Lessons from arts experiences for service-dominant logic

Purpose – The purpose of this paper is to consider whether art experiences can inform service-dominant logic (SDL) discourse through an exploration of the co-production and co-creation processes of art experiences.

Design/methodology/approach – Empirical knowledge gained about art experiences is analysed to identify emergent themes about co-production and co-creation. Four modes of qualitative data collection are employed: research participant diaries, photo elicitation, in depth interviews and focus groups.

Findings – Key findings are there are three stakeholders involved in the co-creation of art experiences, which all have critical and different roles; co-creation and co-production are both temporally based and evolving and there are points where they interact and intersect; and high levels of engagement in co-production enhance individuals' contribution to the co-creation of positive value and make their participation in future co-production opportunities more likely.

Research limitations/implications – The paper is exploratory and not a general population study. The methodology and sample of participants employed do not allow for the generalisation of the findings to the broader population.

Practical implications – Organisations may benefit from devising strategies to encourage greater dialogue and connection between all stakeholders involved in co-production and co-creation. The higher the level of individuals' co-production of art experiences the greater likelihood of positive value being co-created. Furthermore, the greater the possibility of individuals engaging in other co-production experiences in the future. While individuals are attracted to co-production possibilities, there are factors that are external to an experience that can act as either barriers to or facilitators of co-production, and that consequently impact on co-creation.

Originality/value – There is little extant research that explores the applicability of art experiences to SDL. This paper is significant in that it employs empirical research methods to develop knowledge on the topic. Furthermore, this paper is innovative in that it seeks to see whether the art experiences can inform generic marketing models, rather than whether generic marketing models can inform arts marketing.

Conservative discourse at the time of the Korean War. 1950-52

This thesis identifies the rhetorical strategies by which the Menzies government reconciled acceptance of full employment, the welfare state and government intervention with a defence of liberalism. It argues that the Korean War offered the Menzies government an opportunity to reconstitute these key aspects of the postwar state as "liberal" rather than social democratic.

Progressive traditionalists : the emergence of a new discourse in Indonesia's Nahdlatul Ulama during the Addurrahman Wahid era

Studies the emergence of progressive thought amongst younger ulama, or Islamic scholars in Indonesia. Unlike most earlier traditionalist scholars, who were essentially limited to engaging with the intellectual heritage of mediaeval ulama, these young ulama are able to bridge the past and the present by synthesizing knowledge traditions.

„This is TZ power! Kenkey can’t do this!“ : Die performative Aushandlung nationaler Kultur ; das National Festival of Arts and Culture in Ghana /// Arbeitspapiere / Institut für Ethnologie und Afrikastudien ; 92

Der vorliegende Artikel beschäftigt sich mit der performativen Aushandlung nationaler Kultur auf dem National Festival of Arts and Culture, das 2006 in Wa, Nordwestghana, stattfand. Die Autorin nahm an der Vorbereitung und Planung des Festivals in lokalen staatlichen Kulturinstitutionen teil, und beobachtete die Diskussionen um die Repräsentation einer (imaginierten) spezifischen Kultur des Nordens in scharfer Abgrenzung zu der des als dominant und diskriminierend empfundenen Südens. In diesem Zusammenhang werden Fragen der Authentizität und Authentifizierung, wie sie in der Planung und Rezeption diskutiert wurden, aufgegriffen und mit der Konzeption des Festivals als gleichzeitig einheitsstiftendes Vehikel für nationale Identität und als Austragungsort eines Wettbewerbs der Regionen um Anerkennung und Ressourcen in Verbindung gesetzt. Das Festival, so die Argumentation, ist eine cultural performance, die das Wesen einer „Kultur“ nicht nur abbildet, sondern auch die Möglichkeit des Wandels und der Subversion birgt. Performance meint hier also gleichzeitig die Aufführung und das Skript der Diskurse, die der Aufführung Bedeutung zuschreiben. Diesen doppelten Ansatz verfolgt der Artikel durch die Verknüpfung von Festivalbeobachtungen und Komiteesitzungsmitschriften im Rahmen der Vorbereitung.

Subverting the subject position : toward a new discourse about students as writers and engineering students as technical communicators

There is ample evidence of a longstanding and pervasive discourse positioning students, and engineering students in particular, as “bad writers.” This is a discourse perpetuated within the academy, the workplace, and society at large. But what are the effects of this discourse? Are students aware faculty harbor the belief students can’t write? Is student writing or confidence in their writing influenced by the negative tone of the discourse? This dissertation attempts to demonstrate that a discourse disparaging student writing exists among faculty, across disciplines, but particularly within the engineering disciplines, as well as to identify the reach of that discourse through the deployment of two attitudinal surveys—one for students, across disciplines, at Michigan Technological University and one for faculty, across disciplines at universities and colleges both within the United States and internationally. This project seeks to contribute to a more accurate and productive discourse about engineering students, and more broadly, all students, as writers—one that focuses on competencies rather than incompetence, one that encourages faculty to find new ways to characterize students as writers, and encourages faculty to recognize the limits of the utility of practitioner lore.

Friends in council : a series of readings, and discourse thereon : a new series : reprinted from the English edition.

Mainly in form of dialogues.

Gambling exposed : a full exposition of all the various arts, mysteries, and miseries of gambling /

"A discourse on the evils of gaming. By Rev. E. H. Chapin": p. 273-291.

Reflective practice at the intersection of the arts, science, and engineering: Ethnographic beginnings of a youth program in transition

Thesis (Master's)--University of Washington, 2016-06

Realisable climate change narratives in public discourse: an East/West comparative analysis of environmental, social, and corporate governance (ESG) as a response to global climate change

This thesis looks at how non-experts develop an opinion on climate change, and how those opinions could be changed by public discourse. I use Hubert Dreyfus’ account of skill acquisition to distinguish between experts and non-experts. I then use a combination of Walter Fisher’s narrative paradigm and the hermeneutics of Paul Ricœur to explore how non-experts form opinions, and how public narratives can provide a point of critique. In order to develop robust narratives, they must be financially realistic. I therefore consider the burgeoning field of environmental, social, and corporate governance (ESG) analysis as a way of informing realistic public narratives. I identify a potential problem with this approach: the Western assumptions of ESG analysis might make for public narratives that are not convincing to a non-Western audience. I then demonstrate how elements of the Chinese tradition, the Confucian, Neo-Confucian, and Daoist schools, as presented by David Hall and Roger Ames, can provide alternative assumptions to ESG analysis so that the public narratives will be more culturally adaptable. This research contributes to the discipline by bringing disparate traditions together in a unique way, into a practical project with a view towards applications. I conclude by considering avenues for further research.

Speech by Mr. Alban Sandi Bonilla, Dean, Faculty of Arts at the Inauguration of Professional Lecture "Managing Information in Specialized Areas in Costa Rican

Friends: Although we have not devoted special sessions to discuss the matter, the truth is that in some informal occasions we talked lightly about the relevance of the School of Library, Documentation and Information is at the Faculty of Arts. We have consistently defined our School Faculty as a humanist. The human reality in all its modes of symbolic production is the object of study that brings us together as an area of knowledge. A school is that, a major academic unit, which it brings together different disciplines deserve epistemological affinity for joint development. Cooperation, ease of interdisciplinary association are elements that justify the existence of the faculties. And our conversations, I insist, casual and light, have led us to establish two positions may seem superficially divergent, but are not. The Library mates look as techniques themselves, and feel that can be placed almost anywhere Faculty, and at first glance does not explain its presence in a humanities faculty. Let me turn away from this self-image.

Building audiences: Aboriginal and Torres Strait Islander arts

FOREWORDAs a culturally ambitious nation we are shaped by our cultural engagement and it is an important catalyst for critical discourse. It is vital that audiences and artists discuss their experiences, enabling us as a community to come together through engagement with diverse practice that challenges and entertains. This research has been undertaken in response to the Australia Council’s strategic vision for a nation where there are no borders to accessing Australian arts, and all Australians are able to experience and cherish Aboriginal and Torres Strait Islander arts and culture.Building Audiences provides an insight into the nature of existing Australian audiences and the broader public. It reveals how Australians engage with Aboriginal and Torres Strait Islander arts in the public sphere as audiences, highlighting that this engagement is part of a broader national dialogue about their relationship with and towards Indigenous Australia.