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企業社會責任：越南-鞋廠個案報告

為了解決Cbs greensboro的問題，作者Le Nhat Ha Vy 這樣論述：

Globalization, the increasing integration, and interdependence of domestic and overseas markets, has led to increasing scrutiny of multinational conduct during the past decade. The businesses have started realizing that they would have to rise over and above the profitability and take care of all t

hose associated with their survival in the society directly or indirectly. This realization resulted into the concept of Corporate Social Responsibility (CSR). Nevertheless, there remains a protracted debate about the legitimacy and value of corporate responses to CSR concerns. This paper aims to co

ntribute to the present debate about CSR. The author wants to ground in this knowledge and provides further evidence about how companies adopt CSR practices to address stakeholders’ claims and consolidate their trust. Evidence was provided by a longitudinal case study about an Taiwanese footwear com

pany that is one of the largest producers in Vietnam. This company shaped its corporate strategy through the adoption of CSR practices in order to conduct its mision to be a CSR leader in the footwear sector. The study was informed by a literature review of the relevant contributions in terms of CSR

business practices and levels of commitment to adopt them. The results indicate that the sign of the relationship between CSR and corporate performance is positive, supporting the view that socially responsible corporate performance can be associated with a series of benefits.

浦浪克《三首間奏曲》之研究

為了解決Cbs greensboro的問題，作者劉芳宜 這樣論述：

法郎西斯‧浦浪克(Francis Jean Marcel Poulenc, 1899-1963) 為二十世紀最重要之鋼琴作曲家之一，他的音樂風格簡約不失幽默、優雅又浪漫，具獨特風格。筆者以創作於1934年創作的《兩首間奏曲》(Deux intermezzi)，和1943年創作《降A大調間奏曲》(Intermezzo in A-flat Major)做研究探討。本論文分為六章，第一章緒論包含研究動機與目的，及研究方法與範圍；第二章為浦浪克的生平，從三個分期探究浦浪克創作風格的形成、轉變及影響；第三章為浦浪克的鋼琴作品與分期特色，並呈現其鋼琴作品的主要技法，浦浪克一生作有鋼琴奏獨奏曲三十四首，創

作過程三個時期：早期作品，大多受薩悌、法國六人組及斯特拉汶斯基的影響，曲調簡潔風格獨特；中期作品受到蕭邦、舒曼的影響，運用許多浪漫時期之創作手法；晚期鋼琴作品內斂細膩，數量較少，難度較難。第四章探討間奏曲的發展，以及三首間奏曲的樂曲分析；《C大調間奏曲》利用簡短二段體，碰撞出清新的音響效果；《降D大調間奏曲》旋律線條較長，富歌唱性，可以窺見浦浪克人格特質中既傳統又創新的兩面；《降A大調間奏曲》旋律極富詩意，音色豐富。第五章探究浦浪克三首間奏曲的音樂風格，筆者從「曲式特色」、「音型發展」及「織度與力度」三個層面來討論；第六章將上述各點歸納成結論。