DOCSLIB.ORG

“The Effects of Country-Of-Origin Image On

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“The Effects of Country-Of-Origin Image On “THE EFFECTS OF COUNTRY-OF-ORIGIN IMAGE ON CONSUMER PRODUCT INVOLVEMENT: A PAKISTANI UNIVERSITY TEACHERS’ PERSPECTIVE” A thesis submitted to University of Salford in partial fulfilment of the requirements for the degree of Doctor of Philosophy AMNA SHAHZAD SALFORD BUSINESS SCHOOL, UNIVERSITY OF SALFORD, MANCHESTER, JULY, 2014 DEDICATION My research and every success are dedicated to these three most important people in my life: Hazrat Mohammad (PBUH) – my beloved prophet and father of the Ummah, who gave the vision, freedom and respect to the women in Islam. I am proud to be a Muslim woman who loves Him immensely. Rana Ayaz Mahmood – my beloved father, who always showed me the path of righteous, being follower of our Holy Prophet (PBUH) showered his love over me as a daughter, fought with the culture and society, and, gave me education, confidence, courage and motivation, to fight for my rights and to achieve what I got. Abu you are a shining star for me, no matter if you are not around me in this world now, but I strongly believe that you have knowledge of my achievements and are happy for me. I love you. Mrs Naseem Akhtar – my beloved mother, who always nurtured me with love and guided me through thick and thins of life. Thanks for being a constant support and treasure full of prayers and love. I am indebted to you for being great source of encouragement and inspiration. Ammi your prayers make me stand strong, firm and tall on my feet. At this last stage of your Cancer, your bravery, courage, patience and fight is inspirational. The completion of my PhD was not possible without your prayers. I love you. ii Table of Contents DEDICATION ......................................................................................................................................... ii LIST OF TABLES ................................................................................................................................. vii LIST OF FIGURES .................................................................................................................................. x ACKNOWLEDGEMENTS ................................................................................................................... xii LIST OF ACRONYMS ......................................................................................................................... xiv ABSTRACT ........................................................................................................................................... xv CHAPTER 1: INTRODUCTION ............................................................................................................ 1 1.1. Aim of Research ........................................................................................................................... 6 1.2. Research Objectives ..................................................................................................................... 7 1.3. Flow of Research Process ............................................................................................................ 7 1.4. Overview of Chapters................................................................................................................... 9 CHAPTER 2: EFFECTS OF COO-IMAGE ON CONSUMER BEHAVIOUR: THEORETICAL AND EMPIRICAL REVIEW OF LITERATURE .......................................................................................... 11 2. What is the Country of Origin (COO)? .......................................................................................... 11 2.1. The COO-image ......................................................................................................................... 12 2.2. The Background and Emergence of the Construct of the COO-image ...................................... 16 2.3. The Effects of COO-image ........................................................................................................ 23 2.3.1. Multi-Cue Effects (Intrinsic and Extrinsic Cues) ................................................................... 29 2.3.2. Multiple COO (hybrid) Cue Effects ....................................................................................... 31 2.3.3. The Globalisation Effects ....................................................................................................... 33 2.3.4. Product Type Effects .............................................................................................................. 36 2.3.5. National and Stereotype Effects: Developed and Developing Countries ............................... 37 2.3.6 Consuming Country and Cultural Orientation Effects .................................................................. 41 2.3.7. Consumer Expertise Effects (Summary or Halo Construct) .................................................. 44 2.3.7.1. The COO-image and Perceived Product Quality and Risk ................................................ 47 2.3.7.1.1. Countries’ Drive for Improvement in their Perception as ‘Quality Provider’ from a COO Perspective 49 2.3.8. Consumer Intention to Adopt (with reference to Consumer Innovativeness) Effects ............ 51 2.3.8.1. Consumer’s Product Adoption Process ..................................................................................... 61 2.3.8.2. Classification of Consumers based on their Product Adoption ................................................. 62 iii 2.3.8.3. Influences on consumer Intention to Adopt .............................................................................. 63 2.3.8.4. Association of Consumer Intention to Adopt and the COO-image ........................................... 72 2.3.9. Consumer Product Involvement Effects................................................................................. 75 2.3.9.1. Association of Consumers’ Information Search, Product Knowledge and the COO-image 78 2.3.9.2. Association of Consumers’ Product Involvement and the COO-image ............................. 82 2.3.10. Consumer Ethnocentrism Effects ........................................................................................... 91 2.3.10.1. The Effects of the Aspects of Consumer Ethnocentrism .................................................... 93 2.3.10.2. Consumer Ethnocentrism and the COO-image Effects .................................................... 102 2.4. The COO as a Brand ................................................................................................................ 106 2.5. The COO Strategies ................................................................................................................. 107 2.6. The COO-image Effects: Pakistani Perspective ....................................................................... 111 2.7. Summary of Literature Review and Gap Identification ........................................................... 117 2.7.1. Gaps in the Existing Literature ................................................................................................... 120 CHAPTER 3: RESEARCH DESIGN AND METHODOLOGY ........................................................ 123 3.1. Theory Vs Research ...................................................................................................................... 123 3.2. Deductive and Inductive Approach ............................................................................................... 124 3.3. Research Paradigms ...................................................................................................................... 128 3.3.1. Ontological Considerations ........................................................................................................ 129 3.3.1.1. Constructionism ...................................................................................................................... 129 3.3.1.2. Objectivism ............................................................................................................................. 130 3.3.2. Epistemological Considerations ................................................................................................. 130 3.3.2.1. Realism .................................................................................................................................... 131 3.3.2.2. Interpretivism .......................................................................................................................... 132 3.3.2.3. Positivism ................................................................................................................................ 133 3.4. Research Strategy: Quantitative and Qualitative ........................................................................... 135 3.5. The Research Methodology .......................................................................................................... 138 3.5.1 Sampling ..................................................................................................................................... 144 3.5.2 Procedure ..................................................................................................................................... 148 3.5.3 Measurement of Variables (Instrument 1) ................................................................................... 149 3.5.3.1 Demographic Data.................................................................................................................... 150 3.5.3.2 Frequency of Purchase ............................................................................................................
Load more

Recommended publications
  • Issue 17 Ausact: the Australian Actor Training Conference 2019
    www.fusion-journal.com Fusion Journal is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts and Education, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (United Kingdom), Fusion Journal publishes refereed articles, creative works and other practice-led forms of output. Issue 17 AusAct: The Australian Actor Training Conference 2019 Editors Robert Lewis (Charles Sturt University) Dominique Sweeney (Charles Sturt University) Soseh Yekanians (Charles Sturt University) Contents Editorial: AusAct 2019 – Being Relevant .......................................................................... 1 Robert Lewis, Dominique Sweeney and Soseh Yekanians Vulnerability in a crisis: Pedagogy, critical reflection and positionality in actor training ................................................................................................................ 6 Jessica Hartley Brisbane Junior Theatre’s Abridged Method Acting System ......................................... 20 Jack Bradford Haunted by irrelevance? ................................................................................................. 39 Kim Durban Encouraging actors to see themselves as agents of change: The role of dramaturgs, critics, commentators, academics and activists in actor training in Australia .............. 49 Bree Hadley and Kathryn Kelly ISSN 2201-7208 | Published under Creative Commons License (CC BY-NC-ND 3.0) From ‘methods’ to ‘approaches’:
    [Show full text]
  • Community Engagement in Independent Performance-Making in Australia: a Case Study of Rovers
    THEMED ARTiclE Community Engagement in Independent Performance-making in Australia: A case study of Rovers KATHRYN KELLY AND EMILY COLEMAN This article offers a perspective on strategies for community engagement by independent performance-makers and cultural institutions in Australia today. Beginning with an overview of community engagement in Australian performance, the article then describes a specific case- study drawn from personal practice: Belloo Creative’s Rovers which was a new performance work based on the lives of its performers, Roxanne MacDonald and Barbara Lowing. As part of the production of Rovers, Belloo Creative, working with young Aboriginal artist Emily Coleman, trialled a community engagement project to welcome Aboriginal audiences to the 2018 Brisbane Festival. The article includes a personal reflection on Rovers that interleaves the commentary of Emily and Kathryn as the two artists who lead the community engagement project, and concludes by suggesting some key considerations for other independent companies who might wish to engage with community. Community Engagement and Australian Performance ommunity engagement is a broad term that Queensland across the last decade. QMF regularly Cembraces a diverse range of activities and practices commissions large-scale community engagement projects across sectors and disciplines in contemporary Australia, such as Boomtown in Gladstone in 2013, where a musical as noted in the introduction for this special edition of was co-created with the participation of 300 community Social Alternatives. Community engagement in the arts members and performed to an audience of over 20,000 is broadly defined by the Australia Council, the national (Carter and Heim 2015: 202). Community engagement funding organisation for arts and culture, as covering: projects are also now routinely showcased within the major programs of city-based festivals, for example, The [A]ll the ways that artists and arts organisations Good Room’s I’ve Been Meaning to Ask You: a work can connect with communities.
    [Show full text]
  • Download (2MB)
    This file is part of the following reference: Carless, Victoria Leigh (2008) Making invisible pathways visible : case studies of Shadow Play and The Rainbow Dark. PhD thesis, James Cook University. Access to this file is available from: http://eprints.jcu.edu.au/3565 Making Invisible Pathways Visible Case Studies of Shadow Play and The Rainbow Dark A thesis submitted with creative work in fulfilment of the requirement for the award of the degree of Doctor of Philosophy at James Cook University by VICTORIA LEIGH CARLESS B. Theatre (Hons) School of Creative Arts 2008 STATEMENT OF SOURCES: DECLARATION I declare that this thesis is my own my work and has not been submitted in any form for another degree or diploma at any university or other institution of tertiary education. Information derived from published or unpublished work of others has been acknowledged in the text and list of references if given. ………………………………… ………………………………… (Victoria Carless) (Date) ii STATEMENT OF ACCESS I, the undersigned, the author of this work, understand that James Cook University will make this thesis available for use within the University Library, and via the Australian Digital Theses network, for use elsewhere. I understand that, as an unpublished work, a thesis has significant protection under the Copyright Act and I do not wish to place any further restriction on access to this work. ………………………………… ………………………………… (Victoria Carless) (Date) iii ELECTRONIC COPY OF THESIS FOR LIBRARY DEPOSIT DECLARATION I, the undersigned, the author of this work, declare that the electronic copy of this thesis provided to the James Cook University Library is an accurate copy of the print thesis submitted, within the limits of the technology available.
    [Show full text]
  • Fence En Français
    FENCE, UN RESEAU INTERNATIONAL DE COLLABORATION D’AUTEURS ET METTEURS EN SCENE AU SERVICE DU THEATRE 1 SOMMAIRE Jonathan METH, directeur/coordinateur du réseau FENCE (biographie) p.3 Sélection et présentation de 10 compagnies coproductrices de FENCE p. 6 Présentation d’une sélection de 35 auteurs/metteurs en scène/interprètes p. 10 parmi les 170 membres actifs de FENCE Liste non exhaustive de compagnies rattachées à des participants de FENCE p.28 Autres connections internationale des membres de FENCE p. 29 Présentation de WONDERLAND, prochain grand projet de FENCE p. 30 2 JONATHAN METH /DIRECTEUR Nationalité Britannique 51 ans Expérience professionnelle 2003 – 2013 : Directeur et fondateur, The Fence L’association FENCE (réseau international d’auteurs et de metteurs en scène de théâtre) Fence est un réseau international de créateurs de théâtre (écrivains, dramaturges, metteurs en scène et directeurs de théâtre à travers l’Europe et au-delà). À l’origine Fence a fut lancée en 2003 sous l’impulsion d’un partenariat entre Writernet (UK), Le British Council et Creative Renewal, et en association avec IETM, réseau international pour les arts du spectacle, afin d’explorer la pratique de l’écriture dramatique contemporaine dans différents contextes culturels européens. Depuis le réseau s’est développé avec succès et compte aujourd’hui plus de 170 écrivains de théâtre et opérateurs culturels provenant de plus de 40 pays différents. Ils organisent régulièrement des rencontres comme à Budapest, Graz, Belgrade, Tampere, Utrecht/Amsterdam, Leeds, Istanbul, Timisoara, Glasgow, Guadeloupe, Paris/Bondy, Rabat et Toscan/Rome entre autres. Les activités du group ce génèrent de façon organique a travers le réseau entier, réunissant traditionnellement des groupes composés de 2 a 6 personnes.
    [Show full text]
  • LMDA Review, Volume 11, Issue 2 M
    University of Puget Sound Sound Ideas LMDA Review Other Publications Spring 2001 LMDA Review, volume 11, issue 2 M. Louise Lytle Ginny Coates Winston Neutel Crystal Beliveau Cindy SoRelle See next page for additional authors Follow this and additional works at: http://soundideas.pugetsound.edu/lmdareview Recommended Citation Lytle, M. Louise; Coates, Ginny; Neutel, Winston; Beliveau, Crystal; SoRelle, Cindy; Erickson, Nancy; Quirt, Brian; Copelin, David; Dixon, Michael Bigelow; Blackstone, Mary; Wright, Michael; Proehl, Geoff; Rankin, Wynn; Etemad, Nakissa; Yahil-Wax, Mirian; and Rand, Jonathan, "LMDA Review, volume 11, issue 2" (2001). LMDA Review. 22. http://soundideas.pugetsound.edu/lmdareview/22 This Book is brought to you for free and open access by the Other Publications at Sound Ideas. It has been accepted for inclusion in LMDA Review by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Authors M. Louise Lytle, Ginny Coates, Winston Neutel, Crystal Beliveau, Cindy SoRelle, Nancy Erickson, Brian Quirt, David Copelin, Michael Bigelow Dixon, Mary Blackstone, Michael Wright, Geoff rP oehl, Wynn Rankin, Nakissa Etemad, Mirian Yahil-Wax, and Jonathan Rand This book is available at Sound Ideas: http://soundideas.pugetsound.edu/lmdareview/22 Highlights Inside • The Experiment Tradition by Michael Bigelow Dixon • News From CEAD in Montréal by Crystal Béliveau • Community and the Development of Scripts for Stage and • Technology Notes by Winston Neutel Screen by Mary Blackstone • Office Update, New Address by Ginny Coates The Newsletter of Literary Managers and Dramaturgs of the Americas Vol. 11, Issue 2 the lmda review Spring, 2001 “I believe that the basic requirement for all rehearsal work .
    [Show full text]
  • Interplay Europe 2006
    Interplay Europe 2006 Festival of Young Playwrights Schaan | Liechtenstein Nenzing | Austria 18–25 June 2006 Interplay Europe 2006 6th Festival of Young European Playwrights is organized by Interplay Europe e.V. (Frankfurt/M.) and ASSITEJ Liechtenstein in cooperation with Festival “Luaga & Losna” in Nenzing/Austria Festival Director: Henning Fangauf Festival Coordinator: Georg Biedermann Festival Secretariat: Eveline Ratering Staff: Alessandra Beiro, Dagmar Tiefenbrunner, Program Austria: Sabine Wöllgens Interplay Europe 2006 6th Festival of Young European Playwrights is sponsored by City of Schaan Country of Liechtenstein Interplay Europe e.V. State of Vorarlberg, Austria City of Nenzing, Austria The German Delegation is supported by Federal Ministry for Family Affairs, Senior Citizens, Women and Youth, Berlin. The Hungarian Delegation is supported by Hungarian Ministry of Cultural Heritage. The Slovak Delegation is supported by ASSITEJ Liechtenstein Slovak Theatre Institut, Bratislava. Zollstrasse 10, 9494 Schaan – Lie The Swiss Delegation is supported by [email protected] – www.assitej.li PRO HELVETIA. Member of ASSITEJ International The Slovenian Delegation is supported by Presˇernovo gledalisˇcˇe, Kranj —Presˇeren Theater, Kranj, Slovenia Imprint: Henning Fangauf, Sabine Wöllgens and Georg Biedermann (editing) bimedia (graphic design) BVD Druck+Verlags AG, Schaan (print) WELCOME Welcome to Schaan Dear Participants of Interplay Europe On behalf of the community of Schaan it is with the greatest pleasure that I welcome you to the 6th Festival of Young Playwrights, Interplay Europe 2006. This special event for young European playwrights, organised in different cities and countries of Europe, combines both professional and human aspects. It is an excellent opportunity to build European cultural links very effectively. We are very proud that Interplay 2006 takes place in our community.
    [Show full text]
  • Personal Stories in Public Places: an Investigation of Playback Theatre
    Personal Stories in Public Places: An Investigation of Playback Theatre. By Nick Rowe This material is made publicly available by the Centre for Playback Theatre and remains the intellectual property of its author. Centre for Playback Theatre www.playbackcentre.org Personal Stories in Public Places: an investigation of playback theatre. Nick Rowe This thesis investigates Playback Theatre, an improvised form in which members of an audience are invited to tell personal stories to a ‘conductor’ and see these improvised by a company of actors and musicians. As a performing member of Playback Theatre York throughout the duration of this research, I have had the opportunity to record and analyse the processes involved in the improvised enactment of personal stories. The thesis argues that effective playback performances initiate a process of interpretative or hermeneutic play. Through this process the teller’s story is destabilised and opened up to multiple perspectives and subject positions, none of which are authoritative or final. It is argued that playback enactments often exemplify the ways in which narratives are constructed out of human experience and, by doing so, highlight their contingency and mutability. It is proposed that the contrasting means of representation between the ‘telling’ and the ‘enactment’, the particular position of the teller on stage, and the tension between the performative and the referential, all heighten the conditions for hermeneutic play. The method devised to construct this thesis includes the analysis of playback performances, the reflexive use of ‘insider’ and ‘outsider’ perspectives, the use of writing as a means of discovery, and the employment of multiple subject positions to render the complexity of the field.
    [Show full text]
  • (Digital Divide) 연구경향 분석
    정보화정책 제18권 제4호, 2011년 겨울호, pp.103~137 연구논문 디지털 디바이드(Digital Divide) 연구경향 분석 김성욱* 1990년대 이후 인터넷 등 정보화기기의 급속한 발전 및 보급으로 디지털 디바이드(Digital Divide : 정보격차)는 요약 정보화 사회의 주요 정치, 경제, 사회적 이슈로 떠올랐다. 또 정보격차 문제를 규명하고 이를 해결하기 위한 많은 정 책적 노력과 학문적 연구들이 진행되어 왔다. 이에 본 연구는 지난 2000년부터 2011년까지 약 10년간 진행된 정보격차와 관련 된 다양한 연구들을 체계적으로 정리하고자 했다. 이를 위해 Engineering Village 2(EV2) 데이터베이스를 활용, 정보격차와 관련된 기존 연구들에 대한 자료를 수집했으며 연구자가 설정한 기준에 따라 이를 분석하고 분석결과를 정리했다. 20여년 간의 관심과 지속적인 노력에도 불구하고 정보격차는 여전히 현재진행형인 이슈로 기존의 연구경향을 분석 정리한 본 연구는 향후 정 보격차에 대한 후속연구에도 도움이 될 수 있을 것으로 기대된다. 주제어: 디지털 디바이드, 정보격차, 인터넷, 정보화사회 Past and Future of the Digital Divide: ** A Bibliometric Analysis and Review Sung Wook Kim The digital divide (DD) has been recognized as one of the most serious social and public policy Abstract issues to emerge from the rapid growth of computing facility, particularly in regard to Internet capabilities, over the past decade. In order to identify DD research trends and contributions, this research has adopted a bibliometric approach to quantitatively assess the research trends of the DD and also utilized information from related literature in the EV2 database from 2000 to 2011. The results show that the most frequently documented type of publications are journal articles, making up 55.2% of the total database of literature. English is the primary language (96.7%), and USA researchers have made the largest contribution (17.0%) to DD literature.
    [Show full text]
  • Australian Actor Training Conference 2019: ‘Being Relevant’
    ’Ivanov’, adapted by Eamon Flack, Directed by Dan Evans, photo by Fiona Cullen (QUT) Australian Actor Training 9 - 11 August Conference QUT Kelvin Grove Campus Queensland University of Technology Kelvin Grove, Brisbane, Australia 1 Contents Convenor’s Statement.... page 2 Schedule.... page 3 Keynote.... page 6 Abstracts and Bios.... page 7 Workshops.... page 25 Important Contacts.... page 31 Map.... page 32 Co-Convenor’s Statements 2 Dr. Andrea Moor, QUT, Conference Host AusAct: The Australian Actor Training Conference 2019: ‘Being Relevant’ It is such a pleasure to host this new and much needed conference. It is my frm belief that by sharing our challenges and innovatons we will be able to provide the catalyst for the kind of in- dustry we desire for ourselves and our graduates. An industry of inclusion, empathy, challenge and excellence. We now live in a very diferent world. There is no knowing which of our graduates will succeed and which won’t. Gone are the days of a select few insttutons being the main feeders into the industry. Now, leading actors are emerging from short courses, BFA courses, private training providers, drama courses and literally from thin air. Our job is to remain relevant in an ever chang- ing landscape and what beter way to do this than by drawing on the resources of our community. I was recently asked to speak at the American Natonal Alliance of Actng Teachers Congress in New York and I was overwhelmed by the collegiality and genuine support one for the other, amongst the partcipants. There was a sense that everyone knew that no mater how much experience someone had or how litle, no mater how seemingly prestgious the insttuton or how remote, that there was something to learn from every one present.
    [Show full text]
  • Interplay Europe 2014 the Lake Constance Meeting in Bregenz | 7Th to 12Th of July 2014 Innsbruck Hall in Tirol St
    INTERPLAY EUROPE 2014 The Lake Constance Meeting in Bregenz | 7th to 12th of July 2014 Innsbruck Hall in Tirol St. Johann Uderns Wörgl STELLA-Performing.Arts.Award for Young Audiences 13. – 17. Oktober 2014 »Krieg. Stell Dir vor, er wäre hier«, iroler Landestheater © Rupert Larl INTERPLAY EUROPE FESTIVAL OF YOUNG PLAYWRIGHTS Regionalität und Überregionalität Regional and Supra-Regional Der Bodenseeraum als besondere Klimazone ist durchaus auch sym- Describing the region around Lake Constance as being graced with a bolhaft zu verstehen. Diese Kulturregion vermochte es in ihrer Ge- special climate may well be understood to also have a symbolic level schichte immer wieder neue Entwicklungen zu begründen oder of meaning. Throughout its history, this cultural region has always voranzutreiben, die weit über jeweilige Landesherrschaften hinaus given birth to or fostered new developments whose impact was felt wirkten. Sie schufen Vereinigendes, wo Herrschaftsgrenzen das Tren- far beyond the respective dominions, and these phenomena forged a nende in den Mittelpunkt stellten. sense of unity where political borders accentuated division. In diesem Sinne möchte ich auch dieses Festival verstehen, das Künst- It is in this tradition that I would like this festival to be seen, which lerinnen und Künstler aus über 15 Ländern Europas ebenso zusam- brings together not only artists from more than 15 European coun- menführt wie ein breites internationales Publikum. Es ist damit ein tries, but also a wide-ranging international audience, making it living höchst lebendiger Beweis dafür, dass sich Regionalität und Überregi- proof of the fact that regional and supra-regional are not mutually onalität einander nicht ausschließen.
    [Show full text]
  • Inside WAAPA
    Official newsletter of the Western Australian Academy of Performing Arts, Edith Cowan University (Issue 48) June 2017 WORLD MUSIC ADVENTURES Ashley de Neef’s jazz fusion project TIM VAN DER KUIL on the road with Adele NELSON BAKER stars in ‘The Warriors’ Inside WAAPA Issue 48 Page 1 LIFE WITH ADELE YOUNG GUNS FIRE UP ADELE’S GUITARIST AND MUSIC DIRECTOR MUSIC AWARDS GIVES A WEEK-LONG SERIES OF MASTERCLASSES AT WAAPA WAAPA MUSIC GRADUATES WIN ACCOLADES ACROSS THE COUNTRY Photos by Media Art Photos by Media When Perth guitarist Tim Van Der Kuil arrived English in London in 1996, he thought he would walk songstress, straight off the plane and into a record deal. After Adele. all, he’d done the hard yards, studying jazz for Eight years four years at WAAPA before moving to Sydney ago, Van Der where he played in his own band and for other Kuil was playing artists, including pop singer Jenny Morris. guitar with Sydney-born artist So with the dream of making it big, Van De Daniel Merriweather at the Shepherd’s Bush “Doing the jazz course Kuil recloated to London – at the time, the hub of Empire in London when Adele, who sang on on opened up my knowledge of harmony,” he Photo by Castaway Photography the Britpop explosion when bands such as Blur Merriweather’s 2009 album Love and War on the Basemant Photo by Bird’s says. “What I got from the jazz course was an and Oasis were making their names. Van De track ‘Water and a Flame’, turned up backstage.
    [Show full text]
  • The University of Tulsa Magazine
    the university of TULSmagazinea 2001 fall A View of Pakistan the sandwich the sandwich the sandwich the sandwich the sandwich the sandwich t he sandwich dwich n he sa t the sandwich t dwich n he sa t The hidden powerpowe of a sandwich t he sandwich There’s energy in your sandwich that goes well beyond calories: There’s the he sandwich t power to keep lights burning and computers running. There's power to clean floors and to heat buildings.There’s the power to keep TU moving forward. t That’s because by “brown-bagging” your lunch instead of eating out, you he sandwich can save money that could make a real difference to TU‘s Annual Fund.The University depends on Annual Fund support to meet a variety of operating he sandwich t expenses, from the classroom to the boiler room. We know that these days especially, it’s becoming more t difficult to find extra money. But we hope that you’ll consider he sandwich brown-bagging it for TU because your support has the power to make all the he sandwich t difference. For more information on the TU Annual Fund, call us at (918) 631-2561, or mail your contribution to The t University of Tulsa Annual Fund, 600 S. he sandwic College Avenue.Tulsa, Oklahoma 74104-3189. Or visit our secure online giving page at www.utulsa.edu/develop- he sandwich t ment/giving. If you would like to use a credit card over the phone, please call 918-631-3839. h the sandwich Design by Miranda Heineman the sandwich the sandwich ndw sand the sandwich the sandwich the sandwich the sandwich the sandwich the sandwich the sandwich the university of TULSmagazinea features departments 12 Shedding Tiers 2 Editor’s Note 2001 By Bob Lawless 3 Special Report: 9/11/01 fall TU catapulted to the second tier in the U.S.
    [Show full text]