15 resultados para Gifts

em Deakin Research Online - Australia


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This paper closely examines the concept of bribery in dealings between business managers and public officials, the networks of bribery that operate and the different forms that bribery can take including situations where a bribe can be given under the name and cloak of a gift. However, there is a fine line that divides a gift from a bribe in the context of business interactions and not all gift-giving is bribery. The paper enhances our understanding of the difference between a gift and a bribe in the context of dealings between a business manager and a public official and proposes ‘test of disclosure’ as a means to establish whether a gift is indeed a gift or not, regardless of the cultural situation involved.

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Deakin University is only 25 years old but already has a library collection of over 1 million volumes thanks, in part, to judicious seeking and acceptance of donations. This paper provides a case study of how the University has been able to quickly establish teaching and research level collections for new disciplines as well as build breadth and depth in areas already covered by the collection. Donations of formed collections, in particular, have enabled the University to build a research reputation in a number of specialist areas and to make important links with its local communities. The benefits of donations are highlighted, as are the problems that come with being offered gifts of information resources.

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The pressure to wrap a gift can cause anxiety for the giver. At Christmas, many shopping centres have gift wrap stalls to assist their customers with the wrapping. In this paper we explore the purpose of a gift wrap stall and the role it plays in Christmas gift shopping. Data were collected through observation as it allowed insights into the phenomena that could not otherwise be obtained. Findings include the nature of a gift wrap stall, the mood surrounding the gift wrap stall, the types of gifts wrapped, the level of decision making involved, the role of the staff and issues relating to trust, the waiting times for gift wrapping, the giver’s gift wrap skills, and enquiries into the gift wrap service. This research makes an insightful contribution to a novel topic in the field of consumer behaviour as it allows us to better understand gift wrapping and its role in gift exchange.

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This paper aims to explore and discuss the expectations surrounding the decision to wrap a gift. Gift wrapping can enable an object to be turned into a gift through the development of meaning that symbolises it as a gift. There are two key expectations surrounding the use of gift wrapping. The first expectation is that receivers prefer gifts to be wrapped and the second expectation is that the gift meets individual and social expectations of what a gift should look like. Data was gathered using three qualitative techniques; observation, interviews and projective workshops. These initial findings form part of a larger research study into gift wrapping.

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Fruiting bodies represents human engagement with and consciousness of a corresponding presence in our landscape. ʻFruiting Bodiesʼ is an instance of the application of this practice employed to ask the viewer to consider how strange is the phenomenon of the fruiting tree. Is it promiscuous to offer your seed openly to the elements, to any who will take it. Is this forbidden? Is it profligate to hide your progeny inside gifts so tempting in their appeal to that most primitive desire, hunger? Is this wholly mere biological expedience evolved to ensure the widest migration of your offspring? Or does it derive from some boundless cosmic generosity? These images invite you to come close to the tree, where within its arms you will find shelter from the sun at its zenith and from the autumnal rains. Fruit is the focus of Jamesʼs lens as it circles deep into the embrace of limbs and leaves.

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Fruiting bodies represents human engagement with and consciousness of a corresponding presence in our landscape. ʻFruiting Bodiesʼ is an instance of the application of this practice employed to ask the viewer to consider how strange is the phenomenon of the fruiting tree. Is it promiscuous to offer your seed openly to the elements, to any who will take it. Is this forbidden? Is it profligate to hide your progeny inside gifts so tempting in their appeal to that most primitive desire, hunger? Is this wholly mere biological expedience evolved to ensure the widest migration of your offspring? Or does it derive from some boundless cosmic generosity? These images invite you to come close to the tree, where within its arms you will find shelter from the sun at its zenith and from the autumnal rains. Fruit is the focus of Jamesʼs lens as it circles deep into the embrace of limbs and leaves.

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Fruiting bodies represents human engagement with and consciousness of a corresponding presence in our landscape. ʻFruiting Bodiesʼ is an instance of the application of this practice employed to ask the viewer to consider how strange is the phenomenon of the fruiting tree. Is it promiscuous to offer your seed openly to the elements, to any who will take it. Is this forbidden? Is it profligate to hide your progeny inside gifts so tempting in their appeal to that most primitive desire, hunger? Is this wholly mere biological expedience evolved to ensure the widest migration of your offspring? Or does it derive from some boundless cosmic generosity? These images invite you to come close to the tree, where within its arms you will find shelter from the sun at its zenith and from the autumnal rains. Fruit is the focus of Jamesʼs lens as it circles deep into the embrace of limbs and leaves.

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Fruiting bodies represents human engagement with and consciousness of a corresponding presence in our landscape. ʻFruiting Bodiesʼ is an instance of the application of this practice employed to ask the viewer to consider how strange is the phenomenon of the fruiting tree. Is it promiscuous to offer your seed openly to the elements, to any who will take it. Is this forbidden? Is it profligate to hide your progeny inside gifts so tempting in their appeal to that most primitive desire, hunger? Is this wholly mere biological expedience evolved to ensure the widest migration of your offspring? Or does it derive from some boundless cosmic generosity? These images invite you to come close to the tree, where within its arms you will find shelter from the sun at its zenith and from the autumnal rains. Fruit is the focus of Jamesʼs lens as it circles deep into the embrace of limbs and leaves.

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James McArdle and Lorena Carrington submitted to the Castlemaine State Festival competitive curated process the exhibition 'Fruiting Bodies'  which was accepted under the Fesitval theme: 'Pressing Matters'.  James McArdle’s practice is to use the qualities of the medium to reflect on itself. Camera vision and human perception are often compared; this is a simplification, but full of potential that might illuminate the nature of vision and attention. Haptic senses are stimulated in the eye by ‘racking’ focus (normally a cinematographic effect); and elsewhere with tilt-shift techniques; while ‘dollying’ the camera by hand around a still point renders the concentric vortex effects. A sense of physical presence and immersion is evoked with the exhibition. Fruiting Bodies’: is an instance of the application of this practice employed to ask the viewer to consider how strange is the phenomenon of the fruiting tree: is it promiscuous to offer your seed openly to the elements, to any who will take it. Is this forbidden? Is it profligate to hide your progeny inside gifts so tempting in their appeal to that most primitive desire, hunger? Is this wholly mere biological expedience evolved to ensure the widest migration of your offspring? Or does it derive from some boundless cosmic generosity? These images invite you to come close to the tree, where within its arms you will find shelter from the sun at its zenith and from the autumnal rains. Fruit is the focus of James’s lens as it circles deep into the embrace of limbs and leaves.

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“The role that music plays in religion and spiritual life is evident throughout history and across cultures” (Lipe 2002, 210). Spirituality and religion are often used together and interchangeably as people may encounter spirituality through an organized religion or individualized religion; connection to nature or personal spiritual practices or people may seek scientific answers and truth as a form of spirituality. This paper situates itself within a wider study on Spirituality and Well-being: Music in the community that started in 2013 in Australia. Both authors are music educators and organists discussing their experience through narrative reflection across two continents in relation to how music contributes to spirituality within religious context and impacts on well-being. They recognize and acknowledge that music is one of God’s gifts and have been included throughout church history through songs and form an important aspect of worship (Vaught 2009). Spiritual connections are not confined to the institution of the church or to religion but are concerned with the connection “we can feel between ourselves and something vast, unseen, mysterious, and wondrous” (Millar 2000, 140). The findings of this are limited in the sense that it only focuses on two voices hence generalizations cannot be made to other musicians or church settings. However, it can be argued that music in worship can enrich and enhance one’s connection with God and with others through sound. The authors argue “music can provide many people with ways of experiencing and expressing their spirituality in their life that otherwise they might find difficult to access in other tangible ways” (Hays and Minichiello, 2005a, 95).