The aim of this work was to evaluate the dielectric properties of impregnated and activated palm kernel shells (PKSs) samples using two activating agents, potassium carbonate (K2CO3) and sodium hydroxide (NaOH), at three impregnation ratios. The materials were characterized by moisture content, carbon content, ash content, thermal profile and functional groups. The dielectric properties were examined using an open-ended coaxial probe method at various microwave frequencies (1–6 GHz) and temperatures (25, 35, and 45°C). The results show that the dielectric properties varied with frequency, temperature, moisture content, carbon content and mass ratio of the ionic solids. PKSK1.75 (PKS impregnated with K2CO3 at a mass ratio of 1.75) and PKSN1.5 (PKS impregnated with NaOH at a mass ratio of 1.5) exhibited a high loss tangent (tan δ) indicating the effectiveness of these materials to be heated by microwaves. K2CO3 and NaOH can act as a microwave absorber to enhance the efficiency of microwave heating for low loss PKSs. Materials with a high moisture content exhibit a high loss tangent but low penetration depth. The interplay of multiple operating frequencies is suggested to promote better microwave heating by considering the changes in the materials characteristics.

Oxide layers were formed by an environmentally friendly plasma electrolytic oxidation (PEO) process on AZ91 Mg alloy. PEO treatment also resulted in strong adhesion between the oxide layer and the substrate. The influence of the KF electrolytic solution and the structure, composition, microstructure, and micro-hardness properties of the oxide layer were investigated. It was found that the addition of KF instead of KOH to the Na2SiO3 electrolytic solution increased the electrical conductivity. The oxide layers were mainly composed of MgO and Mg2SiO4 phases. The oxide layers exhibited solidification particles and pancake-shaped oxide melting. The pore size and surface roughness of the oxide layer decreased considerably with an increase in the concentration of KF, while densification of the oxide layers increased. It is shown that the addition of KF to the basis electrolyte resulted in fabricating of an oxide layer with higher surface hardness and smoother surface roughness on Mg alloys by the PEO process. The uniform thickness of the oxide layer formed on the Mg alloy substrates was largely determined by the electrolytic solution with KF, which suggests that the composition of the electrolytic solution is one of the key factors controlling the uniform thickness of the oxide layer.

Al/expanded graphite was successfully synthesized through a facile method including ultrasonic and heat treatment. In the well-designed three dimensional structure, expanded graphite(EG) works as a conductive matrix to support coated Al particles. The effects of the fabrication parameters on the microstructures and thermal conductivities of these composites were investigated. As a result, it was found that composites with graphite volume fraction of 17.4-69.4% sintered at 600 oC/45 MPa exhibit in-plane thermal conductivities of 380-940 W/mK, over 90 % of the predictions by rule of mixture. According to the non-destructive analysis results, the synergistic enhancement was caused by the formation of efficient thermally conductive pathways due to the hybrid of the differently sized EG. The structure integrates the advantages of expanded graphite as a conductive support, preserving the electrode activity and integrity and improving the electrochemical performance.

The “Signature” project is the result of several years of study and research in the field of interdisciplinary artistic fields and phenomenology of contemporary fashion, identity, body as a means in fashion and performative arts, and the post-human condition of the body in performance. In contemporary fashion, the clothing item is morphed into a completely new identity. The real body is transformed by clothes, as well as by other forms (prosthetics, plastic surgery), called human extensions. The evolution of the body and clothes enshrining it represents a spectre of methods, theories and styles in line with every author presented in the “Signature” project. For them, the body should be in harmony with its inner and outer surrounding, since it has a need to intervene and change its nature. We live in a hyper-consumerist society in which everything is reduced to recycled, revitalised images of past historical styles. It all becomes personal styles and yet it still represents in our “spectacle” society. At the Signature exhibition of the Arts Association and Lidija Fistrek as a author, held at the Technical Museum in Zagreb in 2013 and 2016 at the Design Week in Zagreb, four Croatian fashion designers’, performance artist’s, sculptures, music producers works were presented. To these designers, clothing represents a medium, which enters visually into our consciousness and becomes significant as we communicate in nonverbal manners. The approach to clothing and bodies as mediums vividly shows how each author leaves his/her recognisable signature. The body itself, and its personal lifestyle-reflecting appearance, is already visually pre-construed. It needs to dress, to change styles, to intervene and redesign its own „nature” according to changes in the inner and outer environment. Fashion designers use the body surface in various ways as a territory for inscription, which erases in a rather appealing way the boundaries of belonging and offers an opportunity to leave a personal signature mark on their original work.

Introduction “The success of a 21st century business will be defined as much by who it is as what it does.” (Keller and Richey 2016, p. 47) Traditionally, branding has been a staple interest among fashion marketing research, although this has been mostly looked from the perspective of business-to-consumer markets. However recently, in the general marketing literature, there has been a growing interest towards understanding also the business-to-business aspect of branding (see Seyedghorban, Matanda, and LaPlaca 2016 for bibliometric review). By and large, this perspective of branding is also significant in fashion business as industrial customers have a double role as consumers and fashion professionals, as their decision-making process leans on both rational judgement and intuition. Recently, increased product and service homogeneity and digitalisation have been factors that have led to the emergence of a growing body of literature in business-to-business branding (see Leek and Christodoulides 2011a for review). This shift can be observed during trade shows, which are losing their significance in terms of sales, and, in turn, becoming more important for building relationships with customers and partners (Sarmento, Farhangmehr, and Simoes 2015) as well as cultivating the brand image of exhibitors (Hansen 2004). In particular, in fashion, trade shows are an example of activities that are inarguably geared towards building brand value among buyers and other actors in the market. By and large, previous work in marketing during fashion trade shows has been limited to few studies on trade show experience (Rinallo, Borghini, and Golfetto 2010), knowledge processes (Cheng, Koivisto, and Mattila 2013), market making (Rinallo and Golfetto 2006), semiotics of communication (2003), and their influence on fashion consumers (Aiello et al. 2016). However, while the importance of branding in fashion industry has been widely recognised, there is no studies on branding in business-to-business context in fashion. This forms an interesting research gap to observe branding in the context of international fashion trade shows. In this vein, the purpose of this article is to provide a new perspective to trade shows. The key research questions we hope to respond are: How does corporate branding occur in fashion trade shows? and What are the characteristics of branding in trade shows? To answer these research questions, 18 fashion start-up companies that have attended trade shows have been interviewed. Previous studies have shown how B2B brands should communicate the value of their brands to a range of stakeholders if they are to leverage their full potential (e.g. Mudambi 2002, Baumgarth 2010, Ohnemus 2009). In this light, recognizing and understanding the significance of business-to-business branding in the fashion industry is important, as it enables brands to engender trust and develop both cognitive and affective ties with stakeholders (Lynch and de Chernatony, 2004). Business-to-business branding Brand is defined as “a name, sign, symbol or logo that identifies the goods and services of one seller and differentiates them from others” (Webster and Keller 2004: 389). Moreover, brand implies ”a cluster of functional and emotional benefits that extend a unique and welcomed promise (de Chernatony and McDonald, 2003)” of the offering. Traditionally, branding literature has overlooked the significance of branding in business to business markets (Saunders & Watt, 1979, Sinclair and Seward 1988) due to the belief that industrial buyers are unaffected by emotional values corresponding to brands (Leek and Christodoulides, 2011b). However, recently the influence of branding has also been acknowledged in the more formalised B2B decision making processes (Lynch & de Chernatony, 2004) where branding increases buyers’ confidence in and satisfaction with their purchase decision (Low and Blois, 2002) and reduces their level of perceived risk and uncertainty (Bengtsson and Servais, 2005). Webster and Keller (2004) suggest that in business-to-business, it is advisable to use corporate branding strategy. Corporate branding takes a holistic perspective to branding as its focus is on managing the reputation of the whole company over individual product lines in order to add value to its offering (Harris and de Chernatony, 2001). Moreover, house branding has been common practice in luxury fashion, where it has been used to build customer loyalty and boost corporate reputation (Chevalier and Mazzalovo 2008). As branding practice, corporate branding is applicable to business-to-business branding as it emphasises the role of employees in the branding process and maintaining the brand reputation over time (Harris and de Chernatony, 2001). In this view, brand management involves managing the gap between corporate identity and reputation (de Chernatony 1999) to provide firm with sustainable competitive advantage and increased customer loyalty (Hatch and Schultz 2003). First, corporate identity is “organization's presentation of itself to its various stakeholders and the means by which it distinguishes itself from all other organizations” (Markwick and Fill 1997: 397). In the business to business context, the dimensions of brand identity include employee and client focus, visual identity, brand personality, consistent communications and human resource initiatives (Coleman et al. 2011). Moreover, key areas of corporate branding include brand vision and culture, positioning, personality, relationships, and presentation (Harris and de Chernatony, 2001). Brand equity refers to “buyers’ willingness to pay a price premium for their favourite brand [and] to recommend that brand to peers and give special consideration to another product with the same name” (Bendixen, Bukasa and Abratt 2004). Moreover, this consists of brand awareness, brand performance, brand preference, and long-lasting relationships (Keller 1993). In particular, the importance of relationships is considered the cornerstone of the brand in the industrial marketing literature (Campbell et al. 2010) due to the interpersonal nature of the market (Bengtsson and Servais, 2005). Moreover, it has been shown that customer experience has a positive effect on the four dimensions of brand equity in business-to-business setting (Biedenbach and Marell 2010). Branding in trade shows Business to business branding is an important concept to understand the role of trade shows in marketing. Trade shows have been defined as “short-term events, typically less than a week in duration that take place on a regularly scheduled basis. Trade shows enable various members of a certain market or industry to meet face- to-face and share ideas, new product innovations, technical updates, industry information, connect with customers and prospects, as well as, in some cases, consummate sales.” (Bettis-Outland et al. 2012, p. 385). For many fashion start-ups these are excellent ways of developing relationships with customers and partners (Sarmento et al. 2015), as well as to enhance their brand image (Hansen 2004), and collaborate with a variety of stakeholders (Cheng et al. 2013). Traditionally, trade shows have been instrumental in consummating sales (Kerin and Cron, 1987), but recently the role has been mostly shifting towards building relationships as well as to build product awareness and image (Pitta, Weisgal, and Lynagh, 2006). This holds true as casual contact with current customers, manufacturers and buyers can easily be made at one location in a relatively short time (Han and Verma, 2014). Moreover, trade shows and meetings with sales representatives greatly affect the earlier parts decision making process of buyers (Blombäck and Axelsson, 2007). This suggests that trade shows could well fulfil the purpose of forming new relationships with the long-term goals of selling. What is more, another non-buying objective for attending trade shows is promoting corporate image (Kerin and Cron, 1987). The facet of corporate visual identity, as part of B2B brand identity, refers to symbolism, symbols or logo and even more to physical cues such as clothes employees wear and their premises (Coleman et al., 2011). Methodology and data As the study was explorative in nature, qualitative research method was chosen (Silverman, 2006). The data collection consisted of two phases; primary data were acquired through semi-structured interviews, complemented by observational data acquired by means of an ethnographic observation at major trade events (Geertz, 1973). 15 Finnish fashion trade show exhibitors and 3 professional buyers were interviewed for the study. All of the respondents from exhibiting companies were responsible for sales and marketing activities, and took part in the trade shows in person. Moreover, for observation, the team attended four major fashion trade shows during September 2012 and January 2013: Premier Classe Who’s Next and Capsule in Paris, Gallery int. Fashion Fair CPH in Copenhagen, and Capsule in New York. As the study is explorative by nature, data-driven approach of grounded theory (Strauss and Corbin 1990) was applied in the analysis of the interview data. Here, the data collected thorough interviews and observations is analysed by utilizing a systematic set of procedures to develop an inductively derived grounded theory about a phenomenon (ibid.). Findings – branding elements in fashion trade show The research investigates business-to-business branding occurring at fashion trade shows and its perceived benefits. To better understand this, findings will be presented in three sections: (1) Main elements of branding at trade shows; (2) characteristics of business-to-business branding in trade shows. (1) Main elements of branding at trade shows From the data, elements of trade show branding include people, brand presentation, and brand story. In the following, these are briefly illustrated. Brand story. Brand image is conveyed through the brand story that is the essence of the brand and it differentiates the brand from the competitors: “The clients are looking at what you do, listening to story, because the story is the key right now. If you don’t have a story, they will go for some other cheap stuff.” This story ties together all the elements of a brand. During the trade show, the story of the brand is conveyed to the attendees through a variety of tangible brand elements such as people, products, stand decorations, and marketing communications. People. The people have a crucial role as mannequins for the brand. The first impression of the stand, which is mostly about the people occupying it, determines if there will be any further interaction as well as sets the tone for it. For this reason, give out the right image: “We receive a lot of feedback that we look and feel like the brand. It’s very important that the sales people can channel the brand into this kind of environment” explains the head of a shoe brand. Moreover, their behaviour has a crucial role in communicating the brand essence and for this reason it is important to maintain the right type of energy at all times: “If you stay sitting and do like that (plants head into hands) in terms of branding is a killer. You won’t give the right image. If you are standing up especially on the heel, that will give out the right attitude.”. What is more, the presence of the designer is an important part in this communication, too, as is described by one buyer: “The presence of the designer matters. It brings depth and meaning into the presentation. And it also shows that they have their feet on the ground, that they are willing to work. hard. In fashion, there is all this hype and glamour, even though it's a trade among others. I give extra points if the designer is there.” Finally, it is important to have the right people on duty to enable the right type of interaction. For instance, to build relationships with all stakeholders including customers in the recurring events: “It’s a big reason that we meet the customers half yearly and it’s really fun seeing, really genuinely, it’s super nice seeing people because most of them are so nice people”. Indeed, this ludic element and experiencing things together enables deeper, and more trusting relation, which in turn facilitates further collaboration between parties. Brand presentation. At the stand, the buyers and other stakeholders get to experience the brand in its all splendour. It is very important to set up the stand in such manner that it lures in customers and provides an extraordinary experience. For instance, one of the exhibitors we interviewed went over the top with their display: “We’ve used a bus where we can make a showroom at the back. That’s been useful in Berlin alongside the trade shows, directing people from the trade show to the bus with bar and drinks as a kind of lounge and extra that we are remembered for.” Indeed, one interviewee even went as far as claiming that a generic product set up in a gorgeous stand would attract more customers than a perfect product on a dull stand. In this vein, a lot of attention is given to the stand as it needs to be aligned with the overall brand image: “Because our look it pretty rough and manly, we’ve used a lot of wood and metal on the racks when building the stand. Materials are chosen so that they ooze our brand and we never order basic stuff. Last time, we used wood on walls and built a bar with raw metal on the floor. The look has to match and communicate the brand.” Another important element are the products that are on display. From an exhibitor perspective, it is important to choose the right products that communicate the key attributes of a brand to the buyers. Moreover, even though the buyers are not buying for their own needs, it is important to have the possibility to feel the quality and fit at the spot. This is further explained by one of the interviewed buyers “It’s of course an advantage getting to try on the product and when you get to put the hat on, you get the wow effect of how well it fits. It’s easier to sell the product this way when someone gets to try it on compared to just buying it online.” (2) Characteristics of business-to-business branding in trade shows For new brands in particular, trade shows are important places to get noticed. As many of our interviewees note, trade shows are no longer places where orders are written. Instead, buyers go there to get inspired and to spot new brands: “As a new label, it is very recommended you go to trade shows because there is no way you can get, if no one knows about you, visibility or even the contacts.” In this vein, one of the key branding functions of trade shows is building awareness for the brand. Subsequently, to position the brand, showing up in the right company is important. The decision on which trade shows to attend is of paramount importance: “It is important for the brand that you consistently go to the same trade shows that position you correctly, that you are there with brands that are on the same level as you are or in the higher scale and you are not there with brands that should not be associated with your brand.” Finally, to convince the buyers and to build relationships with all stakeholders, continuity is important: “Big customers don’t ever order when they see you the first time, they want to see continuum at least 3 times so you’ve built your presence, then they look at you more seriously because you don’t seem like a one-season case who might just disappear.” This consistency means making long-term commitments to both the trade shows attended as well as the branding activities. Corporate branding in fashion tradeshows is parallel to Keller’s customer based brand equity model (1993), where branding follows a four step process. First, brand identity entails raising the salience of a brand among stakeholders and creating association with products. Being visible at trade shows attaches brand to a certain product category and creates awareness among stakeholders. Second, brand meaning involves linking a variety of tangible and intangible associations to the brand in the customer’s mind. This involves telling the story of a brand and providing the opportunity to touch and try the products. Third, brand response conveys brand judgments and brand feeling, of which the former is more relevant in an organizational context (Kuhn and Alpert 2004). Here, the interaction with people and products occurring during the trade show plays and important role as they enable the formation of emotional and rational judgements of a brand. Final step is about establishing an active and intense relationship between stakeholder and a brand. This particular aspect has the most significance in business-to-business context (Kuhn and Alpert 2004), which is also highly salient in the fashion world. Conclusions In fashion, branding is a prominent practice with regards to business to consumer markets. However, it is worth noting that branding is and has to be done also on business to business context as the buying decision is not purely rational but relies greatly on intuition and relationships. Here, a successful B2B brand is of great importance – and a great commitment as well as it involves a long-term planning and resilience to attend trade shows from season to season. This exploratory article has provided a first glimpse to the branding activities occurring at fashion trade shows. First and foremost, business to business branding in fashion involves the brand relationship between buyer and seller as well the brand story conveyed through the holistic brand experience at the trade show. Indeed, the resulting trust and loyalty between the brand and a stakeholder have implications for further buying behaviour as well as then the further marketing efforts towards the end-consumer. In this vein, trade shows provide a great opportunity to increase brand value through their positive influence on brand awareness, brand associations, perceived quality, and brand loyalty that are part of the brand equity construct (Aaker 1991) and can lead to increased trust and loyalty, which, in turn, help to moderate risk and decrease transaction cost (Ford 1980). Limitations of the study and further directions for research Although the study has been able to illustrate the branding activities occurring at fashion trade shows, there is still significant opportunity for improvement. The study is limited to only a handful of fashion start-ups and within a certain market. From this perspective, it would be interesting to study if branding also has similar significance for more established firms. Moreover, it would be interesting to study the performance outcomes of branding, how these efforts support the internationalisation, as well as the implications of business-to-business branding to business-to-consumer markets. Moreover, it would be interesting to compare the brand images between buyers and consumers in a given market. What are the things the consumers look at, and are the buyers different?

This paper aims to monitor brand image of two important fashion cities on social media (Instagram). Through a content analysis of pictures and texts authors attempt to identify the main associations that various actors have of London and Florence, both traditionally strictly related to the fashion system. As recent literature has argued for brands or products, even for places and cities (Gilboa et al. 2015), it is important to monitor the perceived city brand image resulting from the overall online experience (Choi et al. 2007), especially on social media. Indeed, it is demonstrated that word of mouth on social media is able to strongly affect users’ perceptions (Gretzel, Yuan, and Fosenmaier, 2000), thus contributing at the construction of the city brand image. This paper is one of the first one that applies content analysis on Instagram in city/place branding, where the core of communication is based on images. Therefore, differently from previous studies (Andéhn et al. 2014; De Moya and Jain, 2013), this work principally focuses on visual communication, as form of textual paralanguage communication (Luangrath, Peck, and Barger, 2016), for the construction of city image of London and Florence.

The current research aims to shed light on consumer-brand relationship, adopting the self-determination theory as theoretical lens for defining the antecedents and the consequences of the Brand Engagement in Self Concept (Sprott, Czellar, & Spangenberg, 2009). The originality of the study stems in the contest of analysis, that is the international cosplayer community, given the extreme engagement manifestation of the actors of the community in comics characters. Thus, the goal of this study is to test a model previously proposed by Razmus, Jaroszyńska, & Palęga (2017) in a community of high engagement manifestations, that is the cosplayer community (e.g. dress-up as their own favourite character). Moreover, authors would like to introduce a novel variable that is the brand-self congruity (Aaker, 1997; Sirgy, 1982), able to influence the relationship between personal aspirations (Kasser and Ryan, 1993; 1996), brand engagement in self-concept, brand advocacy (Kim et al. 2001) and brand loyalty (Oliver, 1999).

Brand threats are unexpected, widely spread negative brand occurrences that are manifest in various forms such as rumours (Einwiller et al., 2008), negative publicity (Ahluwalia et al., 2000), ethical scandals (Huber et al., 2010; Lisjak et al., 2012; Trump, 2014) and product failures (Dawar and Pillutla, 2000; Ahluwalia et al., 2001). They are quite common in the marketplace with adverse effects on brand reputations and brand equity (Duttta and Pullig, 2011) by thwarting consumers` expected benefits from the brand (Ahluwalia et al., 2000; Dawar and Pillutla, 2000; Dutta and Pullig, 2011). Due to the frequency and seriousness of brand threats, academic interest in studying the effects of brand threats as well as predicting consumers responses has been rising in the past decade (Swaminathan et al., 2007; Cheng et al., 2012; Lisjak et al., 2012; Trump, 2014). Brand threat literature has evolved over the years from few case studies focusing on organizational response strategies to empirical work documenting cognitive and attitudinal responses by consumers to different types of threats. However, there are still a number of inconsistencies within this loose body of work that requires further research attention. The following section will highlight some of the most imminent controversies within the brand threat literature and thus paving the way for the current review paper to synthesize different streams of research and offer some conceptual clarity on brand threats. First, with regards to the conceptualization of brand threats, there appears to be no broad agreement on a precise definition of what constitutes a threat at the brand level. Over the past few years, scholars have expressed this notion using words such as negative brand publicity (Ahluwalia et al., 2000;2001; Pullig et al., 2006), brand scandal (Roehm and Tybout, 2006), brand failure (Roehm and Brady, 2007; Cheng et al., 2012), brand-related crisis ( Dawar and Lei, 2009; Dutta and Pullig, 2011), brand misconduct (Huber et al., 2010) and brand transgression (Trump, 2014). While these definitions can be used interchangeably as they reflect the overall characteristic of brand threats; they draw upon different theoretical foundations. As a result, competing views and understandings of brand threats have materialised, resulting in perennial dissensus within the extant literature. In addition, there is a debate in the literature with regards to the differential effects of brand threat types. The majority of prior research on brand threats has predominantly focused on two types of threat which is product–related brand threat (Ahluwalia et al., 2000; 2001; Cheng et al., 2012; Swaminathan et al., 2007) and values-related brand threats. Product-related threats usually involve defective or dangerous products and reduce a brand's perceived ability to deliver its functional benefits (Dawar and Pillutla, 2000; Pullig et al., 2006; Roehm and Brady, 2007; Dawar and Lei, 2009). Values-related threats, on the other hand can be defined as unexpected events that threaten a brand's perceived ability to deliver expressive or symbolic benefits (Dawar and Lei, 2009; Pullig et al., 2006). They do not involve the product but rather the social or ethical values of the brand (e.g., Pullig et al., 2006). Both types of threats have negative impact such as brand equity, satisfaction and choice likelihood (Dutta and Pullig, 2011), however existing work offer contradictory findings with regards to the degree of damage caused by either type of brand threat. While some studies implicate the product related threats are more damaging to the brand, other studies indicate that values related threats have more negative impact. For instance, product related threats have been reported to damage brand image and trust (Dawar and Pillutla, 2000), lead to consumer brand switching and consequently cause financial losses (Cleeren et al., 2008). On the other hand, Huber et al. (2010) report that a brand's moral threat can be more damaging for consumers` relationship quality with the brand as well as repurchase intention. In addition, Folkes and Kamins (1999) indicate that negative ethical information is perceived as more diagnostic than product attribute information. Additionally, Trump (2014) compared both types of threats (product vs. ethical) in the same study and reported that ethical-related brand threats can be more damaging than product-related threats. This in turn has contributed to growing inconsistencies within the brand threat literature and elaborated the need for more empirical work to reconcile these conflicting streams of research. An additional layer of controversy within the brand threat literature pertains to the impact of consumer brand relationship in predicting consumer responses. The general assumption is that the stronger the relationship between the consumer and the brand, the more insulated the brand remains from the negative impact of brand threats, however research yield mixed results. While some studies indicate the positive role of strong consumer brand relationship in mitigating the negative impact of brand threats (Ahluwalia et al., 2000; 2001; Einwiller et al., 2006), studies by Roehm and Brady, (2007) and Cleeren et al., (2008) suggest that these positive impacts are only shortlived. While other researchers show that high quality brand relationship may actually result in more negative consumer responses following threat (Hubler et al., 2010). Lastly, there has not been a unified conceptual framework to predict consumer responses to brand threat; different studies have used different theoretical underpinnings to examine the phenomenon reporting different results. Earlier studies on the subject were quite sparse, apart from a few attempts limited to case studies from public relations and publicity literature, there has been no systematic study of how consumers respond to brand threats (Ahluwaia et al., 2000). A common assumption in that literature was that brand threats in the form of negative publicity is considered more credible and influential than the brand`s marketing communications and therefore will always lead to serious adverse consequences (Bond and Kirshenbaum, 1998). Moreover, consumers were assumed to always respond in a uniform manner (Mgrconi, 1997; Pearson and Mitroff 1993). Although these studies have offered insights into how people process negative information and form evaluations, their findings were limited to experimental contexts in which subjects have to evaluate unfamiliar individuals. Although, several theoretical models have been proposed to understand consumers' responses to different types of brand threats (Ahluwalia et al., 2000; Dawar and Pillutla, 2000; Dawar and Lei, 2009; Huber et al., 2010; Roehm and Tybout, 2006; Cleeren et al., 2008; Dutta and Pullig, 2011), the findings of these studies reported mixed findings. Additionally, this body of work failed to present a unifying theoretical framework that predicts how consumers respond to negative information about commercial brands that they are familiar with nor did they identify the factors that could moderate the response strategies (Ahluwalia et al., 2000). Therefore, the current study seeks to review the existing literature on brand threats to propose an integrative classification framework that predicts consumer responses to different types of brand threats. Specifically, this review will offer four important contributions. Firstly, the review will offer a holistic conceptualization of brand threats and its different forms. Secondly, it will highlight existing studies that demonstrate consumer responses to brand threats and the important moderating factors captured in previous studies clustered around four main categories: corporate responses, threat-related characteristics, consumer characteristics, and consumerbrand relationships. Thirdly, the review will propose a theoretical framework and a number of propositions that predict the conditions under which consumers pursue specific responses to brand threat. The proposed framework will also identify a number of situational factors and individual traits that moderate may consumer responses. Lastly, the review will conclude by highlighting underdeveloped theoretical intersections pertaining to the long term effects of brand threats and suggesting potentially fruitful directions for future inquiry. The above contributions will integrate brand threat research in marketing and management theory within a single organizing framework. Moreover, by consolidating past results and setting the stage for further efforts, this review will seek to foster greater integration of fresh perspectives from other disciplines such as social psychology, sociology, consumer research and management to broaden the scope of research on band threat.

Effective estrus detection and artificial insemination (AI) are necessary for profitable management of dairy herd. In current study, 45 crossbred lactating cows have been selected with the complaint of unobserved oestrus for more than sixty days postpartum. All cows had functional corpus luteum as examined by transrectal ultrasonography. Cows were treated with PGF2α analogue and AI was performed with observed oestrus and then single dose of GnRH was administered. Similar synchronization protocol has been repeated after 14 days in cows that did not repose to first treatment. Remaining cows received additional PGF2α after 14 days of second treatment and timed AI was performed following GnRH administration. Among 45 cows, 28.89% showed estrus after first treatment and 78.79% responded to second hormonal intervention. A higher conception rate (88.89% vs 26.66 and 72.72%) was observed in cows after triple administration of PGF2α and timed AI. We noticed a significant differences in body condition score (BCS, 1～5 scale), postpartum period, and daily milk production between cows that either responded of non-responded following first and second hormonal treatment. In addition, there was a significant positive correlation between daily milk production and BCS, age and postpartum days, milk production and estrus/BCS, and milk production/BCS/estrus and conception rate. Depending upon the findings we conclude that hormonal intervention with PGF2α and GnRH enhances postpartum ovarian cyclicity and help decreasing the days open of dairy herd. Therefore, this finding might provide an excellent guideline for target breeding system for profitable dairy herd management.

The “Sipadan and Ligitan” dispute was settled by the ICJ (2002), but its impact on basepoint for baseline and maritime delimitation on the Ambalat remains a contentious issue until now. Since the islands are used as basepoints by Malaysia that results in controversy between Indonesia and Malaysia. This essay will investigate the current situation over Ambalat regarding two basepoints islands for maintaining Equidistance Line in Disputed Area. It will discuss why Malaysia has no right to use the straight baseline or straight archipelagic baseline to connect the basepoints of Sipadan and Ligitan at Sabah and suggest measures to maintain equidistance line in Ambalat.

This paper investigates minimum safe distances relative to a ship’s four cardinal sides, as perceived by Filipino navigators when encountering dangerous elements and in adverse weather conditions when maneuvering in and around harbors. It uses a descriptive research method in the form of a questionnaire survey for experienced Filipino navigators of various ranks. During the course of research, 71 responses were colleted and the resulting data is presented in graphical and tabulated forms. Statistical methods including Pearson-product moment correlations, Cronbach’s Alpha and ANOVA were used to identify internal associations, consistencies and significances, respectively. It has been proven that there are no significant differences in minimum safe distances relative to a ship’s four cardinal sides, whether maneuvering while approaching a port or within an inner harbor. This study has been deemed significant for training future navigators, managing traffic in fairways, and designing harbors and maneuvering areas in the approaches to ports, among other applications. This work can also be used as a preliminary study for comparison with the well known safe domains presently in use.

We present a summary of our spectroscopic redshift catalogue of 404 sources in the AKARI Deep Field South (ADF-S). We have used the AAOmega spectrograph to target mid-infrared and far-infrared sources selected primarily from AKARI observations in this field for which we were able to obtain optical counterparts. Our sources with identified redshifts include 316 with Hα detections at z  0:345 and 15 sources at z > 1 with MgII or Ly emission lines. About 13% of our z  0:345 sources are dominated by active galactic nuclei (AGN) emission, although many show emission from both star formation and AGNs. The median Balmer decrement is 5.9. Ultra-luminous infrared galaxies (ULIRGs) were found only in the higher-redshift sources. Optical and near infrared data will be available shortly, enabling calibration of the line luminosities and spectral energy distribution (SED) tting for these sources.

How does the presence of an AGN in uence the total SFR estimates of galaxies and change their distribution with respect to the Galaxy Main Sequence? To contribute to solving this question, we study a sample of 1133 sources detected in the North Ecliptic Pole field (NEP) by AKARI and Herschel. We create a multi-wavelength dataset for these galaxies and we fit their multi-wavelength Spectral Energy Distribution (SED) using the whole spectral regime (from 0.1 to 500 μm). We perform the fit using three procedures: LePhare and two optimised codes for identifying AGN tracers from the SED analysis. In this work we present an overview of the comparison between the estimates of the Infrared bolometric luminosi- ties (between 8 and 1000 μm) and the AGN fractions obtained exploiting these dierent procedures. In particular, by estimating the AGN contribution in four different wavelength ranges (5-40 μm, 10-20 μm, 20-40 μm and 8-1000 μm) we show how the presence of an AGN affects the PAH emission by suppressing the ratio L8 μm L4:5 μm as a function of the considered wavelength range.