Titlebook: Marketing-Theorie; Eine Einführung Alfred Ku? Textbook 2013Latest edition Springer Fachmedien Wiesbaden 2013 Forschungsmethoden.Gesetzm??ig

Negate

書目名稱Marketing-Theorie影響因子(影響力)




書目名稱Marketing-Theorie影響因子(影響力)學(xué)科排名




書目名稱Marketing-Theorie網(wǎng)絡(luò)公開度




書目名稱Marketing-Theorie網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Marketing-Theorie被引頻次




書目名稱Marketing-Theorie被引頻次學(xué)科排名




書目名稱Marketing-Theorie年度引用




書目名稱Marketing-Theorie年度引用學(xué)科排名




書目名稱Marketing-Theorie讀者反饋




書目名稱Marketing-Theorie讀者反饋學(xué)科排名

長(zhǎng)矛

Engaged

小歌劇

,Theoretische Ans?tze der Marketingwissenschaft,rketingwissenschaft schon angesprochen worden. Unabh?ngig davon existiert eine gr??ere Zahl von Theorien, die für kleinere oder gr??ere Teilgebiete der Marketingwissenschaft unterschiedlich gro?e Bedeutung hatten oder haben.

Airtight

Marketing und Gesellschaft,und seiner Entwicklung im 2. Kapitel schon deutlich geworden, dass Methoden und Strategien des Marketing auch im nicht-kommerziellen – u.a. im sozialen – Bereich (erfolgreich) Anwendung finden. Man spricht in diesen F?llen vom . (Ku? / Kleinaltenkamp 2011, S. 24).

按等級(jí)

Alfred Ku?on her study of history and remarks, ‘it is evident that the rediscovery of our history is an essential aspect of the creation of a feminist critique of male culture’.. Caryl Churchill echoes these sentiments in the introduction to her play ., first produced in 1976, as she explains her motivations

Intuitive

Alfred Ku?ity or shared cultural experiences. From . (1984) to . (2003), Roberts’s novels engage creatively with the contemporary debate about the place of women in history and the ways in which women can tell their own histories. Julia Tofant?uk argues in Chapter 4 of this book that ‘feminist theory has long

土產(chǎn)

Alfred Ku?on her study of history and remarks, ‘it is evident that the rediscovery of our history is an essential aspect of the creation of a feminist critique of male culture’.. Caryl Churchill echoes these sentiments in the introduction to her play ., first produced in 1976, as she explains her motivations

Extricate

Alfred Ku? time an increasing interest in, as Ursula Heise observes, the articulation of ‘other stories that had been repressed, or had seemed too marginal or too deviant to find an audience before’.. Among these ‘deviations’ are histories of non-Western cultures, women, ethnic, racial and sexual minorities,

cauda-equina