Made available in DSpace on 2016-04-25T16:45:24Z (GMT). No. of bitstreams: 1 Antonieta Christovam.pdf: 545293 bytes, checksum: 392714c1398a2ae647aaa0a494819805 (MD5) Previous issue date: 2009-11-09 / The purpose of this study was to discuss the technique of qualitative research known as mystery shopper as a mean to decrease the biases shown by other qualitative techniques. As an specific goal, this work brought the possibility to overview all the other techniques in comparison to mystery shopper. The theory brought in this study supported an historical context to social research and its appliance to corporate field, mainly to marketing area. Also was discussed the definitions of quantitative and qualitative research, deeply of the last one applied to marketing research. An exploratory research was made, a case study, aiming to verify the possibility to apply a model originated from the theoretical research. This study contributed to verify the possibility of using mystery shopper technique in any type of company. This research brought the possibility to access customers´ perspective, helping in a closer analysis of an expected pattern and to lower the biases because of the possibility this technique gives to reanalyze all collected material / Este trabalho teve por objetivo a discussão do uso da técnica conhecida por cliente oculto como forma de minimização dos vieses apresentados por outras técnicas de pesquisa, em particular as de caráter qualitativo. Como objetivo específico, este trabalho teve ainda o intuito de abrir a possibilidade aos interessados em pesquisa qualitativa de terem acesso a um panorama geral sobre as mais conhecidas técnicas em comparação à técnica cliente oculto. Por meio da revisão teórica buscou-se trazer um apanhado da história da pesquisa social e a entrada em cena desta na área corporativa, mais especificamente mercadológica. Também foram discutidos conceitos de pesquisa quantitativa e qualitativa, além de se trazer uma análise desta última na área de marketing. Por meio de uma pesquisa empírica exploratória, do tipo estudo de caso único, buscou-se verificar a aplicabilidade do referencial teórico exposto e do modelo advindo do estudo. Este trabalho contribui para verificar a possibilidade de aplicação da técnica de cliente oculto em qualquer tipo de empresa. Essa pesquisa trouxe à tona a possibilidade de ter-se uma gama de informações sob a perspectiva do cliente, contribuindo para uma análise mais próxima aos modelos esperados pelas companhias e a minimização de eventuais biases pela possibilidade de reanálise do material coletado

Submitted by Verena Bastos (verena@uefs.br) on 2015-10-16T12:16:16Z No. of bitstreams: 1 DISSERTA??O TATIANE ALMEIDA FERREIRA _1_.pdf: 2933902 bytes, checksum: 40a3f4e9011ca770886df2ef7efb28e3 (MD5) / Made available in DSpace on 2015-10-16T12:16:16Z (GMT). No. of bitstreams: 1 DISSERTA??O TATIANE ALMEIDA FERREIRA _1_.pdf: 2933902 bytes, checksum: 40a3f4e9011ca770886df2ef7efb28e3 (MD5) Previous issue date: 2013-08-23 / This work aims at analyzing the dialogic relationship between literature and its illustration in order to show the creation of imaginary formed on the black ? mixed people, the traditions, the mystique surrounding the "City of Bahia " with its syncretism religious, faith and popular festivals. This discursive intersection gives rise to other forms of reading, interpreting, serving for the understanding of the unique aspects about the varied universe mythical- religious and cultural place. We take as an example the illustrated edition of Bahia de Todos os Santos: street guides and mysteries, Jorge Amado, 1977 edition, featuring the designs of Carlos Bastos. The approach is interdisciplinary because the intent of the writer was to build an artistic, historical- cultural and human panel of Bahian metropolis, so many sources of knowledge, artistic forms were used in order to understand an imaginary, gestated in reality and invention. The city is widely known as the writer proposes to show it to an imaginary tourist, that it may come to know it in its concreteness. For these reasons, the text seems to set up a tour guide, however its operatic quality, interspersed with the mystery, let?s find its fictional quality. Moreover, the work is a cultural-historical testimony, to discuss issues of the past and who are pressing for the decade in which the guide has been updated since the city of Salvador urbanized throughout the twentieth century and grew up with her problems social and economic character. / Este trabalho tem como proposta analisar a rela??o dial?gica entre a literatura e sua ilustra??o, a fim de evidenciar a cria??o do imagin?rio formado acerca do povo negro-mesti?o, das tradi??es, da m?stica que envolve a ?Cidade da Bahia?, com o seu sincretismo religioso, f? e festas populares. Esse cruzamento discursivo d? origem a outras formas de leitura, interpreta??o, servindo para o entendimento de aspectos singulares acerca do variado universo m?tico-religioso e cultural do lugar. Tomamos como exemplo a edi??o ilustrada de Bahia de Todos os Santos: guia de ruas e mist?rios, de Jorge Amado, edi??o de 1977, que conta com os desenhos de Carlos Bastos. A abordagem ? interdisciplinar porque a inten??o do escritor era construir um painel art?stico, hist?rico-cultural e humano da urbe baiana, por isso foram utilizadas diversas fontes de conhecimento, de linguagens art?sticas, a fim de compreender um imagin?rio, gestado na realidade e na inven??o. A cidade ? amplamente divulgada quando o escritor se prop?e a mostr?-la para uma turista imagin?ria, para que ela venha a conhec?-la em sua concretude. Por tais aspectos, o texto parece configurar um guia tur?stico, contudo, a sua caracter?stica l?rica, entremeada ao mist?rio, permite constatar a sua qualidade ficcional. Al?m disso, a obra ? um testemunho hist?rico-cultural, por discutir quest?es do passado e das que s?o prementes para a d?cada em que o guia foi atualizado, visto que a cidade do Salvador se urbanizou ao longo do s?culo XX e com ela cresceram problemas de car?ter social e econ?mico.

La fée, créature de synthèse sortie du fond des âges, héritière des figures de la mythologie gréco-romaine et des divinités païennes du Moyen Âge, se trouve au cœur de la création artistique chez les auteurs du XIXe siècle comme Jules Barbey d’Aurevilly (1808-1889). En effet, ce dernier met en scène d’étranges personnages féminins, dotés de grands pouvoirs et qui semblent, par leurs traits énigmatiques, s’apparenter à la fée médiévale, sœur par excellence de la Parque romaine et de la Moire grecque. Car, aussi bien dans L'Ensorcelée (1854), Un Prêtre marié (1864) que dans Une Vieille Maîtresse (1851), pour ne citer que ces trois exemples, la nature érotique des êtres féeriques paraît se combiner à leur essence prophétique et divinatoire. Ce travail,qui porte sur les aspects les plus significatifs de la fée dans les œuvres romanesques de Barbey à savoir l'érotisme et la divination, s’articule autour de trois parties : la première, intitulée peinture de la fée, dresse une typologie en se fondant sur les figures matricielles de la fée marraine et de la fée amante ; la deuxième, l'univers de la fée, se propose d’analyser l’espace ou l'univers sulfureux dans lequel se meut cet être énigmatique. Cette poétique des lieux vise à rendre perceptible l’illusion du surnaturel et du merveilleux savamment orchestrée par l’auteur, qui brouille le cadre spatio-temporel du récit en usant d’une technique polyphonique où se mêlent plusieurs points de vue ou une multitude d’instances narratives ; la dernière,la symbolique de la fée, met en exergue la finalité romanesque des avatars de la fée aussi bien dans l'imaginaire aurevillien que dans la fiction littéraire au XIXe siècle.Cette étude s’efforce de suivre une perspective qui tient compte à la fois de la richesse des procédés techniques et de la profondeur thématique de l’œuvre de Barbey. / The fairy, a hybrid creature sprung from the depths of time, from greco-roman mythology and the pagan divinities of the Middle Ages, takes center stage in the artistic creation of nineteenth-century authors such as Jules Barbey d’Aurevilly (1808-1889). Indeed, Barbey d’Aurevilly depicts unusual and powerful feminine characters, which seem, because of their enigmatic characteristics, to be related to the medieval fairy, herself a sister of the roman Parcae and greek Moirae. In L'Ensorcelée (1854), as in Un Prêtre marié (1864) and in Une Vieille Maîtresse (1851), among numerous other examples, the erotic nature of fairy-like beings combines with a prophetic and divinatory essence. This study thus addresses these two salient dimensions of the fairy in Barbey’s novels, eroticism and divination. The first section on “Depicting the fairy” establishes a typology based on the matricial figures of the fairy godmother and fairy mistress. Subsequently, the section titled « The universe of the fairy » focuses on space, or the sulfurous universe through which this enigmatic character moves. This analysis of the poetics of space attempts to elucidate Barbey’s orchestrated illusion of the supernatural and the marvelous. The writer blurs the spatio-temporal narrative frame of his novels by means of polyphony, introducing multiple points of view and narrative situations. The last section, « The symbolism of the fairy », points out the novelistic ends to which the avatars of this figure have been put, both in the aurevillian imaginary universe and more generally nineteenth-century literature. Our perspective endeavors to take into account both the wealth of aurevillian narrative technique and thematic depth of his work.

In the wake of Francisco Franco�s long dictatorship, various new forms of literature emerged in Spain. A new period of transformation, the so-called Spanish Transition, fostered an environment of experimentation and innovation free from the restrictive barriers of Franco�s regime. The Transition proved a period of great hopes and expectations as well as disillusionment and disappointment. This time, above all, provided an opportunity to reflect critically on the history and experience of the nation in the 20th century. Eduardo Mendoza is one among a generation of writers that experienced the early years of the Transition, the subsequent emergence of the Socialist Party and the reintroduction of Spain to Europe and, indeed, the rest of the world post 1975. This noted Catalan is one of several distinguished writers working within a new genre, the Spanish novela negra, or crime novel. In particular, he has written three novels El misterio de la cripta embrujada (1979), El laberinto de las aceitunas (1982) and La aventura del tocador de senoras (2001); each featuring an unlikely detective known as Ceferino. In this thesis, I examine Eduardo Mendoza�s three crime novels as a carnivalesque discourse. The work relies on the theory outlined by Mikhail Bakhtin in two of his foundational texts, Problems of Dostoevsky�s Poetics (1929) and Rabelais� World (1940). In 1929, Bakhtin sketched out the idea of "carnivalization" as the transposition of the spirit of carnival into art. It was not until his thesis (now known as Rabelais� World) was published in 1960 however that his vision of carnival was understood and the link between the carnivalized text and popular culture emerged. This research focuses on Bakhtin�s four 'categories of carnival': free and familiar contact, eccentricity, carnivalistic mesalliances, and profanation, in order to develop a critical framework by which a text may be defined as carnivalesque. Through a comprehensive examination of what each of these categories entails, Bakhtin�s paradigm is linked to Eduardo Mendoza�s crime trilogy and these texts are consequently defined as undeniably carnivalesque. The conclusion of the thesis suggests several possibilities as to why Eduardo Mendoza, as a contemporary Spanish crime fiction writer, employs a carnivalesque discourse to depict post-Franco culture. The Transition and the decade between 1982 and 1992 are defined as periods of rupture from the official order. These years are considered an ideal environment for the unleashing of a carnivalesque ambiance in Spain that inherently effected the aesthetic production of the period, and specifically the works of Eduardo Mendoza.

Service guarantees have been argued to have many roles in managing services, for instance signal service quality, attract new customers, increase satisfaction and retention, and to differentiate the company from its competitors. Despite a growing interest from service organizations, research on service guarantees has been surprisingly scarce. The aim of this dissertation is to provide a wider understanding of the roles of service guarantees. Data is gathered from actual customers (as opposed to fictitious participants of an experiment) and/or employees regarding service guarantees in three different service contexts. The methods used to gather and analyze the data were manifold and includes personal interviews, Mystery Shopping observations, focus group interviews and a postal survey. The results represent new knowledge when it comes to the roles of service guarantees in managing services. Previous research has almost exclusively addressed pre-purchase effects of the service guarantee, but has failed to address the impact of the service guarantee after it has been used. Therefore, the most important contribution to service research of this dissertation concern the understanding of service guarantees “in action” and the post-use effects of a service guarantee in real service settings. Another contribution is the identification of the recovery paradox; that the customer is more satisfied with the service after he or she has used the service guarantee, than before he or she experienced the original service failure. This result strongly suggests that the use of a service guarantee can make a fruitful contribution in the managing of services.

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This work introduces the idea of mysterious criticism as a viable means by which to critique, explain, and understand the role that hierarchy plays in human social relations. It scrutinizes the works of Kenneth Burke and others to explain the role that mystery plays in human hierarchical circumstances, and becomes a foray into popular culture as a suitable object by which to explicate the form of critique offered in its pages as well as providing fruitful sources for the study of hierarchy in the beginning of the 21st century. / text

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In the wake of Francisco Franco�s long dictatorship, various new forms of literature emerged in Spain. A new period of transformation, the so-called Spanish Transition, fostered an environment of experimentation and innovation free from the restrictive barriers of Franco�s regime. The Transition proved a period of great hopes and expectations as well as disillusionment and disappointment. This time, above all, provided an opportunity to reflect critically on the history and experience of the nation in the 20th century. Eduardo Mendoza is one among a generation of writers that experienced the early years of the Transition, the subsequent emergence of the Socialist Party and the reintroduction of Spain to Europe and, indeed, the rest of the world post 1975. This noted Catalan is one of several distinguished writers working within a new genre, the Spanish novela negra, or crime novel. In particular, he has written three novels El misterio de la cripta embrujada (1979), El laberinto de las aceitunas (1982) and La aventura del tocador de senoras (2001); each featuring an unlikely detective known as Ceferino. In this thesis, I examine Eduardo Mendoza�s three crime novels as a carnivalesque discourse. The work relies on the theory outlined by Mikhail Bakhtin in two of his foundational texts, Problems of Dostoevsky�s Poetics (1929) and Rabelais� World (1940). In 1929, Bakhtin sketched out the idea of "carnivalization" as the transposition of the spirit of carnival into art. It was not until his thesis (now known as Rabelais� World) was published in 1960 however that his vision of carnival was understood and the link between the carnivalized text and popular culture emerged. This research focuses on Bakhtin�s four 'categories of carnival': free and familiar contact, eccentricity, carnivalistic mesalliances, and profanation, in order to develop a critical framework by which a text may be defined as carnivalesque. Through a comprehensive examination of what each of these categories entails, Bakhtin�s paradigm is linked to Eduardo Mendoza�s crime trilogy and these texts are consequently defined as undeniably carnivalesque. The conclusion of the thesis suggests several possibilities as to why Eduardo Mendoza, as a contemporary Spanish crime fiction writer, employs a carnivalesque discourse to depict post-Franco culture. The Transition and the decade between 1982 and 1992 are defined as periods of rupture from the official order. These years are considered an ideal environment for the unleashing of a carnivalesque ambiance in Spain that inherently effected the aesthetic production of the period, and specifically the works of Eduardo Mendoza.

Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript.