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.

Every organization has a corporate image (beyond its control) which is mainly formed by its corporate identity (which it can control). This means that organizations have to manage their images. A positive image is particularly important for non-profit organizations, since these organizations depend on the goodwill of their publics for their existence. NG Welsyn is a well known welfare organization, famous for its bond with the Dutch Reformed church. Its two main sources of income, namely the state and members of the church have different opinions about the spending of funds. The state expects NG Welsyn to play a role in transformation, while members of the church want their needs to be catered for first. This, along with the decrease in funds from church members forced NG Welsyn to research its image among Dutch Reformed church members. In order to determine the image of NG Welsyn, an external public relations audit was formed through the use of questionnaires, focus groups and semi-structured interviews. Theoretical knowledge with regard to corporate image and identity as well as attitude formation was used as theoretical framework within the context of strategic communication management by non-profit organizations. The attitudes of church members on the elements of corporate identity were researched to determine the organization's image. The results show that the church members don't have a positive or negative image of NG Welsyn, since they don't have enough information about the organization. There is currently no relationship between the two parties. The main conclusion is that NG Welsyn can improve its image by the strategic management of communication with important publics. / Thesis (M.A. (Communication Studies))--North-West University, Potchefstroom Campus, 2005.

Every organization has a corporate image (beyond its control) which is mainly formed by its corporate identity (which it can control). This means that organizations have to manage their images. A positive image is particularly important for non-profit organizations, since these organizations depend on the goodwill of their publics for their existence. NG Welsyn is a well known welfare organization, famous for its bond with the Dutch Reformed church. Its two main sources of income, namely the state and members of the church have different opinions about the spending of funds. The state expects NG Welsyn to play a role in transformation, while members of the church want their needs to be catered for first. This, along with the decrease in funds from church members forced NG Welsyn to research its image among Dutch Reformed church members. In order to determine the image of NG Welsyn, an external public relations audit was formed through the use of questionnaires, focus groups and semi-structured interviews. Theoretical knowledge with regard to corporate image and identity as well as attitude formation was used as theoretical framework within the context of strategic communication management by non-profit organizations. The attitudes of church members on the elements of corporate identity were researched to determine the organization's image. The results show that the church members don't have a positive or negative image of NG Welsyn, since they don't have enough information about the organization. There is currently no relationship between the two parties. The main conclusion is that NG Welsyn can improve its image by the strategic management of communication with important publics. / Thesis (M.A. (Communication Studies))--North-West University, Potchefstroom Campus, 2005.

Thesis (MComm (Industrial Psychology))--Stellenbosch University, 2008. / The apparel retail environment is highly competitive. Products and services that are easily replicated, together with informed and demanding consumer markets, add to the complexity of this dynamic, fast changing retail and manufacturing industry. One avenue that companies explore to differentiate themselves from the competition is by the development of their corporate identity. A fundamental element of marketing communication and corporate identity representation is store image, as it is a vehicle that affects the customers’ perception of the store and the store’s identity. To be able to invest in store image optimally, retailers should take cognisance of the need to manage store image in order to increase potential sales. The purpose of the current study was to expand the existing body of knowledge on retail store image and the female apparel consumer in the Western Cape with special reference to the perceived importance of retail store image dimensions. The research question directing the current study was formulated as follows: How do consumers perceive the various store image dimensions in apparel retail and how congruent are customers’ and management’s perceptions of these store image dimensions? The literature review focuses on the importance of store image for retail differentiation purposes as well as independent (demographics, lifestyle, shopping orientation) and dependent variables (patronage behaviour, store loyalty, customer satisfaction) in store image research. Congruity as well as gap analysis are also discussed as these are the focus of the research analysis. The Store Image Scale (SIS) was used as measuring instrument. Management (n -= 14) and customer (n = 200) samples from a leading apparel retailer were used to measure the importance of the various store image dimensions. The questionnaire was adapted for the purpose of reaching all the set empirical objectives. The customer questionnaire included five sections to measure the ideal and the actual store image and the management questionnaire included two sections to measure management’s perception of the importance of store image dimensions for customers. Data was subjected to reliability analysis, descriptive statistics and analysis of variance. Results indicated that Atmosphere, Merchandise and Service were rated as most important dimensions according to customer perceptions of the ideal, while Atmosphere, Promotion and Service were the most important dimensions according to management. Atmosphere, Convenience and Merchandise were rated as most acceptable by customers. Due to the nature of the research design congruency analysis was used. The congruency analysis yielded 29 of the 55 attributes as congruent. The analysis of congruency between acceptability and importance ratings of customers indicated that the dimensions Convenience, Institutional and Sales Personnel showed no significant differences. It therefore was concluded that management’s perception and customers’ perceptions of the importance of ideal store image are closely related for these dimensions. However, closer consideration has to be given to the specific attribute design. Significant differences between management’s and customers’ perceptions were found for the Promotion, Merchandise and Service dimensions. Based on the results, recommendations were made to management from which they could infer possible adjustments to the strategic management of store image dimensions. This is one of the first academic studies to attempt to provide management with feedback on the performance of their retail strategy and is therefore exploratory in nature. The recommendations from the current study could help retailers meet consumer needs, and thereby create a competitive advantage and unique market position for the store. This could contribute to building brand equity, store patronage and, consequently, sales, as well as support the possibility of benchmarking the importance of specific store image dimensions as retail practices in the chain store apparel sector. This could contribute to this retailer’s ability to project a store image that meets customers’ expectations while enforcing the strategic corporate identity.

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.

El fútbol peruano atraviesa una crisis institucional, económica y deportiva a consecuencia de la informalidad con la que han sido gestionados los clubes deportivos locales. Sin embargo, no se necesita ir muy lejos para comprobar que las entidades deportivas, gestionadas adecuadamente, y adaptando herramientas del ?management? a sus modelos de negocio, entre los que destaca la comunicación corporativa, han logrado convertirse en instituciones sólidas, reputadas y exitosas. En ese sentido, resulta preciso advertir cuál es el valor que se le da al corporate en dos de los clubes de fútbol más sólidos del campeonato local (Sporting Cristal y la Universidad San Martín de Porres); del mismo modo, es oportuno conocer la forma en la que se viene desarrollando la comunicación en ambas instituciones; lo cual permitirá realizar una primera aproximación al estado de esta importante herramienta del management en las entidades deportivas nacionales. / Trabajo de investigación

The purpose of this study was to investigate Corporate Social Responsibility (CSR) as a contribution tool to the future practices of corporate marketing communications. Another aim was to discover the current practices of CSR within corporate marketing communications with a specific focus on corporate and stakeholder value creation gained through this merging of two disciplines. Finally, the possibility of creating future competitive advantages through the use of CSR in marketing communications was also examined. The author applied a qualitative interview questionnaire as well as a quantitative survey study as primary research methods conducted for the purpose of this thesis. The interview questionnaires focused on the internal stakeholders' point of view on CSR as a marketing tool, while the survey study examined customer and external stakeholders' interest in current practices and value of CSR. The primary research was complemented by a broad literature review on the subjects of corporate marketing communications and corporate social responsibility. The main results revealed by the literature reviews and empirical research showed that corporate social responsibility has gained increasing value amongst business practitioners and external stakeholders. It was found that CSR can be executed most efficiently though public relations, and thus it helps sustain a sound corporate identity, brand, image and reputation, resulting in stakeholder loyalty and corporate value. The key findings of the research proposed that the proper use of CSR within marketing communications, by developed mid- and large-size organizations, could result in future competitive advantages in the market place. The principal concluding remark of the author was to highlight the importance of corporate social responsibility practices in marketing communications, with respect to value creation. This thesis aims to create motivation for further empirical research and development.

The content of this work is to focus on the concept of corporate image and its analysis of the selected company, which is in this case T-Mobile Czech Republic a.s. Analysis of the company's image comes from the first analysis of its identity and elements of corporate identity, which consists of finding and subsequently image perceived by employees and consumers in the Czech market through questionnaires. It is shown by a comparison of some elements of the main competitors in the industry. Finally was given some recommendations for improvement of certain activities of the company, which in turn may positively affect the company's image.

El presente trabajo de investigación se realizó con el objetivo de confirmar si existe una relación entre los servicios logísticos, la imagen corporativa, la confiabilidad del producto y el servicio al cliente con la satisfacción del cliente y la intención de recompra de los consumidores entre 18 a 35 años en las principales tiendas virtuales marketplace. La metodología incluye una investigación cuantitativa, no experimental de tipo Transaccional Correlacional. El tipo de muestreo es no probabilístico por conveniencia. Asimismo, como instrumento de investigación cuantitativa, aplicamos 414 encuestas para analizar la relación entre las variables de estudio. En el primer capítulo, presentamos el marco teórico, donde definimos las principales variables de estudio; servicios logísticos, imagen corporativa, confiabilidad del producto, servicio al cliente, satisfacción del cliente e intención de recompra. Asimismo, analizamos los papers consultados para la elaboración del estudio y sus principales hallazgos y conclusiones de investigación. En el segundo capítulo, presentamos las hipótesis, los objetivos y determinamos la problemática del estudio. Mientras que en el tercer capítulo hablamos de la metodología detallando el tipo de investigación, la operalización de las variables de estudio, el proceso de muestreo y los instrumentos metodológicos para el recojo de datos para la investigación. En el cuarto y quinto capítulo analizamos los resultados de la investigación, junto a los análisis estadísticos como el coeficiente de correlación de Spearman, y realizamos una comparativa entre los resultados y la teoría dentro de los papers de referencia. Por último, brindamos las conclusiones y recomendación de la investigación. / This research work was carried out with the aim of confirming whether there is a relationship between logistics services, corporate image, product reliability, customer service, customer satisfaction and consumer repurchase intent between 18 and 35 years in major marketplace virtual stores. The methodology includes quantitative, non-experimental research of the Correlal Transactional type. The sampling type is non-probabilistic for convenience. Also, as a quantitative research tool, we applied 414 surveys to analyze the relationship between study variables. In the first chapter, we present the theoretical framework, where we define the main study variables; logistics services, corporate image, product reliability, customer service, customer satisfaction and repurchase intent. We also analyze the papers consulted for the preparation of the study and its main research findings and conclusions. In the second chapter, we present the hypotheses, the objectives and determine the problem of the study. While in the third chapter we talk about the methodology detailing the type of research, the operation of study variables, the sampling process and methodological instruments for collecting data for research. In the fourth and fifth chapter we analyzed the results of the research, along with statistical analyses such as Spearman's correlation coefficient, and made a comparison between results and theory within the reference papers. Finally, the conclusions and recommendation of the investigation are provided. / Tesis

This dissertation investigates the brand identities of the South African Broadcasting Corporation television channels SABC1, SABC2 and SABC3 during the first decade of the 2000s (from 2000 to 2009). The study explores the manifestation and dissemination of dominant political ideologies and myths by the SABC television channels and their respective brand identities. It is argued that SABC television channels are structured and organised according to specific brand ideologies that match dominant political ideologies prevalent in South Africa. This is evident from the manner in which these channels have been organised, defined and redefined over the past years, and also from the self-promotional visual imagery shown by the television channels. The visual brand identities of each channel create the elements that make up each channel’s visual vocabulary, and each visual vocabulary in turn contributes to notions of “South Africanness” and definitions of South African identity. The study also explores the main concepts of ideology theory as a critical discursive practice to assist in a better understanding of the power relations in the SABC and its channel brands in particular. Some developments and changes in the SABC brand identities and the organisation of its television channels are studied from a historical perspective and correlated with ideology theory. In order to do this, the study also draws from semiotic theory. The author notes the semiotic quality of a brand and argues that the process of branding, the process of semiosis and the process of the dissemination of political ideologies bear structural resemblance. Basic definitions and key concepts of branding and corporate identity contribute to an enhanced understanding of the visual brand identities of the SABC television channels. An exploration of the elements specific to television channel branding helps to determine the signs, codes and meanings in SABC television channel branding. / Dissertation (MA)--University of Pretoria, 2010. / Visual Arts / unrestricted