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The purpose of the study is to verify the theoretical assumptions based on literature review regarding the issue of brand effectiveness evaluation and the potential measurement framework, as well as to provide insights into the nature of effectiveness measurement of city brand strategies. The findings are considered important foundations for designing a place branding measurement system, which is the next step and final purpose of the author’s research project.

A total of 12 international academic experts from eight countries (in four continents) were individually interviewed. A semi-structured individual interview was applied as a research method. Sampling was purposive and the respondents represented the fields of marketing, place branding and public management. The standardized set of 19 open-ended questions was categorized into four themes (city brand effectiveness, methodology, measurement process and indicators).

The measurement of effectiveness of city branding should be treated as a strategic endeavor; however, it is a complex issue where political, social and methodological challenges overlap. Barriers to the development of a well-functioning measurement system include: too narrow understanding of what brand is, lack of knowledge or culture of measurement, conflicting political interests, reluctance to involve internal stakeholders, insufficient funding and complexity of the brand itself. The reliable measurement system should be characterized by attributes such as simplicity and durability, stakeholder inclusion, political rationale, adjustment to the specificity of the city and the independence of the measuring body/institution.

Up-to-date, common standards or universal measurement frames of the place branding measurement system do not exist. No discussion can be found in the literature on how such a system should be designed and implemented. Opinions of the experts interviewed provide important insights into the components and conditions of the reliable measurement system that would meet both methodological standards and practical needs. Further studies and analyses are however necessary to eventually compose the optimal city brand measurement system.

The objective of the study is to identify both reasons for ignoring and for paying attention to the country of origin (COO) by consumers when choosing brands of durable goods.

In this paper a qualitative approach was applied, i.e. 25 in-depth semistructured interviews with Polish consumers of durable goods purposively selected out of those who had previously participated in a quantitative survey conducted by the authors.

Among the reasons for paying attention to the COO when choosing brands of durable goods, cognitive (rational), affective (emotional) and normative factors have been identified, while among the reasons for ignoring the COO by consumers, the authors identified only cognitive (rational) and affective (emotional) factors.

The conclusions can be applied by brand managers, e.g. when making decisions whether and why to communicate COO dimensions.

This paper contributes to the international marketing literature as it develops a deeper insight into consumer behavior with reference to the consumers’ reasons for paying attention to and ignoring the COO, with very little published on the latter in particular. Furthermore, it is one of still relatively few qualitative studies conducted so far on COO taking a perspective of a consumer, especially the one from an emerging market from the European Union (EU).

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Giambattista Piranesi's disturbing images of fantasy prisons set out in his Carceri d'Invenzione have had a profound impact on cultural sensibilities. The chapter explores Piranesi's distinctive visual language and situates it in an eighteenth-century penchant for ruins and what they might signify. The macabre fantasy structures bear little relation to actually existing prison buildings, but they do herald a new aesthetic combining both terror and beauty to sublime effect. The chapter examines the relationships between narrative and visual methods by considering that scholarship in art history which has sought to address the relationships between ‘word’ and ‘image’.

Much of it belongs to what was once the ‘new art history’ in the 1970s, and which had become critical of how conventional approaches in the discipline had tended to see art as the visualisation of narrative. For example, Norman Bryson's (1981) study of French painting in the Ancien Régime explored the relationships between ‘word’ and ‘image’ by examining the kind of stories pictures tell, drawing a distinction between the ‘discursive’ aspects of an image (posing questions on visual art's language-like qualities and relationships to written text) and those ‘figural’ features that place the image as primarily a visual experience – it's ‘being-as-image’ – that is entirely independent of language.

The focus on language is symptomatic of the ‘linguistic turn’ that has had such a profound influence on intellectual thought since the 1960s, and this chapter will concentrate on one strand in it. In particular, it will introduce the approach Jacques Derrida developed and defined as ‘deconstruction’, which in some important respects revealed the limitations of language, and seeks to create the effects of ‘decentring’ by highlighting how signification is a complex, often duplicitous, process. The chapter then situates Piranesi's images in an account of landscape, not least since he was a leading exponent of the veduta (a faithful representation of an actual urban or rural view) that had achieved the status of a distinctive and popular genre by the eighteenth century.