Thesis (Ph. D.)--University of Wisconsin--Madison, 1955. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 716-731).

Thesis (Ph.D.)--University of Calgary (Canada), 2008. / Includes bibliographical references.

published_or_final_version / Business Administration / Master / Master of Business Administration

Thesis (MTech (Business Administration))--Peninsula Technikon, Cape Town, 2004 / Organizational identification has been regarded as a new control strategy for modem organizations. High levels of organizational members' identification result in various benefits to organizational performance. Among organizational theorists there exists a strong school of thought, which sees organizational culture as the antecedent to organizational identification. Culture, and therefore also organizational culture, is a complex and integrative phenomenon which encompasses the values, assumptions, interactions and behaviours within a particular group. As point of departure, this research adopted Martin's (2000:26) argument that culture is best studied through the cultural artefacts, being the most visible manifestations also of deep-seated values and assumptions. Previous studies on organizational culture-related organizational behaviours have been conducted mostly in a Western-cultural context. It was hoped, by this research, to fill the theoretical gap by establishing a link between organizational culture and organizational identification in Chinese organizations. The relationship between organizational culture and organizational identification was investigated through a survey conducted in three Chinese organizations representing a cross section of industry. The six organizational cultural dimensions, as identified by Glaser, Zamanou, and Hacker (1987: 192-193), formed the basis for the survey instrument, the purpose of which was to establish if, and to what extent, organizational culture, IV as reflected in these dimensions in their positive manifestation, were seen as contributors to organizational identification on the part of employees. The data analysis and interpretation showed that Chinese employees viewed all six cultural dimensions as having a positive influential power on organizational identification. This could be accepted as proof that the theories that organizational culture enhances organizational identification (Kunda, 1992; Ray, 1994; Tompkins and Cheney, 1985; Trice and Beryer, 1993) can be applied both in the Westem-cultural context and Chinese-cultural context. By applying the Friedman and Wilcoxon signed-ranks tests it was established that, among the six cultural dimensions, 'Morale' and 'Supervision' were the most influential dimensions of culture according to the responses of Chinese employees; 'Information Flow', 'Teamwork' and 'Meetings' were the least influential dimensions. As indicated, the study was limited to a survey of employees as regards the six dimensions of organizational culture. Further research would be required in order to provide more concrete and extensive proof of the role played by organizational culture in nurturing employee identification and concomitant commitment.

published_or_final_version / Politics and Public Administration / Doctoral / Doctor of Philosophy

published_or_final_version / Environmental Management / Master / Master of Science in Environmental Management

published_or_final_version / Zoology / Master / Master of Science

Montague, Melody Grace. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 142-148). / Abstracts in English and Chinese. / Acknowledgments --- p.ii / Abstract --- p.iii-v / Chapter Chapter 1 --- Introduction: Why Sanyuan? --- p.1-3 / Chapter Chapter 2 --- "Surveying the Field and Mapping the Course: Historiography, Methodology and Sources" --- p.4-21 / Chapter Chapter 3 --- Setting the Stage: The Sanyuan Mission Story --- p.22-57 / Chapter Chapter 4 --- Meeting the Chinese Church: Sanyuan Christians Up Close --- p.58-113 / Chapter Chapter 5 --- Reevaluating the Big Picture: Portrait of a Chinese Church --- p.114-139 / Appendix Maps --- p.140-141 / Bibliography --- p.142-148

How is the media agenda of Chinese television set by the three institutional powers, the state, market and civil society? How do formal and informal institutions of the state, market and civil society in contemporary China set the media agenda with specific rules and organizations? And what are the power relations among the three institutions that shape the structure and functionaries of mass media in general? Based on a new theoretical framework of media agenda-setting for the analysis of media politics in contemporary China, these questions are explored in three sections. First, policies and regulations had been established by formal and informal institutions of the state to safeguard the state agenda as the primary media agenda. The second, market set audience rating and commercial income as major rules for Chinese television to survive in a competitive economy. The third, emerging civil society set moral standards for television broadcasters to produce programs to check the failure of the state and market on one hand, and to serve the needs and rights of audience as-citizens on the other. The constant changing power relations between the state and market, or between the state and civil society are also explored in sections that market and civil society interact respectively with the state to set the media agenda. The first finding of this thesis relates to the nature of contemporary Chinese television. As one servant for three masters, Chinese television is a mixed entity, which can be motivated to be a state agent, a market entity, and sometimes, a civil society player as well. In long term, Chinese television can be expected to be differentiated and reorganized as affiliates to the three institutions respectively along with the gradual establishment of a checks-and-balances system within and between the state, market, and civil society. The second finding concerns power relations among the three institutions. While both market and civil society emerged to be more and more dynamic in motivating the media to accommodate new social agendas, the state remains as the primary power in setting the media agenda of Chinese television.

This thesis analyses the television program known as 'Super Girls', which aired on Hunan Satellite Television from 2004-2006 in the Peoples' Republic of China. In the West, this program is sometimes referred to as 'Chinese Idol' because of its similarities to the globally popular television format, 'Idol'. Although 'Super Girls' shares many similarities with 'Idol' there are also equally important differences. This thesis examines these differences as a way of theorising the how the program negotiates the localisation of a Western television format. First, the program is placed in the broader context of the increased liberalisation and commercialisation of the Chinese television industry. Secondly, the thesis analyses the concept of format television and presents the logic behind the global shift toward producing this type of programming. Next, specific aspects of Super Girls are analysed in detail to bring out how the program functioned culturally in the context of China. These aspects of Super Girls include, the way the program represents the changing role and potential of television from the PRC to contribute to negotiations on Chinese identity that take place among the various symbolic universes of Cultural China, including the global Chinese Diaspora. The thesis also explores the nature of the celebrities produced by the contest through isolating their meaning and significance within the Chinese context. The thesis argues that the contest winners are celebrated for their individuality and come to stand for the rise of 'ordinary power'. The thesis also examines the ways in which Super Girls embraces its audience through new modes of address and offering new types of agency for its audience. As a result, Super Girls offers insight into how Chinese culture is now shaped by a rise of 'ordinary empowerment' where the bottom-up cultures are hybridised with the traditional high culture in television broadcasting.