Thesis (Ph. D.)--Lehigh University, 1999. / Includes vita. Includes bibliographical references (leaves 81-85).

Thesis (PhD(BN) -- Bond University, [2006.]. / "A thesis submitted to Bond University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Business.". Bibliography: pages 151-167. Also available via the World Wide Web.

D.Comm. / A sponsorship is seen as the marketing communication activity whereby an IOrganization contractually makes a financial or material investment to an individual, activity or broadcast in order to achieve pre-determined objectives for the organization amongst the members of the organization's target market. Sponsorship of events, sport and broadcasts has increased in prominence in the past ten years, largely due to the increasing amounts of money which are being invested in this aspect of marketing communication. The growth in sponsorship investment reflects growth of between 25%-30% per annum, which is larger than that found in other marketing disciplines., Approximately the same amount of money is spent on radio advertising in this country annually as invested in sponsorships, indicating the relative importance and widespread use of sponsorship by organizations in South Africa. Various sponsorship objectives have been identified in the literature such as corporate objectives, product obje~tives, sales objectives as well as the objectives of media exposure, publicity and communication: A sponsorship is a form of investment, it needs to be evaluated like any other financial investment. The sponsorship investment must be evaluated in terms of its required performance. The sponsorship is required to yield a commercial benefit for the sponsoring organization, and evaluating the benefit is important to its continued use by the organization. Methods which can be used to evaluate a sponsorship can be divided into four broad categories, namely advertising-based methods, sales-based methods, sponsorship-specific methods and other methods. Which of the above methods ought to be used to evaluate a sponsorship depends on the objectives which the organization sets for the specific sponsorship. Regular sponsorship evaluation is necessary to ensure that the sponsorship attains the specific objectives.

Thesis (M.S.)--Drexel University, 2004. / Includes abstract. Includes bibliographical references (leaves 34-36).

Thesis (M.A.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 12, 2008) Includes bibliographical references.

Marketers make extensive use of sponsorship as an instrument to build and enhance corporate image, with global sponsorship spending exceeding USD50 billion in 2012 (IEG, 2013). This growth in sponsorship spending has been paralleled by growth in sponsorship research. The various definitions of sponsorship are centred on the concept that the sponsor pays in return for the opportunity to be associated with the given event. The transfer of image from the event to the brand is therefore central to the productivity of any sponsorship arrangement. Hence, it is unsurprising that image transfer models in which the transfer takes place from the event to the sponsor’s brand are prevalent in the literature. Whilst providing a good foundation, the extant sponsorship research has several shortcomings. For example, it is generally based on a unidirectional image transfer process, and the underlying mechanism of image transfer is attributed primarily to associative network theories (which, on their own, do not answer the why and how of the image transfer process). Further, most discussions in this arena use attitudinal change and the ability to recall as proxies for the existence of image transfer rather than measuring it directly. We know that events are largely thematic and engage the audience at an emotive level, but the sponsorship literature contains no studies on the role of affect in image transfer. Associative theories, whose roots lie in cognitive psychology, concern propositions, cues and outcomes, and yet they remain peripheral and largely ignored in the sponsorship literature. Observation also suggests that event-brand sponsorship arrangements are highly complex and susceptible to reciprocal image transfer. This research addresses these shortcomings by using prior affect as the central mechanism to extend associative network theories to the sponsorship context. The central argument of this thesis is that a necessary condition for any image transfer to occur (event to brand or brand to event) is the absence of directly formed prior affect for the brand (in the case of conventional image transfer)/event (in the case of reverse image transfer). In the presence of directly formed prior affect, the association between event image and brand image is blocked, and no image transfer occurs. A series of pretests and experiments provide empirical evidence to show that image transfer is a bi-directional phenomenon, cue directionality strengthens image transfer, the presence or absence of directly formed prior affect for the brand (event) determines whether image transfer occurs, the method of affect formation (neutral affect or indirect affect) moderates transfer strength, and image transfer from event to brand and from brand to event is asymmetrical. The limitations and theoretical implications of the research are discussed, and future research directions proposed.

Thesis (Ph.D.)--University of Alberta, 1997. / In partial fulfilment of the requirements for the degree of Doctor of Philosophy, Faculty of Physical Education and Recreation. Also available online.

Over the past decade sponsorship has shown high growth as a promotional vehicle. Research has found that positive fit between the event and the sponsor assists in information transference. Using current sponsorship literature this research extends current theory by; 1) identifying three dimensions determining fit; and 2) testing for the effect of sponsor-sponsor fit on brand judgments. Results suggest two dimensions primarily determine fit though both are not found together in either event-sponsor or sponsor-sponsor fit. It was also observed that this fit between sponsors did have an effect on brand attitudes and to be stronger than event-sponsor fit. Managerial implications and directions for future research are advanced in the conclusions.

Abstract Among advanced countries, such as in the US, West Europe, and Japan, attending artistic activities have long been the daily life of ordinary people. It is also prevalent of businesses in these countries to sponsor artistic activities or art institutes, through which businesses can feed back society and enhance their company images. In Taiwan, it has been a history for decades of enterprises sponsoring artistic activities and collecting arts. The traditional sponsorship of art originated from the friendships between business owners and artists or business owners¡¦ collection of artistic works. The corporate sponsorship of art in Taiwan can date back to Japanese Occupation (A.D. 1895~1945). In Japanese colonial days, Tai-chung entrepreneur, Zao-Jia Yang, was a renowned art supporter to island-wide artistic activities. During Yang¡¦s younger days, possessed with strong Taiwanese Awareness and literary penchant, he co-funded, with Pei-huo Tsai, the construction of Tai-Yang Fine Art Association. This famous fine art association had encouraged well-known painters of older generation like Shih-Chiao Lee¡BMei-shu Lee¡BCheng-Po Chen¡BChi-Chun Liao¡BSan-Lang Yang¡BShui-Long Yen to fully develop their talents, and pioneered the modern arts in Taiwan at then. Mr. Zao-Jia Yang could be deemed as the guardian god of early Taiwanese artists. Yang¡¦s followers like Mr. Pao-Thou Lin, former Chairman of Taiwan Cement Corporation¡BMr. Chen-fu Koo, former Chairman of Straits Exchange Foundation and Mr. Wen-Lung Hsu, the founder of Chi-Mei Corporation, and etc., have all contributed greatly to local artistic activity fund raising and arts collection in the past decades. To gain a better understanding on various types and paradigms of corporate sponsorship of artistic activities and arts collection, this study focus on the study of Chi-Mei Corporation, in hope that we could advocate the interaction between arts and businesses through deep interview and comprehensive analysis on the creation of Chi-Mei Museum. Through analysis,it is obvious that: Arts are no more the privilege or captive of the rich, enterprises through the operation of their funds or museums can assist academics, artists, and more ordinary people exposure to arts, thereby expanding art population as well as fulfilling the social obligation and citizenship of enterprises. Meanwhile, the resulting ideal economic environment will benefit enterprises themselves. Enterprises should treat arts investment in the same way with regular profitable business operations. The invisible arts value will have economic benefits from all sides. Aside from acknowledging that enterprises are an efficient private factor to promote government policy, government should recognize the essence of nation competitiveness¡Xthe substance of its people including culture development as well as academic credential and economic strength. The present pan-politics environment is against culture development. Government should expedite of legislation of Museum Law and related stipulations improvement to help private museum operation. If art collections are concealed from the public as treasures, the collections are preserved for its own value. The construction of private museum is necessary. It can play complementary role to public museum. According to David Throsby, art collector can be traced by their aesthetic value, spiritual value, social value, historical value, real value, i.e., a series of cultural characteristics, to study the arts collection behavior. Through the beauty, harmony, race uniqueness of artistic works, it helps human understanding of social substance, identity. It also helps reflect the status quo of a society. Artistic works convey meaning of itself and the culture valuation and symbolism of arts collectors. From the above perspectives, the author thinks that arts collection is an extreme passion for human spirit and culture. The difficulties of running private museum should not prevent us from encouraging its setup. According to Bruno S. Frey, investments on arts are tax avoidance in many countries. Although it is a truth known to the public, the tax incurred from owning art works is seldom treated in related study. It is impossible to neglect tax when calculating the profits. In different countries and time, taxation is various. Perfect arts collection, in author¡¦s opinion, aside from fond of arts, and need intellectual tactics more of financial strengths, market information, knowledge, aesthetic taste, and ideal seeking. Therefore, arts investment and its taxation leave ample room for successor to study further.

Thesis (M.S.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains iv, 48 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 45-48).