Participation in Collaborative Consumption: A Value Co-creation Perspective

近年来，伴随着通信技术的发展、消费者意识的转变、网上协同社区及共享观念的推广，共享经济已经成为趋势，并日益改变着消费者行为。事实上，共享经济背景下，许多新型的协同消费行为正不断涌现并活跃于各种私有、公有及公益组织。所谓协同消费，是指消费者通过网上社区协调某一资源的获取及分配以获得收益或其他补偿的行为，具有代表性的包括Uber的汽车共享、Airbnb的住宿共享等。然而，对于人们为什么愿意参与协同消费，当前的理论和实证研究十分缺乏。 传统的价值理论用来解释消费者为什么选择或拒绝某种产品或服务，而价值共创理论则更关注消费者和企业在消费过程中创造的价值及其影响。本研究基于消费者价值和价值共创理论，从...In recent years, with developments in information and communications technology (ICT), growing consumer awareness, proliferation of collaborative online communities as well as sharing, there is an emerging trend called “Sharing Economy” that is increasingly and intensively transforming consumer behavior. Actually, more and more new forms of collaborative consumption through sharing economy find ap...学位：管理学硕士院系专业：管理学院_技术经济及管理学号：1772014115106

Value proposition as a framework for value co-creation in crowd-funding ecosystem

The present paper suggests that crowd-funding in the arts and cultural sector occurs within a complex service ecosystem, where six categories of value propositions frame eight value co-creation processes, namely through ideation, evaluation, design, testing, launch, financing and authorship. Managerial contributions include the development of a crowd-funding service ecosystem model for arts managers, which offers not only a method of financing or economic value, but which also offers opportunities for strengthening bonds with customers and other stakeholders. Our paper is innovative in that we integrate value propositions categories with the micro – meso and macro contexts and analyse the different kind of co-creation are framed in the crowdfunding contextUniversidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

The perks and downsides of being a digital prosumer: optimistic and pessimistic approaches to digital prosumption

The recent evolution of users’ position and agency in digital environments absorbs the attention of several scholars in different fields of study. Users’ new ontological status as prosumers, simultaneously producers and consumers, and their role regarding productive paradigms has raised a lot of contrasting opinions. Different discursive techniques are employed to investigate production practices in digital worlds and are often crafted with the conventions of utopian and anti-utopian approaches. Nevertheless, the adoption of optimistic or pessimistic analytical and rhetorical strategies appears to be prejudiced towards the study of emerging online practices. In reality, the analysis of positive and negative approaches to productive paradigms in digital environments results in the detection of their limitations in reaching a comprehensive understanding of the investigated phenomena. Therefore, the adoption of a more neutral perspective is suggested, one that could potentially foster a holistic approach and therefore a broader and deeper comprehension of the analyzed phenomena

Fostering Fair and Sustainable Marketing for Social Entrepreneurs in the Context of Subsistence Marketplaces

In recent years, in-depth, on-the-ground research has generated many insights into the nature and functioning of subsistence marketplaces and the people who operate in them. Such knowledge is bound to be useful to various companies and organisations, as they seek to engage such marketplaces, particularly for marketing managers, who quite likely have not had education or experience in marketing in such impoverished settings. This paper complements these practical insights with a normative ethical framework, presented in the marketing literature and labelled the integrative justice model (IJM) for impoverished markets, so as to synthesise a new framework for fair and sustainable marketing for social entrepreneurs in the context of subsistence marketplaces

Reservoir hill and audiences for online interactive drama

This paper analyses the interactive experiences constructed for users of the New Zealand online interactive drama Reservoir Hill (2009, 2010), focusing both on the nature and levels of engagement which the series provided to users and the difficulties of audience research into this kind of media content. The series itself provided tightly prescribed forms of interactivity across multiple platforms, allowing forms of engagement that were greatly appreciated by its audience overall but actively explored only by a small proportion of users. The responses from members of the Reservoir Hill audience suggests that online users themselves are still learning the nature of, and constraints on, their engagements with various forms of online interactive media. This paper also engages with issue of how interactivity itself is defined, the difficulties of both connecting with audience members and securing timely access to online data, and the challenges of undertaking collaborative research with media producers in order to gain access to user data