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This study examined Procter & Gamble’s attempts at the use of social media in revitalizing the Old Spice brand of products. Old Spice, which had witnessed declined sales and market share, was observed to transform and become ranked among P&G’s super brands by the conclusion of the social media campaign. Previous studies relied on the diffusion of innovations theory in the explanation of the observed phenomena. However, this project draws on the ideas of the strength of weak ties hypothesis and the diffusion of innovations theory to explain the observed process. Research findings give evidence of how new technologies like social media, have redefined how brands engage with consumers, and spread the word electronically about brand uniqueness and dominance. Findings also revealed that brands considered to be old could leverage on social media in recreating consumer awareness of the positive qualities of the product as against the retrenchment of the product line. / Access to thesis permanently restricted to Ball State community only. / Department of Journalism

An increasing number of older adults is experiencing mental health problems, which may result from loneliness and social isolation. Although research has noted the positive impact that community programs might have on the social connectedness of older adults, there is a scarcity of research exploring older male adults' experiences in these programs. Men's Sheds, developed in Australia in the 1990's, is one program that integrates older men into the community. Men's Sheds have recently begun in Manitoba, allowing me the opportunity to develop a theoretical model of the processes of involvement of older male adults in this program. I conducted in-depth interviews with Men's Sheds participants (N = 12), and analyzed data using constructivist grounded theory (Charmaz, 2006). Findings provide insight into participants’ experiences throughout their initial, current, and continued involvement in Men’s Sheds, which may serve as a model for community organizations attempting to increase participation among this demographic.

The study was conducted in northern Ghana to determine the scope of male partner violence (MPV) against women, identify the factors associated with this problem as well as point out the health implications of MPV. In a sample of 443 married women drawn from outpatient populations across six district health centers we found that nearly 7 out of 10 women have experienced some MPV: 62% have experienced psychological violence; 29% have experienced physical violence; and 34% have experienced sexual violence. A multiple regression analysis showed that male controlling behavior, number of children, presence of concubines, partner appreciation, and very good health significantly predicted Total Violence. The results showed that the more controlling a husband is the more likely his wife is to experience severe violence and that more children in the marriage is associated with more violence for the women. Marriage duration was significantly positively correlated with violence, indicating that the longer the time since a woman got married, the more likely she experiences violence. Husband’s education was significantly negatively correlated with violence, indicating that husband education has a decreased effect on violence. Logistic regression and ANOVA models identified a number of socio-demographic factors as significant correlates of MPV. These include couple’s unemployment, particularly husband unemployment, being young – under 30 years and being younger than the husband, presence of concubines, being Muslim or Traditional, living in a rural setting, husband alcohol use, being a healthy woman, and not being appreciated by the husband. We found that MPV is associated with physical and mental health difficulties among women. Some 47 women reported having sustained multiple injuries, including sprains, broken bones and teeth, cuts, and burns. Mental health difficulties among these women included partner phobia, sleep deprivation, and thoughts of suicide. We make recommendations that call on government and other stakeholders to initiate policy that provides services to women experiencing MPV and that implements education and campaign programs to eventually eliminate MPV in Ghana generally.

Masculinity is an increasingly prominent and important issue in debates within feminism, literary studies and visual theory. This study intervenes in and contributes to such debates by analysing an emerging group of Australian women’s fictions (published between 1998 and 2002) which focus on male characters and, in particular, on the description and narrative potential of their bodies. The majority of these texts, and the ones that are explored in this thesis – namely, Jillian Watkinson’s The Architect, Georgia Blain’s The Blind Eye, Mireille Juchau’s Machines for Feeling, Fiona Capp’s Last of the Sane Days, Sarah Myles’s Transplanted and Wendy Scarfe’s Miranda – share two preoccupations. Firstly, male characters bodies’ are almost always damaged or suffering in some way; secondly, the ability (or inability) of female characters to look at these bodies is repeatedly foregrounded. I argue that the interactions between male characters’ bodies and female characters’ gazes function in complex ways both to confirm and to challenge patriarchal constructions of masculinity and male corporeality. Specifically, this occurs in relation to the engagement of each text with popular discourses of feminism and masculinity crisis, discourses that emerge and interact in complex and often contradictory ways in depictions of male visibility and exposure. While my approach is generally feminist, it is also fiction-centred. Thus, I draw on a variety of theoretical perspectives, including literary theory, masculinity studies, visual theory, history, sociology and philosophy, in order to unpack and engage with these contemporary Australian women’s fictions. Paradoxically, one of the main consequences of this fiction-centred approach is a reengagement with and a rethinking of theoretical concepts emerging from psychoanalytic feminist film theory. In a remarkably consistent and explicitly pedagogical way, these fictions explore notions of objectification and dichotomisation, especially as they are elucidated in Laura Mulvey’s analysis of Hollywood narrative cinema. Objectification is overwhelmingly aligned with oppressive power structures and identified as problematic, and the first half of this thesis explores the novels’ critiques of this mode of visual interaction. The second half investigates the alternatives to objectification imagined in these fictions. While, upon closer consideration, some of these alternatives recapture male and female characters within traditional patriarchal power relations, others enable a rethinking of both women’s vision and desire, and men’s subjectivity, visibility and desirability.

Masculinity is an increasingly prominent and important issue in debates within feminism, literary studies and visual theory. This study intervenes in and contributes to such debates by analysing an emerging group of Australian women’s fictions (published between 1998 and 2002) which focus on male characters and, in particular, on the description and narrative potential of their bodies. The majority of these texts, and the ones that are explored in this thesis – namely, Jillian Watkinson’s The Architect, Georgia Blain’s The Blind Eye, Mireille Juchau’s Machines for Feeling, Fiona Capp’s Last of the Sane Days, Sarah Myles’s Transplanted and Wendy Scarfe’s Miranda – share two preoccupations. Firstly, male characters bodies’ are almost always damaged or suffering in some way; secondly, the ability (or inability) of female characters to look at these bodies is repeatedly foregrounded. I argue that the interactions between male characters’ bodies and female characters’ gazes function in complex ways both to confirm and to challenge patriarchal constructions of masculinity and male corporeality. Specifically, this occurs in relation to the engagement of each text with popular discourses of feminism and masculinity crisis, discourses that emerge and interact in complex and often contradictory ways in depictions of male visibility and exposure. While my approach is generally feminist, it is also fiction-centred. Thus, I draw on a variety of theoretical perspectives, including literary theory, masculinity studies, visual theory, history, sociology and philosophy, in order to unpack and engage with these contemporary Australian women’s fictions. Paradoxically, one of the main consequences of this fiction-centred approach is a reengagement with and a rethinking of theoretical concepts emerging from psychoanalytic feminist film theory. In a remarkably consistent and explicitly pedagogical way, these fictions explore notions of objectification and dichotomisation, especially as they are elucidated in Laura Mulvey’s analysis of Hollywood narrative cinema. Objectification is overwhelmingly aligned with oppressive power structures and identified as problematic, and the first half of this thesis explores the novels’ critiques of this mode of visual interaction. The second half investigates the alternatives to objectification imagined in these fictions. While, upon closer consideration, some of these alternatives recapture male and female characters within traditional patriarchal power relations, others enable a rethinking of both women’s vision and desire, and men’s subjectivity, visibility and desirability.

Masculinity is an increasingly prominent and important issue in debates within feminism, literary studies and visual theory. This study intervenes in and contributes to such debates by analysing an emerging group of Australian women’s fictions (published between 1998 and 2002) which focus on male characters and, in particular, on the description and narrative potential of their bodies. The majority of these texts, and the ones that are explored in this thesis – namely, Jillian Watkinson’s The Architect, Georgia Blain’s The Blind Eye, Mireille Juchau’s Machines for Feeling, Fiona Capp’s Last of the Sane Days, Sarah Myles’s Transplanted and Wendy Scarfe’s Miranda – share two preoccupations. Firstly, male characters bodies’ are almost always damaged or suffering in some way; secondly, the ability (or inability) of female characters to look at these bodies is repeatedly foregrounded. I argue that the interactions between male characters’ bodies and female characters’ gazes function in complex ways both to confirm and to challenge patriarchal constructions of masculinity and male corporeality. Specifically, this occurs in relation to the engagement of each text with popular discourses of feminism and masculinity crisis, discourses that emerge and interact in complex and often contradictory ways in depictions of male visibility and exposure. While my approach is generally feminist, it is also fiction-centred. Thus, I draw on a variety of theoretical perspectives, including literary theory, masculinity studies, visual theory, history, sociology and philosophy, in order to unpack and engage with these contemporary Australian women’s fictions. Paradoxically, one of the main consequences of this fiction-centred approach is a reengagement with and a rethinking of theoretical concepts emerging from psychoanalytic feminist film theory. In a remarkably consistent and explicitly pedagogical way, these fictions explore notions of objectification and dichotomisation, especially as they are elucidated in Laura Mulvey’s analysis of Hollywood narrative cinema. Objectification is overwhelmingly aligned with oppressive power structures and identified as problematic, and the first half of this thesis explores the novels’ critiques of this mode of visual interaction. The second half investigates the alternatives to objectification imagined in these fictions. While, upon closer consideration, some of these alternatives recapture male and female characters within traditional patriarchal power relations, others enable a rethinking of both women’s vision and desire, and men’s subjectivity, visibility and desirability.

Thesis (M.A.) (Hons.) -- University of Western Sydney, Nepean, 1997. / Bibliography : p. 122-133.

Thesis (M.P.H.)--University of Texas Health Science Center at Houston, School of Public Health, 2007. / Source: Masters Abstracts International, Volume: 45-06, page: 3147. Adviser: Gene Schroder. Includes bibliographical references.

Thesis (M. Soc. Sc.)--University of Hong Kong, 1993. / Includes bibliographical references (leaves 105-109).