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Value co-creation enhances employers' branding through the engagement of organisations' corporate social responsibility (CSR) activities and employees' behaviours, such as performance, loyalty and satisfaction. Although a growing body of research has explored the notion of value co-creation, the current understanding of the interrelationship between value co-creation and corporate social responsibility is underdeveloped. There is fierce academic debate surrounding the concept of value co-creation, calling for further theoretical and empirical work on this field. Furthermore, the concept of employer branding is still a nascent area in management and marketing scholarships and requires further conceptual nourishment. Although significant studies have covered the role of organisations and consumers in value co-creation resulting in employer branding, there has been little research to address the role of employees in value co-creation, dictating further assessment of their role in the process of value co-creation and participation in employer branding in a CSR context. Therefore, this thesis seeks to identify and analyse how, and to what extent, efforts to become socially responsible can co-create value for internal stakeholders and contribute to employer branding. As such, part of the theoretical foundation for this research is built on CSR. Subsequently, relevant conceptual avenues pertaining to the co-creation of value, corporate branding and employer branding are explored and analysed. An extensive literature review is undertaken to inform the robust development of an initially proposed conceptual framework of the main factors that impact upon this process. The proposed conceptual framework has set a broad guide for the researcher regarding the empirical fieldwork involved. The context for the research explores the notion of value co-creation within employer branding in the Omani hotel sector. To analyse value co-creation in depth, a qualitative interpretive multi-case study approach is adopted. The research also considers aspects of managerial philosophies and employees' perceptions regarding their organisations' current and future CSR activities, and how these activities impact value co-creation for stakeholders. The findings indicate that value co-creation has three major elements - it is dynamic and iterative, it requires dialogical interactions among various parties, and it leads to dualistic outcomes. The adoption of CSR increases the employees' satisfaction, whereas a lack of understanding of the CSR activities leads to the co-destruction of value, which in return affects the organisational turn-over in the long run. Therefore, creating awareness about the importance of the implementation of CSR is considered crucial, as it will benefit the organisation and improve the level of performance and loyalty of the internal stakeholders. The researcher proposes an original conceptual model on this tripartite nature of value co-creation and an analysis of how value co-creation can lead to the development of sustainable and socially responsible employer branding. An employee-oriented perspective towards value co-creation is introduced as an endeavour to enrich the area of research and address current conceptual deficiencies. The research also advances scholarship by critically assessing the role of employees as an independent but integral entity in the value co-creation process, establishing clear and robust links between CSR, value cocreation and employer branding.

The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.

Digital Commons @ Gardner-Webb University was launched in Fall 2015 and currently has over 1300 papers including: theses and dissertations, journals in Education, Psychology, and Undergraduate Research, University Archives, and faculty scholarship activities. The repository has a small, but growing number of collections that continue to show significant year-to-year document download count increases, particularly in the nursing and education theses and dissertation collections. Digital Commons provides a number of ways to track collection statistics and identify repository access and download trends. This presentation will look at how we used the Digital Commons Dashboard report tool and Google Analytics to identify the most popular collections and where they’re being accessed on campus and globally. Using this data, we were able to write targeted metadata and include third party tools such as the Internet Archive BookReader in order to improve outreach to the campus and global scholarly community.

Darius Milhaud's 1923 ballet "La création du monde" ("The Creation of the World") was and is a fascinating work for chamber ensemble. The French composer's inventive blending of jazz harmony and compositional technique, Harlem musical instrumentation, and the discipline of cutting-edge European art music remains a milestone in the cross-Atlantic pollination that America's original art form engendered in the early 20th century. All of this was accomplished before Gershwin's ultimately better known Rhapsody in Blue. Milhaud's progressive percussion writing in the work, as well as his combination of jazz harmonies with his own particular polytonal voice, makes the work even more stunning. However, all of these features also make the work challenging to prepare and perform. Prior to this thesis, the extant literature on "La création du monde" examined the work either theoretically (specifically in terms of polytonality), or historically (in terms of its relationship to the cross-pollination of jazz and western art music). These publications do not provide the necessary information for a conductor and ensemble to effectively interpret and perform this work. The present study synthesizes the historical and biographical events that led to the composition of the work with the musical considerations of form and theme compounded by a foreign language score with period terminology, notation, and indications with the wind conductor as the intended audience. The purpose of this study was to collect, categorize, interpret, and synthesize the necessary information to enable a conductor to undertake this work, while simultaneously encouraging more modern conductors and performers to do just that. Using historical documentation from primary sources and careful study, translation, and interpretation of available editions, this study provides the wind conductor with all of the tools and information required to prepare and conduct this work. Through this thesis, it is hoped that a new generation of conductors will be encouraged to approach, study, interpret, and program this wonderful piece of music.

Thesis (Th. M.)--Master's Seminary, 2001. / Abstract. Includes bibliographical references (leaves 101-107).

Thesis (M. Div.)--Emmanuel School of Religion, 2004. / Vita. Includes bibliographical references (leaves 43-48).

<p>This paper os about how is it relevant for companies to create or extend a brand, and what limits they should respect.</p>

<p>Purpose – During the past decades, implementing reforms becomes a popular topic for most manufacturers. With the aim to cope with the environment changes, there are urgent needs for these manufacturing companies to carry on reforms on the existing businesses. At the same time, value creation under a new service dominant logic for manufacturers are cited by many scholars. The aim of this paper is to analyze the new dominant logic, with the comparison of traditional goods dominant logic, recognize the advanced value creation model. To go a step further, this paper also discusses about the way of implementing reforms and new business logic for manufacturers.</p><p>Methodology – This paper mainly takes the methodology of literature review. The literatures reviewed here include academic papers, books, and website information. The main field of literatures include: service definition and service characteristics; goods-dominant logic versus service dominant logic; and value creation (co-creation). On the other hand, some small case studies can also be found in this paper.</p><p>Findings – After the comparing between goods dominant logic and service dominant logic, this paper suggests the service-dominant logic as a preferred business logic. Because it provides a more interactive way of consumption, presents a value-in-use view rather than value-in-exchange, and requires manufacturers playing a role of assisting customers in value creating process. For those manufacturers wish to implement the service dominant logic, this paper suggests them to take innovations on their business, which including the innovations on products/services, business processes, and business models.</p><p>Research limitations/implications – As a relative new field of study, the research is mostly taken by literature review. However, the research on the implementing of new business logic and reforms requires more voice from the real industry.  </p><p>Practical implications – Manufacturers may position themselves to new roles by involving in the customers’ value creating process. Taking innovations from a integrated view may help manufacturers to achieve the higher value under service dominant logic.</p><p>Originality/value – This paper concluded the ongoing service dominant logic development, after which, offers a discussion on the implementing of which for the manufacturing companies.</p>

Important tenets of Enlightenment thought, specifically natural theology and philosophical naturalism, mark both the libretto and certain aspects of the music of Haydn's Creation. The opening chapters of the dissertation establish the philosophical, historical, literary, and musical milieu as shaped by leading thinkers of the period. Influences of important precursors are discussed, including Milton's Paradise Lost and earlier "creation" oratorios. The libretto of Creation, through its revisionist treatment of the biblical account of creation, reflects a shift from the orthodox Christian, apologetic perspective of Handelian oratorio toward a deistic representation of biblical truth. Paralleling this shift away from theological orthodoxy is The Creation's departure from the contrapuntal textures of Baroque oratorio--associated by James Webster and Hermann Danuser with the element of the musical "sublime"--to a pluralistic musical palette including elements from secular genres such as opera and symphony. These parallel shifts move the work toward naturalism. The Creation's ultimate message is one of Enlightenment optimism produced by the oratorio's religious tolerance--demonstrated by the omission of the Fall narrative--and musical eclecticism. Musical inclusivity is conveyed by a mixture of styles and conventions that cross normative standards for setting sacred texts. The analysis of text-music relationships in Creation builds on theoretical constructs of Danuser and Kramer, focusing on smaller- to larger-level musical sections that demonstrate the contrast in style and values represented by the sublime and idyllic. Both texts and music of The Creation elevate values of naturalism while simultaneously "rescinding" the sublime element into the beautiful or "idyllic." Concluding chapters focus on reception history of The Creation in both Austria and England, Haydn's two target audiences for the work.