρήσεων" του Τμήματος Διοίκησης Επιχειρήσεων του Πανεπιστημίου Πατρών, ασχολείται με τη στροφή την ελλήνων καταναλωτών στα εγχώρια προϊόντα. Πιο συγκεκριμένα, στη σημερινή εποχή, έχει παρατηρηθεί έντονη αλλαγή στην καταναλωτική συμπεριφορά και στις αγοραστικές συνήθειες. Η στροφή των καταναλωτών στα προϊόντα με την ένδειξη "Ελληνικό Προϊόν" ολοένα και αυξάνεται. Σκοπός της έρευνας που πραγματεύεται η συγκεκριμένα εργασία είναι η αναζήτηση των λόγων που παρατηρείται αυτό το φαινόμενο καθώς και η μέτρησή του. Το συγκεκριμένο θέμα προσεγγίζεται από ποικίλες σκοπιές. Στο Πρώτο Μέρος της εργασίας πραγματοποιείται επισκόπηση της βιβλιογραφίας, όπου γίνεται εκτενής αναφορά στην καταναλωτική συμπεριφορά και στις αλλαγές της. Σκόπιμα αναλύονται όροι οι οποίοι αφορούν άμεσα το θέμα, στοχεύοντας στην πλήρη κατανόησή του από τον αναγνώστη. Ταυτόχρονα, στο δεύτερο κεφάλαιο αναλύεται ο όρος Nation Brand και Nation Branding, καθώς δεν είναι λίγες οι μελέτες που δείχνουν ότι το Brand της χώρας έχει γίνει πολύ σημαντικό για τους καταναλωτές (Leclerc et al., 1994 & Samiee et al. 2005). Ακόμα, παρουσιάζεται και το Brand name της Ελλάδας, ξεκινώντας από τα παλαιότερα χρόνια μέχρι όπως αυτό έχει διαμορφωθεί σήμερα. Γίνεται σημαντική αναφορά στους Ολυμπιακούς Αγώνες του 2004, καθώς κρίνεται ένα παγκόσμιο γεγονός το οποίο είχε θετικό αντίκτυπο στη χώρα. Στο τρίτο κεφάλαιο του πρώτου μέρους, προσεγγίζεται και αναλύεται ο όρος Country of Origin. Ο πρώτος που ασχολήθηκε με την προσέγγιση της έννοιας ήταν ο Robert Schooler το 1965. Από το 1965, λοιπόν, που έγιναν οι πρώτες μελέτες για το θέμα της χώρας προέλευσης μέχρι σήμερα, το 2013, υπάρχει ένα χάσμα μεταξύ του κόσμου. Οι εταιρείες έχουν αυξηθεί και εξαπλωθεί σε παγκόσμιο επίπεδο ακολουθώντας τον κύκλο ζωής των προϊόντων. Αποτέλεσμα αυτής της επέκτασης των πολυεθνικών εταιρειών είναι η πώληση του ίδιου προϊόντος υπό την ίδια εμπορική ονομασία σε διαφορετικές χώρες ανά την υφήλιο. Έτσι, λοιπόν, προκύπτει ο προβληματισμός του περιεχομένου της έννοιας Country of Origin. Στο Δεύτερο Μέρος παρουσιάζεται η έρευνα πεδίου, η οποία υλοποιήθηκε με σκοπό τη μέτρηση της στροφής των καταναλωτών στα ελληνικά προϊόντα. Στο πρώτο κεφάλαιο του δεύτερου μέρους παρουσιάζεται η ταυτότητα της έρευνας, η ερευνητική μεθοδολογία και οι βασικοί ερευνητικοί στόχοι. Επίσης, παρουσιάζονται τα στάδια δειγματοληψίας και η διαδικασία σχεδιασμού, κατασκευής και χορήγησης του ερωτηματολογίου. Τέλος, γίνεται αναφορά στις τεχνικές που χρησιμοποιήθηκαν για την ανάλυση των δεδομένων που συλλέχθηκαν. Στα κεφάλαια που ακολουθούν, παρουσιάζονται τα ευρήματα που προέκυψαν κατόπιν στατιστικών αναλύσεων, με τη βοήθεια του Στατιστικού Πακέτο SPSS, 19. Στο τέλος της παρούσας εργασίας παρουσιάζονται τα συμπεράσματα, τα οποία ουσιαστικά αποτελούν την απάντηση των ερευνητικών ερωτημάτων. Στο Παράρτημα εμπεριέχεται αυτούσιο το εργαλείο συλλογής των πρωτογενών στοιχείων, το ερωτηματολόγιο, με τη μορφή που δόθηκε στους ερωτηθέντες, και ακολουθούν οι βιβλιογραφικές πηγές που χρησιμοποιήθηκαν και βοήθησαν στη συγγραφή της εργασίας. / This thesis is conducted in partially fulfillment of the curriculum of the postgraduate program Master in Business Administration of the University of Patras. The research deals with the Greek consumers’ turn to domestic products. More specifically, nowadays there has been marked a change in consumer behavior and buying habits. The consumer’s shift in commodities labeled as “Greek Products” is increasing. The purpose of this study is to research the reasons and the metrics of this observed phenomenon. The examined topic is approached from various angles. The first part presents the literature review that was carried out, with a detailed reference to consumer behavior and changes. Conditions directly related to the research topic are deliberately analyzed, aiming at facilitating the reader’s understanding. Subsequently, the second chapter analyzes the terms Nation Brand and Nation Branding, as quite a few studies show that the country’s Brand has become very important to the consumers (Leclerc et al., 1994 & Samiee et al. 2005). Furthermore, the Brand Name of Greece is presented, starting from the older times until its current development. Significant reference is being given to the Olympic Games of 2004, as an international event that had a positive impact on the hosting country. The third chapter of the first part assesses and analyzes the term Country of Origin. The first who approached the term was Robert Schooler in 1965. Since 1965, when the first studies for the Country of Origin were conducted, until now there is a gap between the worlds. Companies have grown and spread globally following the products’ life cycle. This growth of the multinational companies resulted in selling the same product under the same brand name in different countries around the globe. Consequently, there arises a debate regarding the content of the term County of Origin. The second part presents the fieldwork, which was conducted in the aim of measuring the consumers’ shift toward Greek products. The first chapter of this second part presents the identity of the research, the methodology, and the key research objectives. Moreover, it discusses the sampling stages and the process of designing, constructing and administrating the questionnaire. Finally, reference is given to the techniques used for analyzing the collected data. The subsequent chapters present the findings of the data analyses performed with the statistical package SPSS 19. In the end of thesis the results of the study are presented, which essentially answer the posed research questions. The Appendix includes unchanged the tool of collecting the primary data, the questionnaire in the form given to respondents, and there follow bibliographic sources that were used for documenting this manuscript.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-11-08T20:00:30Z No. of bitstreams: 1 DISS_2012_Rodolfo Polzin Rondon.pdf: 4339130 bytes, checksum: 5bb03ef76575d2b2094f9fdde738cfd5 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-12-15T14:17:28Z (GMT) No. of bitstreams: 1 DISS_2012_Rodolfo Polzin Rondon.pdf: 4339130 bytes, checksum: 5bb03ef76575d2b2094f9fdde738cfd5 (MD5) / Made available in DSpace on 2017-12-15T14:17:28Z (GMT). No. of bitstreams: 1 DISS_2012_Rodolfo Polzin Rondon.pdf: 4339130 bytes, checksum: 5bb03ef76575d2b2094f9fdde738cfd5 (MD5) Previous issue date: 2012-02-07 / CAPES / A presente investigação inicia-se no edifício popularmente chamado de “camelódromo” ou Shopping Popular de Cuiabá. Construído há mais de quinze anos, esse espaço é parte constitutiva desta capital, ao mesmo tempo em que a integra aos fluxos globais de circulação de mercadorias, mais especificamente aos objetos Made in China. Por meio da proposta etnográfica “de perto e de dentro” seguimos, do fim para o começo, o percurso feito por essas “quinquilharias”, representadas no texto pelo gatinho da sorte ou Maneki Neko. Assim sendo, partimos do camelódromo (e de toda a sua constituição histórica e física) rumo à Ciudad Del Este, centro econômico do Paraguai, amplamente conhecido pelo comércio desse tipo de mercadoria e destino de compras dos camelôs do Shopping Popular de Cuiabá. Lá averiguamos de perto os fluxos e trânsitos desses objetos, descrevendo detalhadamente as práticas observadas que subsidiaram as reflexões acerca do termo “globalização subalterna”. Por fim, apresentamos os fatores que contribuíram, historicamente, para a consolidação da China como potência mundial produtora desses produtos e realizamos uma “biografia” do Maneki Neko, com o intuito de discutir de que forma esses objetos contribuem para a compreensão dos meios pelos quais agem os que estão fora dos fluxos hegemônicos do mundo contemporâneo. / The present investigation parts of the building popularly called "camelódromo" or Popular Shopping in Cuiabá. Built more than fifteen years ago, this space is a constitutive part of the city while integrates the global flows of movement of goods, more specifically the objects Made in China. Through the proposed ethnographic "near and inside" we made, the ending to beginning, the route taken by these "junk", represented in the text by luck cat or Maneki Neko. Therefore, we assume camelódromo (and all its history and physical constitution) towards Ciudad Del Este, the Paraguayan city widely known by the trade of this type of merchandise and shopping destination of the hawkers in the Popular Shopping in Cuiabá. There we analised closely the flows and transits of these objects, describing in detail the practices that supported the observed reflections on the term "subaltern globalization." Finally, we present the factors that contributed historically to the consolidation of China as a sign of power producing these objects and perform a "biography" of Maneki Neko, with the purpose of discuss where these objects contribute to the understanding of the means by which the act that are outside the hegemonic flows in the contemporary world.