This thesis illustrates the development of a new methodological tool for arts marketing, called the visibility/involvement model, through a critical analysis of promotional material of Christchurch's art galleries. The methodological tool provides insights into the quality of the art galleries' marketing activities, categorising promotional material according to their level of visibility/public accessibility and required individual involvement. The promotional material was considered according to three different dimensions of meaning: (1.) The textual dimension of meaning (Fairclough, 1992); (2.) The visual dimension of meaning (Kress and van Leeuwen, 1996; 2006); (3.) The local dimension of meaning (Scollon and Scollon, 2003). The innovation of the newly developed model lies in the combination of these three dimensions coming from the three different theoretical and methodological areas of thought: Critical Discourse Analysis, Systemic Functional Analysis, and Mediated Discourse Analysis. The model takes the above mentioned three dimensions together in order to categorise and assess a gallery's current marketing approach, and to then recommend a gallery's enhancement of marketing strategies to either deepen or broaden their audience. The visibility/involvement model also provides understanding of a gallery's underlying ideology and can explain why a certain gallery emphasises a particular marketing approach more than another cultural organisation and what implications that might have for future developments. This thesis challenges the view that traditional marketing strategies apply to arts marketing. Following Venkatesh and Meamber's (2006), who account for the cultural production process, drawing on McCracken (1986; 1988), this thesis attempts to engage in a holistic arts marketing approach. In order to attempt a holistic analysis, the thesis is based on analysis of galleries' visual signs, mission statements, and sent-out invitations. A central argument in the thesis is that each class of promotional material implies different properties, and hence requires an altered promotion strategy based on the target audience and the main communicative intention. The concept entails that the audience becomes narrower and more homogeneous from the category of visual signs to the class of sent-out invitations. Likewise, the communication needs to become more personal and specific. The audience layer model, an application of the visibility/involvement model introduced in the final chapter of this thesis, illustrates the relationship between the audience and promotional material.

This thesis illustrates the development of a new methodological tool for arts marketing, called the visibility/involvement model, through a critical analysis of promotional material of Christchurch's art galleries. The methodological tool provides insights into the quality of the art galleries' marketing activities, categorising promotional material according to their level of visibility/public accessibility and required individual involvement. The promotional material was considered according to three different dimensions of meaning: (1.) The textual dimension of meaning (Fairclough, 1992); (2.) The visual dimension of meaning (Kress and van Leeuwen, 1996; 2006); (3.) The local dimension of meaning (Scollon and Scollon, 2003). The innovation of the newly developed model lies in the combination of these three dimensions coming from the three different theoretical and methodological areas of thought: Critical Discourse Analysis, Systemic Functional Analysis, and Mediated Discourse Analysis. The model takes the above mentioned three dimensions together in order to categorise and assess a gallery's current marketing approach, and to then recommend a gallery's enhancement of marketing strategies to either deepen or broaden their audience. The visibility/involvement model also provides understanding of a gallery's underlying ideology and can explain why a certain gallery emphasises a particular marketing approach more than another cultural organisation and what implications that might have for future developments. This thesis challenges the view that traditional marketing strategies apply to arts marketing. Following Venkatesh and Meamber's (2006), who account for the cultural production process, drawing on McCracken (1986; 1988), this thesis attempts to engage in a holistic arts marketing approach. In order to attempt a holistic analysis, the thesis is based on analysis of galleries' visual signs, mission statements, and sent-out invitations. A central argument in the thesis is that each class of promotional material implies different properties, and hence requires an altered promotion strategy based on the target audience and the main communicative intention. The concept entails that the audience becomes narrower and more homogeneous from the category of visual signs to the class of sent-out invitations. Likewise, the communication needs to become more personal and specific. The audience layer model, an application of the visibility/involvement model introduced in the final chapter of this thesis, illustrates the relationship between the audience and promotional material.

No / This chapter seeks to clarify the definition of trust and its conceptualization specifically at the team or workgroup level, as well as discussing the similarities and differences between interpersonal and team level trust. Research on interpersonal trust has shown that individual perceptions of others trustworthiness and their willingness to engage in trusting behavior when interacting with them are largely history‐dependent processes. Thus, trust between two or more interdependent individuals develops as a function of their cumulative interaction. The chapter describes a multilevel framework with individual, team and organizational level determinants and outcomes of team trust. It aims to clarify core variables and processes underlying team trust and to develop a better understanding of how these phenomena operate in a system involving the individual team members, the team self and the organizational contexts in which the team operates. The chapter concludes by reviewing and proposing a number of directions for future research and future‐oriented methodological recommendations.

Magister Commercii (Industrial Psychology) - MCom(IPS) / The focus of this exploratory study was on competency profile development, specifically the factors impacting on the validity of its development. Given the paucity of research both nationally and internationally into the development of criteria feeding employment practices, as well as the conjectured enigmatic disjuncture between theory, which promotes the almost indispensability of job analysis, and organisational reality which attests to it seldom being performed or performed in a way which would satisfy scientific standards, a qualitative enquiry and a two tiered research design was developed to explore this phenomenon. Through excavating documentary data, the first phase of research intensively explored the work of the City of Cape Town's Competency Framework Team, their particular job analysis processes and their methodology for developing a competency profile for a single incumbent position, namely that of the City Manager's position. The medium of the case study allowed the reader to enter the world of a pulsing organisation and witness such researchers' dilemmas as contemplating whether there is a standard recipe for competency profile generation, the factors influencing choice of methodology, judgment around the relevancy of competencies developed to lead the change process, accurately responding to and managing dramatically skewed samples, the types of interventions to design, etc. The three key results from this phase of research confirmed that: the complexity of change within the City of Cape Town, as well as the types of decisions the various HR functions had to make on the basis of the profile, influenced decisions on how to profile and which methods to use; that stakeholders actively shaped the design and understanding of the particular components of the competency profile as they bring human volition to the areas of challenge arising within the organisation; and on the issue of whether racial composition of a sample was anticipated to have an effect on the competencies generated, it was clear that is not possible to ascertain whether the differences noticed in the behavioural repertoire of an individual are as a function of race or a myriad of other competing variables. The second phase of research studied the behavioural competencies elicited from a sample of Chief Executive Officers when using different job analysis methods to develop these competencies. The results confirmed that the distinctive features of a job analysis method selected or developed may impact on the behavioural competencies generated. These results not only sensitise practitioners to the role of methodology in influencing the derivation of competencies, but also to the many variables within, as well as between chosen methodologies, and to the reality that choice of methodology may influence the degree of confidence with which one interprets the results attained. The study concluded that despite this being a case study, limiting the conclusiveness and generalisability of its findings, the facets of the phenomenon of competency profiling illuminated may have much salience for the art and practice of profiling in general, for users and developers of job analysis processes, instruments, and leadership models, as well as practitioners entrusted with organisational design and redesign.