The rise of social media has significant implications for the advertising industry, particularly for the relationships between marketers, consumers and advertising agencies. In fact, the entire advertising landscape has been developing in response to the emergence of digital technologies and advertising media, and the roles of these key stakeholders of the advertising industry and how they perform in the social media era are still not clear. Most previous research on this topic has focused on Western countries and adopted a macro perspective. In contrast, this study contributes to knowledge by focusing on an Asian context, and by exploring how social media are shaping the working lives of individual creatives who play a key role in the development of creative ideas and their expression across an increasingly diverse range of media. This study aimed to explore how and to what extent the work roles and identities of Hong Kong-based advertising creatives are changing in response to the rise of social media. As the study focused on creatives’ experiences, a qualitative, interpretive approach was taken. This involved 32 interviews with advertising creatives in agencies differing in size, digital focus and ownership, supplemented with participant observations in both a multinational full-service advertising agency (Agency-M) and an independent Hong-Kong digital agency (Agency R). The study has provided insights into creatives’ perspectives on their roles, identities, skill-sets and beliefs in relation to the rise of social media, and on the ways in which their relationships with clients and agency colleagues were changing as social media became more important. In particular, the study identified three key experiences of Hong Kong advertising creatives in relation to the rise of social media. First, they were found to have divergent role identities linked to their identification with traditional and digital communication agencies. Second, the rise of social media led them to experience new tensions in their relationships with clients. Finally, across both traditional and digital agencies in Hong Kong, the role of advertising creatives is beginning to transcend the digital/traditional distinction. This new hybrid role was found to involve creative switching between three identities over the course of the advertising development process: creative strategist, creative facilitator, and creative producer. Each of these role identities required more from them than the merging of ‘digital’ and ‘traditional’ creative skills; in particular, the creatives increasingly found themselves having to work closely with a broader range of stakeholders within and beyond their own agencies, requiring them to develop their interpersonal and negotiating skills. This research contributes to understanding the role and role identity in creative industries. It explores the many ways that social media are shaping advertising creatives’ working practices and identities, and it highlights the importance of cultural context to advertising practice. The triadic structure of contemporary Hong Kong advertising creatives’ roles identified here has implications for theorising advertising creativity, agency practice, and social media as a catalyst for individual and organisational identity and practices in the creative industries. The findings also have implications for advertising agency structure and practices, within and beyond the creative department.

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The research question addressed by this thesis is: To what degree the results of the statistical analysis will corroborate the main theoretical assumptions of the proposed theoretical model of new authentic transformatory cultural tourism experience as transmodern phenomenon of equality of two Cartesian levels of reality, material (objective authenticity) and experiential (constructive authenticity) in informing the intrapersonal existential authenticity as outcome transformatory tourist experience. The main reason for undertaking this study is to resolve the evident crisis of postmodern authenticity discourse arising from a failure of postmodern theoretical framework to integrate three social authenticity theories into a coherent authenticity discourse. The research design adopted in the study is theory-testing theory-building paradigm which incorporates both deductive and inductive logic and was applied in three successive phases. In the first phase the new theoretical model of transformatory cultural tourism experience was proposed, underpinned by transmodern flat ontology and philosophy of the Speculative Realism. In the second phase the main theoretical assumptions of equal contribution of objective and constructive authenticity as independent variables in informing the transformatory experience as dependent variable were empirically tested by standard multiple regression analysis. In the last deductive phase the results of all empirical tests were inferred onto initial theoretical assumptions of the original model and new modified model of transformatory cultural tourism experience has been proposed with an addition of two newly identified transmodern experiential constructs, epistemological and ontological authenticity. For a primary data collection the instrument was a self-administered questionnaire and the sampling strategy was a non-probability sampling. The data was collected during the period 01st and 18 April 2011 at two sites, Constitution Hill and Hector Peterson Memorial in Johannesburg. The sample size from two sites was N=406. The scales of measurements were already developed in the earlier questionnaire and the confirmatory factor analysis was used to confirm the variables contained in each factor, namely objective and constructive authenticity as independent variables and transformatory experience as the dependent variable. The results of a standard multiple regression analysis confirmed the importance of the model as independent variables explained 30.7% of the variances (R2=.307) in the model. An unexpected result was that objective authenticity explained 34.5% of the variance in the model (β = .345) which is significantly higher than 30.5% of variance explained by constructive authenticity (β = .305). The results of standard multiple regression analysis confirmed the main theoretical assumption of the model of equality of material and experiential levels of Cartesian duality in informing the new transformatory experience regarded as a transmodern phenomenon. The standard, stepwise and hierarchical multiple regression tests were further conducted to establish if any moderating variables should be added into the original model containing two independent variables. The tests included five demographic variables (gender, place of residence, connection with culture, and two items of education (pre-tertiary education and Bachelors degree) and none of the variables explained a level of variability which warranted their inclusion into the model. Consequently, the results of the retests of the model did not change its initial conceptualisation. Finally, the t-test and Mann-Whitney U tests identified a significant difference between the two groups in the level of authenticity of their experience derived from two sites. A group having stronger inclination for authenticity is identified as Cultural Creatives, who are known as the forerunners of transmodernism. Based on the results of all statistical tests the final model was modified to reflect the important theoretical findings pertaining to two new types of transmodern authenticity. Epistemological authenticity denotes combined effects of objective and constructive authenticity in feeding the ontological authenticity of transformatory experience. The ontological authenticity is further identified as a confirmation of authentic-self which is required by Cultural Creatives. With proposition of new modified model the theory-testing theory-building research design came to its conclusion. The importance of research findings presented in this study lies not only in resolving the current crises of authenticity discourse in tourism but in the proposed New theoretical and conceptual model of transformatory cultural tourism experience underpinned by objective ·and constructive authenticity which will open a whole new field in tourism research arising from new transmodern experiential paradigm. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014

The research question addressed by this thesis is: To what degree the results of the statistical analysis will corroborate the main theoretical assumptions of the proposed theoretical model of new authentic transformatory cultural tourism experience as transmodern phenomenon of equality of two Cartesian levels of reality, material (objective authenticity) and experiential (constructive authenticity) in informing the intrapersonal existential authenticity as outcome transformatory tourist experience. The main reason for undertaking this study is to resolve the evident crisis of postmodern authenticity discourse arising from a failure of postmodern theoretical framework to integrate three social authenticity theories into a coherent authenticity discourse. The research design adopted in the study is theory-testing theory-building paradigm which incorporates both deductive and inductive logic and was applied in three successive phases. In the first phase the new theoretical model of transformatory cultural tourism experience was proposed, underpinned by transmodern flat ontology and philosophy of the Speculative Realism. In the second phase the main theoretical assumptions of equal contribution of objective and constructive authenticity as independent variables in informing the transformatory experience as dependent variable were empirically tested by standard multiple regression analysis. In the last deductive phase the results of all empirical tests were inferred onto initial theoretical assumptions of the original model and new modified model of transformatory cultural tourism experience has been proposed with an addition of two newly identified transmodern experiential constructs, epistemological and ontological authenticity. For a primary data collection the instrument was a self-administered questionnaire and the sampling strategy was a non-probability sampling. The data was collected during the period 01st and 18 April 2011 at two sites, Constitution Hill and Hector Peterson Memorial in Johannesburg. The sample size from two sites was N=406. The scales of measurements were already developed in the earlier questionnaire and the confirmatory factor analysis was used to confirm the variables contained in each factor, namely objective and constructive authenticity as independent variables and transformatory experience as the dependent variable. The results of a standard multiple regression analysis confirmed the importance of the model as independent variables explained 30.7% of the variances (R2=.307) in the model. An unexpected result was that objective authenticity explained 34.5% of the variance in the model (β = .345) which is significantly higher than 30.5% of variance explained by constructive authenticity (β = .305). The results of standard multiple regression analysis confirmed the main theoretical assumption of the model of equality of material and experiential levels of Cartesian duality in informing the new transformatory experience regarded as a transmodern phenomenon. The standard, stepwise and hierarchical multiple regression tests were further conducted to establish if any moderating variables should be added into the original model containing two independent variables. The tests included five demographic variables (gender, place of residence, connection with culture, and two items of education (pre-tertiary education and Bachelors degree) and none of the variables explained a level of variability which warranted their inclusion into the model. Consequently, the results of the retests of the model did not change its initial conceptualisation. Finally, the t-test and Mann-Whitney U tests identified a significant difference between the two groups in the level of authenticity of their experience derived from two sites. A group having stronger inclination for authenticity is identified as Cultural Creatives, who are known as the forerunners of transmodernism. Based on the results of all statistical tests the final model was modified to reflect the important theoretical findings pertaining to two new types of transmodern authenticity. Epistemological authenticity denotes combined effects of objective and constructive authenticity in feeding the ontological authenticity of transformatory experience. The ontological authenticity is further identified as a confirmation of authentic-self which is required by Cultural Creatives. With proposition of new modified model the theory-testing theory-building research design came to its conclusion. The importance of research findings presented in this study lies not only in resolving the current crises of authenticity discourse in tourism but in the proposed New theoretical and conceptual model of transformatory cultural tourism experience underpinned by objective ·and constructive authenticity which will open a whole new field in tourism research arising from new transmodern experiential paradigm. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014

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Denna studie är grundad i intervjuer som ägde rum på en reklambyrå. Studiens syfte är att utforska innebörden av 'kreativitet' i reklamvärlden. I intervjuerna betonade informanterna i synnerhet vikten av att reklam kommunicerar genom känslor och emotioner. I denna uppsats ges en närmare inblick i vad informanterna anser att känslor och emotioner har för innebörd för reklamskapande. Detta görs genom att tillämpa fenomenologisk teori. Den fenomenologiska analysen förser oss med en djupare och mer vidsträckt förståelse för den intuitiva kunskap informanterna förmedlar. Den öppnar således upp förståelsen för varför känslor och emotioner anses vara grundläggande för reklamskapande. Utifrån en fenomenologisk förståelse för känslor och emotioner diskuteras sedan reklamens roll i samhället i helhet. / This study is based on interviews that took place in an advertising agency. The purpose of the study is to explore the meaning of 'creativity' in the world of advertising. In the interviews, the interviewees especially pointed out the importance of feelings and emotions as a means for communication in advertisement. This thesis provides a closer view of the significance feelings and emotions are considered to have in advertising. This is done by ways of phenomenological theory. The phenomenological analysis provides us with a deeper and more far-reaching understanding of the intuitive knowledge that is brought forth by the interviewees. It opens up an understanding of why feelings and emotions are considered to play a fundamental part in the creation of advertisement. Based on a phenomenological understanding of feelings and emotions I will then discuss what part advertising plays in society as a whole.

Rather than a new masterplan I developed a strategy how to deal with a complicated area between the two Brno train stations. The land on the south of the city center has not been used for almost 100 years. There is a plan today, caused by removal of the main station to the south and introduction of the new city-train, to build up the area. The strategy I propose is based on the critical analysis of the current state of the area, of the plans that the city of Brno has, on the principles of the “compact city”, on my research on the potential users of the site and a study of life of 7 (imaginary) different potential user groups in the future, within the specific time horizon.

Cette thèse a pour objet les formes d'adhésion au discours sur les « Créatifs Culturels », saisi comme courroie de transmission dogmatique du « capitalisme vert ». À la croisée de la sociologie de l'engagement, de l'écologie et de l'étude des croyances, la thèse retrace, dans un premier temps, la construction sociale, au sein de la configuration sociale du « capitalisme vert », d'un « mouvement entrepreneurial » réformiste. Apparu au début des années 1990, ce mouvement est engagé dans un travail d'imbrication entre des valeurs New Age et écologiques et d'autres propres au champ économique. Dans un deuxième temps, l’enquête de terrain, qui s'appuie sur la réalisation d'entretiens biographiques auprès d’acteurs engagés dans la diffusion de ce discours, montre comment la mise en pratique de cette idéologie fait l'objet de positionnements sur un continuum allant d'un pôle dogmatique à un pôle utilitariste, ces logiques de sens résultant in fine de socialisations hétérogènes / This thesis deals with the forms of adherence to the discourse on « Cultural Creatives », grasped as a strap of dogmatic transmission of « green capitalism ». At the crossroads of sociology of commitment, ecology and the study of beliefs, the thesis first traces social construction within the social configuration of « green capitalism », of reformist entrepreneurial movement. Appearing in the early 1990s, this movement is engaged in a work of interweaving between New Age values and other ecologies specific to the economic field. In a second phase, the field survey, which is based on the production of biographical interviews with a cast committed to the dissemination of this discourse, shows how the putting into practice of this ideology is the subject of positioning a continuum going from an area of belief to a utilitarian one, resulting in ultimate heterogeneous socialisations

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Cette thèse étudie la place des Galeries Lafayette dans l’échange marchand entre l’offre et la demande, au cœur du système de la mode. Elle réévalue le rôle de la distribution en général et du grand magasin en particulier comme intermédiaire créateur de valeur dans la relation entre le producteur et le consommateur. Au tournant du XXe siècle, sur le marché de la nouveauté et le segment émergent de la confection, l’enseigne répond aux attentes des consommateurs qui cherchent à se distinguer et se différencier en suivant de près les phénomènes de mode. Alors que les maisons de couture exercent un monopole sur les tendances, et limitent leur diffusion en France à un cercle de clientes privilégiées, les Galeries Lafayette ont fait « entrer la mode dans le grand magasin ». Elles fabriquent et vendent sous leur propre marque des modèles inspirés de ceux des couturiers. Cette appropriation efficace de la création construit la légitimité de l’entreprise en tant qu'intermédiaire ainsi que le pouvoir prescripteur de la marque sur le marché de la mode. Elle fait aussi des Galeries Lafayette un acteur de l’économie de la contrefaçon, au centre des enjeux de l’industrie du vêtement dans l’entre-deux-guerres. La thèse montre cependant qu’il existe plusieurs régimes de management de la création aux Galeries Lafayette. A travers l’analyse des investissements de l’entreprise dans les industries créatives et en particulier les cas des Parfums Chanel, des maisons Madeleine Vionnet et Jean Patou, elle se saisit pour la première fois de la question du financement de la couture et décloisonne l’étude des principaux acteurs du système de la mode. La période couverte, de la fin du XIXe aux années 1960, rend compte des transformations de l’industrie du vêtement, mais aussi de la plasticité de la stratégie et des structures de l’organisation. Après la Seconde Guerre mondiale, l’intégration verticale de la fabrication laisse progressivement la place à de nouvelles modalités de construction de l’offre. Dans un contexte marqué par la modernisation de la filière habillement, la « révolution » du prêt-à-porter, et l’émergence de nouvelles capitales de la mode, la centrale d’achats élargit ses approvisionnements aux marques et à l’international. La mise en place pionnière d’un bureau de style au début des années 1950 est centrale dans cette transformation pour faire le lien entre les créateurs, les industriels et les clients avec lesquelles les Galeries Lafayette sont en contact direct.Une partie des développements est consacrée aux associations professionnelles internationale qui sont le véhicule privilégié des transferts transatlantiques mais aussi de la construction d’un réseau européen favorisant la circulation des idées et des marchandises. Ces échanges montrent que la diffusion des méthodes nouvelles d’organisation, importées et adaptées des États-Unis, ne s’est pas limitée à l’industrie. Les efforts des Galeries Lafayette pour rationaliser l’organisation sont une nouvelle démonstration de la nécessité de réévaluer le rôle de la distribution et des intermédiaires du système de la mode longtemps négligés au profit de la figure du créateur. / This thesis researches the role of Galeries Lafayette at the heart of the French fashion system. It re-evaluates the role of retail and department stores as value-creating intermediaries in the relationship between producer and consumer. Additionally, the research highlights the innovative capacity of a family business and shows that the introduction of new organizational methods in retail trade along the 20th century, imported and adapted from the United States, was as much present as in manufacturing enterprises. In the first part, the thesis looks at the foundation of the company, its competitors and its customers. To differentiate themselves, Galeries Lafayette manufactured and sold models inspired by those of the couturiers under the store private label. At the turn of the twentieth century, while fashion houses claimed a monopoly on trend setting, Galeries Lafayette introduced fashion in department store. This effective appropriation of fashion design built the legitimacy of the company as an intermediary, and posited the prescribing power of the brand in the fashion market. It also made Galeries Lafayette a player in the economy of counterfeiting, a major issue for the apparel industry in the inter-war period. The thesis shows, however, that various management regimes for design exist at Galeries Lafayette. In a second part, we analyze the investments of the company in the creative industries and in particular the cases of Chanel Perfumes as well as Madeleine Vionnet and Jean Patou fashion houses. In doing so, for the first time, the thesis analyzes the financing of fashion houses thus unbundling the study of the main actors in the fashion system. In a third part, the thesis studies competitive and market change from World War II onwards: the modernization of the clothing industry, the ready-to-wear revolution, and the emergence of new capitals of fashion besides Paris. The dismantling of the vertical integration in manufacturing, the opening of central purchasing to new suppliers, the pioneering establishment of in-house fashion forecasting office in the early 1950s induced a new organization and changes in the link between creators, designers, industrialists and customers for Galeries Lafayette.