Esta tese investiga a relação do Estado com o teatro no Brasil no período de 1822 a 1889, por meio da subvenção às Artes Cênicas. Procura relacionar a documentação produzida pelo executivo e o legislativo dedicada ao teatro aos debates dos homens de letras sobre a questão teatral nos periódicos do Rio Janeiro. Investiga o patrocínio às Artes e à Literatura, na França do XVII e a assimilação desse modelo em Portugal durante o século XVIII e no Brasil a partir do XIX. Examina a ação da Revue des Deux Mondes na divulgação do teatro francês no Brasil. Analisa o alvará de 1771, primeira legislação produzida em Portugal para a normatização dos teatros públicos do reino e a sua permanência no Brasil após o processo de independência. Contribui com documentos novos para aprofundamento do estudo da história do teatro brasileiro. / This thesis investigates the relation between the State and the theatre in Brazil during 1822 and 1889, through the subvention to the Scenic Arts. It tries to correlate the documents produced by the Executive and the Legislative dedicated to the theatre and to the debates from the academic man regarding the theatrical matter on Rio de Janeiro papers. It studies the sponsorship to the Literature and Arts during the XVII in France and the uptake of the same model during XVIII in Portugal and in Brazil from XIX. It examines the action of Revue des Deux Mondes regarding the promotion of the French theatre in Brazil. It analyses the 1771 Permit, first legislation produced in Portugal seeking the regulation of the realm public theatres and its continuance in Brazil after the independence process. It contributes with new documents for a deep study of the Brazilian theatre history.

Esta tese investiga a relação do Estado com o teatro no Brasil no período de 1822 a 1889, por meio da subvenção às Artes Cênicas. Procura relacionar a documentação produzida pelo executivo e o legislativo dedicada ao teatro aos debates dos homens de letras sobre a questão teatral nos periódicos do Rio Janeiro. Investiga o patrocínio às Artes e à Literatura, na França do XVII e a assimilação desse modelo em Portugal durante o século XVIII e no Brasil a partir do XIX. Examina a ação da Revue des Deux Mondes na divulgação do teatro francês no Brasil. Analisa o alvará de 1771, primeira legislação produzida em Portugal para a normatização dos teatros públicos do reino e a sua permanência no Brasil após o processo de independência. Contribui com documentos novos para aprofundamento do estudo da história do teatro brasileiro. / This thesis investigates the relation between the State and the theatre in Brazil during 1822 and 1889, through the subvention to the Scenic Arts. It tries to correlate the documents produced by the Executive and the Legislative dedicated to the theatre and to the debates from the academic man regarding the theatrical matter on Rio de Janeiro papers. It studies the sponsorship to the Literature and Arts during the XVII in France and the uptake of the same model during XVIII in Portugal and in Brazil from XIX. It examines the action of Revue des Deux Mondes regarding the promotion of the French theatre in Brazil. It analyses the 1771 Permit, first legislation produced in Portugal seeking the regulation of the realm public theatres and its continuance in Brazil after the independence process. It contributes with new documents for a deep study of the Brazilian theatre history.

Syftet med studien är att kartlägga hur klubblag med försäljning av merchandise går tillväga för att överleva på en ständigt utvecklande och konkurrerande marknad. Metoden är av kvalitativ abduktiv forskningsansats där djupintervjuer med svenska klubblag ligger till grund för empirin. Urvalet utgörs av sju respondenter som arbetar med merchandise, marknad, försäljning samt en klubbdirektör. Sammanfattningsvis anser studiens respondenter att merchandise är en viktig finansiell intäkt som används för att stärka banden till fans och sponsorer. Merchandise bidrar utifrån analysen även till att klubblagen lättare kan nå ut i samhället med sitt varumärke genom att tillämpa sportmanagement i hela organisationen. Utifrån analysen och teorierna är slutsatsen att merchandise utgör stor vikt för klubblag i arbetet kring att bibehålla en stark relation mellan evenemang, fans och sponsorer. Utifrån dessa faktorer har ytterligare faktorer identifierats för att mynna ut i en ny modell för att förstå hur svenska klubblag går tillväga för att överleva på en konkurrerande marknad. De ytterligare framtagna faktorerna är Merchandise, Klubben och Marknadsföring av klubblags varumärken, som tillsammans med evenemang, fans och sponsorer bildar “The Pentagon Modell for Sportteams”. / A qualitative abductive research approach where depth interviews with Swedish sport teams that form the basis of the empirical data. The selection consists of seven respondents who work with merchandise, marketing, sales and a club director. The purpose of the study is to identify how sport teams with the sale of merchandise proceed in order to survive in a constantly evolving and competitive market. From the basis of the analysis the respondents consider that merchandise is an important financial income but that it also is use to strengthen the ties to their fans an well as sponsors. Based on the analysis merchandise also contribute to the sport teams brand in the community by applying sport management throughout the organization. Based on the analysis and the presented theories the underlying conclusion is that merchandise is of great importance for sport teams work with maintaining a strong relationship between the events, fans and sponsors. Based on these factors, additional elements where found that resulted in a new model in order to understand how sport teams in Sweden proceed in order to survive on a competitive market. The additional factors are merchandise, the club and Marketing of the sport teams brand, along with the events, fans and sponsors form the model: "The Pentagon Model for Sport teams".

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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.

Esport har under de senaste åren vuxit enormt snabbt och kommit att bli ett globalt fenomen. Samtidigt visar de framtida prognoserna att marknaden för esport kommer växa ytterligare, vilket har gjort det attraktivt för varumärken att sponsra lag, event och organisationer. Trots detta kommer det rapporter som menar på att sponsorer fortfarande är tveksamma till att investera inom esporten då det råder en osäkerhet kring hur effektivt det faktiskt är. Syftet med denna studie är att undersöka hur effektivt sponsorskap är inom esport. Studien har ämnat att undersöka detta från ett konsumentperspektiv i syfte att ge större verktyg till företagen för att hjälpa dem att göra medvetna val vid sponsring inom esport. Utifrån syftet har huvudfrågeställningen fastställts:  Är sponsring inom esport en effektiv marknadsföringsstrategi när sponsorer vill öka sitt varumärkeskapital? Metoden har utgått från en kvantitativ forskningsdesign där empirin består av fyra olika enkätundersökningar, två nollmätningar och två eftermätningar. Totalt ingick 442 respondenter varav 192 var svenska och 250 var internationella. Respondenterna var avgränsade till att endast inkludera esportkonsumenter som hade för avsikt att titta på och/eller tittade på Dreamhack Open Winter 2018, ett evenemang inom esport som hålls varje år i Jönköping, Sverige. Utifrån resultatet har studien tagit fram slutsatser som är kopplade till frågeställningarna som utformats. Eftermätningen visade att samtliga sponsorers varumärkeskapital ökade efter eventet, vilken visar på att esport kan vara en effektiv marknadsföringsstrategi för varumärken som vill öka sitt varumärkeskapital genom sponsring. Dock har det identifierats att olika varumärken, av olika storlekar sponsrar för olika syften. Fortsättningsvis visar studien att köpintentioner endast ökade för de sponsorer som hade en hög grad av upplevd kvalité samt lojalitet, det finns således ett samband mellan dem. Avslutningsvis visar studien att det fanns en skillnad mellan svenska och internationella esportkonsumenter i deras uppfattningar av sponsorer och att detta kan bero på att svenska respondenter håller starkare och mer gynnsamma associationer gentemot en svensk arrangör som Dreamhack. / Esports have grown rapidly over the last couple of years and have now become a global phenomenon. At the same time forecasts show that the market for esports will continue to grow, which in turn has made it attractive for brands to sponsor teams, events and organizations. Despite all of this there are concerns from several reports which suggest that there are still sponsors who are hesitant to invest in esports because there is an underlying uncertainty regarding how effective it really is. The purpose of the study is to examine how effective sponsorship within esports is. The study has intended to examine this from a consumer perspective for the purpose of providing more tools for companies to help them make conscious choices when sponsoring esports. Based on the purpose of the study, the main issue was established.  Are sponsorships within esports an effective marketing strategy when sponsors want to increase their brand equity? The method was based on a quantitative research design where the empirical data consists of four different surveys, two benchmark measurements and two measurements after the event. A total of 442 respondents participated in the study, 192 of them were Swedish and 250 of them were international. The respondents were limited to only include esports consumers who were either going to watch and/or watched Dreamhack Open Winter 2018, an event within esports that is held every year in Jönköping, Sweden. Based on the results, the study developed a set of empirical findings which were then connected to the issue that had been established. The measures after the event showed that the brand equity of all of the sponsors had increased. This indicates that esports can be an effective marketing strategy for brands that want to increase their brand equity through sponsorships. However, the results showed that brands of different sizes sponsor for different purposes. Further, the study found that purchase intentions only increased for the brands that had a high degree of perceived quality and loyalty, therefore it was concluded that there is a connection between them. In conclusion the study showed that there was a difference between Swedish and international esports consumers in their perception of sponsors. This could depend on the fact that Swedish respondents hold stronger and more favorable associations towards Swedish organizers such as Dreamhack.

La libéralité à caractère collectif est destinée à la collectivité ou à un groupe de personnes. Elle est au service d’une oeuvre, d’une cause. Profitant à des personnes physiques indéterminées et non individualisées, elle ne peut être réalisée directement. Pour atteindre son but, elle fait intervenir une personne juridique, le plus souvent une personne morale de droit public ou de droit privé à but non lucratif. Par le truchement de la personne morale, la libéralité profite aux bénéficiaires de l’oeuvre du groupement : du cercle de ses membres à un groupe de personnes, voire à la collectivité tout entière.Les mécanismes permettant de réaliser une libéralité à caractère collectif sont divers et pour certains la qualification libérale leur est refusée. Ils peuvent être regroupés en deux catégories selon le rôle joué par le bienfaiteur : une fondation, si l’oeuvre est initiée par lui ; une libéralité-participation, si le bienfaiteur vient soutenir une oeuvre déjà existante. À l’image des mécanismes, les techniques employées sont variées que l’acte repose sur une simple libéralité avec charge ou de façon plus originale sur une fiducie aux fins de libéralité ou un engagement unilatéral de volonté. Malgré cette diversité, des caractères communs transcendent la catégorie des libéralités à caractère collectif : elles sont affectées et intéressées. La notion de libéralité à caractère collectif délimitée, il est alors possible de mettre un peu d’ordre dans les règles qui s’y appliquent. À l’heure actuelle, celles-ci sont tout à la fois éparpillées, lacunaires et inopportunes. Le régime des libéralités à caractère collectif doit donc être repensé en tenant compte de leurs spécificités. / A liberality of a collective nature is aimed at the community, or at a group of people. It is to benefit a cause. Because it benefits undetermined and not individualized natural persons, this kind of liberality cannot be carried out directly. In order to reach its goal, it includes a juridical person, most often a notforprofit legal person of public law or private law.Through the legal person, the liberality benefits the beneficiaries of the grouping’s cause: these beneficiaries may be the members of grouping, to another group of people, or even to the wholecommunity. The ways to carry out a liberality of a collective nature are numerous and some of themare denied the designation of “liberality”. Two sorts of ways may be distinguished, according to the role played by the benefactor: either a Foundation, if the cause it initiated by the benefactor; or a liberality-participation, if the benefactor contributes to an existing cause. The techniques are varied:the operation may be based on a liberality with a charge, or more originally on a fiducia aimed at a liberality, or on a commitment by unilateral will. In spite of this diversity, liberalities of a collective nature have common features: they are earmarked and for-profit. Once the notion of liberality is mapped out, it becomes possible to sort out the rules that apply to it. Currently, these rules are scattered, insufficient and improper. The rules governing the liberalities of a collective nature must be redesigned by taking into consideration their specific nature.

A presente pesquisa aborda a dinâmica das estruturas demográfica, social e econômica de Porto Alegre, capital do Rio Grande de São Pedro, em seu período formativo (entre 1772 e 1800). As principais fontes consultadas foram róis de confessados, relações de moradores, mapas de população e produção e livros de casamento e de batismo. Nos três primeiros capítulos da dissertação são analisadas as características da população e suas modificações, as diferenças entre a área urbana e rural e a distribuição da posse de escravos. No quarto e no quinto capítulo são estudas a estrutura agrária local e as redes familiares e estratégias dos produtores rurais. Os dois últimos capítulos, por fim, abordam a família e o compadrio escravo. O argumento central aqui defendido é o de que Porto Alegre, já em suas primeiras décadas de existência, demonstrava forte dependência em relação ao escravismo. A freguesia conheceu um expressivo crescimento demográfico decorrente, em grande medida, do aumento do número de cativos. Seu núcleo urbanizado mostrava-se, desde então, bastante desenvolvido, concentrando a maior parte da população, inclusive escrava. Os cativos eram muitos e estavam distribuídos em pequenas propriedades. A fronteira agrária encontrava-se fechada e há fortes indícios apontando para um processo de diferenciação social entre os produtores rurais. Ao avaliar as condições nas quais surgiram as famílias escravas, constatouse que a atividade produtiva do senhor, o tamanho da posse escrava e a origem dos cativos aparecem como importantes fatores a serem considerados. A escolha de padrinhos, por sua vez, conheceu uma profunda transformação ao logo do período, em um processo no qual incidiram as mudanças na estrutura de posse de escravos, as variações na dinâmica do tráfico, bem como os limites e possibilidades impostos pelas redes sociais senhoriais. A economia e a sociedade de Porto Alegre, em suas primeiras décadas de existência, podem, sim, ser classificadas como escravistas. / This paper aims to present an analysis of the dynamics of demographic, social and economic structures in Porto Alegre, capital of Rio Grande de São Pedro, in its formative period (from 1772 to 1800). The main sources consulted were of confessed sterols, neighborhood relations, maps of production and population, and books of marriage and baptism. In the first three chapters of this dissertation, the population characteristics and its modifications, the differences between urban and rural areas and the distribution of slaveholding are analyzed. In the fourth and fifth chapters present the study of the local agrarian structure, family networks and farmers’ strategies. In the last two chapters the family and crony slave are discussed. The central argument supported is that Porto Alegre, in its first decades of existence, showed strong dependence on slavery. The parish has experienced a significant growth of population due largely to the increase in the number of captives. Its urbanized core showed up quite developed, concentrating most population, including slaves. There were many captives and they were distributed in small farms. The agrarian frontier was closed and there is strong evidence pointing a process of social differentiation among farmers. In assessing the conditions under which emerged slave families, it was found that the productive activity of the master, the size of the possession of captive and the origin of the slaves, are important factors to be considered. Meanwhile, the choice of godparents experienced a profound transformation over the period, a process which focused on changes in the structure of slave ownership, changes in the dynamics of trafficking, as well as the limits and possibilities posed by social networks manor. The economy and society of Porto Alegre, in its first decades of existence, can indeed be classified as slavery.

This diploma thesis called Marketing Communication in a chosen company aims to analyse used marketing communication tools in the selected company and propose changes and recommendations based on the acquired knowledge and results. According to them, the company's target groups of marketing communication will be set and the overall plan of activities for the year 2020 will be compiled in the practical part.

En els darrers anys, diversos autors han reconegut que les relacions de patrociniactuen com a aliances estratègiques. No obstant això, també insisteixen en la mancad'aproximacions analítiques que permetin conèixer el procés de desenvolupamentd'aquest tipus d'aliances estratègiques. Per donar resposta a aquesta demanda, s'hadesenvolupat un model sobre el cicle de vida de les relacions de patrocini que articulaelements de la perspectiva relacional de l'empresa, de l'enfocament conceptual sobre lesdinàmiques que intervenen en el procés de desenvolupament de les aliancesestratègiques i de la bibliografia relacionada amb el patrocini. Per desenvolupar elmodel sobre el cicle de vida, s'ha fet una recerca qualitativa per mitjà de l'estudilongitudinal de casos. S'han identificat tres relacions de patrocini que han permès crear imantenir amb èxit un patrocini durant un llarg període de temps, en el qual, a més, s'hihan involucrat a fons. Aquestes relacions de patrocini són: UBS/Equip Alinghi, enl'àmbit esportiu; BBVA/Ruta Quetzal, en l'àmbit cultural, i DKV/Intermón Oxfam, enl'àmbit social. La recerca es basa en la pregunta següent: com es creen i com esdesenvolupen les relacions de patrocini?Per a cada cas, s'ha recorregut a diverses fonts d'informació. D'aquesta manera, es pottriangular la informació i recollir-ne la més rellevant i representativa, cosa que redueixla possibilitat d'interpretar-la erròniament o de tergiversar-la. Així doncs, les dadesprovenen de fonts primàries d'informació i de fonts secundàries. Per sistematitzar ianalitzar les dades recollides, s'han interpolat la síntesi de la informació i la deducció deles conclusions abans, durant i després de la recollida d'informació.L'estudi dels tres casos ha mostrat una pauta de comportament seqüencial en eldesenvolupament d'aquestes relacions de patrocini de tres etapes d'evolució,interrompudes per períodes curts de revolució. Així mateix, ha permès identificar lescaracterístiques clau de l'èxit de les relacions de patrocini, com també analitzar ambprofunditat l'evolució d'aquestes característiques al llarg del seu cicle de vida. / En los últimos años, diversos autores han reconocido que las relaciones depatrocinio operan como alianzas estratégicas. Sin embargo, también enfatizan la falta deaproximaciones analíticas que permitan conocer el proceso de desarrollo de este tipo dealianzas estratégicas. Respondiendo a este llamamiento se ha desarrollado un modelosobre el ciclo de vida de las relaciones de patrocinio que articula elementos de laperspectiva relacional de la firma, el enfoque conceptual sobre las dinámicas en elproceso de desarrollo de las alianzas estratégicas y la literatura de patrocinio. Paradesarrollar el modelo sobre el ciclo de vida se ha realizado una investigación cualitativamediante el estudio de casos longitudinal. Se identificaron tres relaciones de patrocinioque han sido capaces de crear y sostener un patrocinio exitoso durante un largo periodode tiempo en el que además, se han involucrado a fondo. Estas relaciones de patrocinioson: UBS/equipo Alinghi, que pertenece al ámbito deportivo, BBVA/Ruta Quetzal quepertenece al ámbito cultural y DKV/Intermón Oxfam que pertenece al ámbito social. Lainvestigación parte de la pregunta principal ¿cómo se crean y se desarrollan lasrelaciones de patrocinio?Para cada caso, se procedió a buscar distintas fuentes de información para podertriangularla y así, recoger la más relevante y representativa reduciendo la probabilidadde malinterpretarla o tergiversarla. Así, los datos provienen de fuentes primarias yfuentes secundarias de información. Para sistematizar y analizar los datos colectados sefueron interpolando la síntesis de la información y la deducción de las conclusionesantes, durante y después de la recolección de información.El estudio de los tres casos ha revelado una pauta de comportamiento secuencial en eldesarrollo de estas relaciones de patrocinio de tres etapas de evolución interrumpidospor periodos cortos de revolución. Asimismo, ha permitido identificar las característicasclave en el éxito de las relaciones de patrocinio y analizar en profundidad la evoluciónde estas características a lo largo de su ciclo de vida. / In recent years, several authors have recognized that sponsorship relationships act asstrategic alliances. However, they also emphasize the lack of analytical approaches which allowan understanding of the development process of this type of strategic alliances. In an attempt tofill this gap, a model has been developed for the lifecycle of sponsorship relationships, thatcombine the relational view of the firm, the alliance development process theories and theliterature in sponsorship from the resource based view of the firm. To develop this lifecyclemodel, qualitative research has been conducted through longitudinal case studies. Threesponsorship relationships have been identified which have successfully created and sustainedsponsorships over a long period of time, in which, additionally, the relations have been involvedto a great extent. These sponsorship relationships are: UBS/Team Alinghi, in the sporting field;BBVA/Ruta Quetzal, in the cultural field; and DKV/Intermón Oxfam, in the social field. Theresearch has been based on the following question: How are sponsorship relationships createdand developed?Various sources of information have been consulted for each case. This way, it is possible totriangulate information and take from it the most relevant and representative data, which in turnreduces the possibility of this information being interpreted incorrectly or distorted. As a result,the data is taken from primary and secondary sources of information. To systematise andanalyse the gathered data, the synthesis of the information and inductions based on theconclusions have been interpolated before, during and after gathering the information.Study of the three cases has shown a sequential behaviour model in the development of thesesponsorship relationships, with three stages of evolution interrupted by short periods ofrevolution. It has also enabled us to identify the key characteristics of success in sponsorshiprelationships, as well as to carry out in-depth analysis of the evolution of these characteristicsthroughout their lifecycle.