Interactive product visualisation (IPV) addresses the shortcomings of product visualisation on e-commerce sites, such as the absence of tactile information and the inability to directly examine products. Previous research has not addressed the influence of IPV on customer satisfaction. Therefore, the objective of this study was to address this gap by investigating factors that may influence customer satisfaction. The Stimulus-Organism-Response (SOR) model was used as a lens to further investigate the effect of stimuli of an IPV environment on the affective states of users as well as satisfaction as a response to stimuli. The furniture e-commerce industry and IKEA’s IPV tool were selected as the basis for this research. To gather data, an online survey with 5-point Likert scales was created based on previous research to discover the relationships between these factors. A total of 115 questionnaire responses were validated and analysed using multiple regression analysis. The results of the analysis indicated that interactivity, perceived ease of use, and entertainment had a positive influence on customer satisfaction as mediated by pleasure and dominance. Practical implications are presented to guide businesses that seek to implement IPV effectively.

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This study explores how shopping value in one-stop stores, especially hypermarkets, can be improved by new services. It identifies additional service offerings that go beyond the traditional product-based approach. Given the dearth of literature on new services in grocery retailing, this study relies on Mehrabian and Russel's (1974) stimulus-organism-response (S-O-R) model as a basic framework. Using an explorative mixed-methods approach, the study begins with a qualitative phase in which semi-structured interviews are conducted to uncover consumers' everyday problems. These findings serve as the basis for designing innovative services. In the subsequent quantitative phase, the study tests the theoretical framework by introducing participants to three different services in an experimental study. Based on the manipulation of the cognitive fit of services, various relationships between variables such as retailer confusion, perceived convenience, shopping value, retailer image, and willingness to use were examined. Results highlight the central role of cognitive fit, perceived convenience, and retailer confusion as key factors in shopping value, emphasizing its significance in shaping the retail landscape. This research not only identifies novel service opportunities for hypermarkets but also demonstrates the efficacy of a mixed-methods approach in addressing the evolving needs of consumers and the retail sector. The study provides also valuable insights for retailers seeking to differentiate themselves and enhance the shopping value.

Social media platform TikTok has grown in recent years to become a market leader. Gen Z is a large part of the app's users and they are also more likely to make impulsive purchases. TikTok exposes personalized content to the individuals, which provokes unexpected purchase intentions. The focus of the study is on consumer discovery of viral content related to products from the furniture and interior design industry. The theory review of the research highlights the connection between TikTok and the impulsive buying behavior, as well as the layers that the individual goes through in between.  The purpose of this study is to explore and understand how furniture and interior design that has gone viral on TikTok contributes to Gen Z's impulsive buying behavior. This study aims to provide an understanding of the phenomenon of virality as well as an insight into Gen Z's impulsive buying behaviors. In order to answer the research question, empirical data was collected through a qualitative research method using ten semi-structured interviews. The respondents belonged to Gen Z and were resident in Sweden. The empirical data was analyzed using the method of thematic analysis, which produced three new themes and enabled the research question to be answered.  The conclusion of the thesis showed that TikTok contributes to Gen Z's impulsive buying behavior. EWOM has played a major role in the respondents' purchase decisions. Reviews have evoked needs that then led to impulse purchases while also preventing other purchases when reviews explained the negative features of the product. The results of the study show that the sample means that more impulse purchases have been made since TikTok became the market leader.

This thesis examines the complex relationship between impulsive buying behavior,perceptions of brand "coolness," and their impact on Generation Z consumers. Datacollected from 11 semi-structured interviews reveals that witnessing impulsive purchasesonline can have both positive and negative effects on a brand's perceived coolness. Key factors in this dynamic include the allure of community and a desire for socialvalidation. Using the Stimulus-Organism-Response (SOR) framework, impulsivepurchase posts (User-Generated content) act as stimuli, triggering emotional responsesthat influence brand perception. Consumers are more likely to make impulsive purchasesfrom brands they consider cool as a means of aligning themselves with a desirable imageor group. However, excessive exposure to impulsive buying posts can undermine abrand's exclusivity and diminish its cool factor. The study finds that coolness is inherently subjective, with individual interviewees' valuesand experiences shaping their responses. Brands that prioritize community, authenticity,and a carefully cultivated sense of exclusivity are best positioned to navigate the complexrelationship between impulsive purchase behavior and overall brand perception.

Text in Afrikaans / Die doel van die verhandeling is om vas te stel in hoe 'n mate vyftien geselekteerde studies van Fernando Sor uit die Yepes- en Segovia-uitgawes van mekaar verskil deur die studies te vergelyk. Albei uitgawes is ook met die faksimilee-uitgawe vergelyk om die korrektheid van die Yepes- en Segoviauitgawes te bepaal. Seide Yepes en Segovia het heelwat veranderings aangebring. Die kenmerkendste van hierdie verskille word nie net uitgewys nie, maar daar word ook na moontlike redes gekyk waarom sulke verskille in die twee uitgawes aangebring is. Die gevolgtrekking is dat Yepes en Segovia duidelike redes gehad het waarom hulle verskil het van die faksimilee-uitgawe. Yepes en Segovia het verskillende tegniese benaderings wat bydra tot die uniekheid van die twee uitgawes wat vir die kitaarspeler 'n rykdom van moontlikhede bied in die uitvoering van hierdie studies. / The aim of the dissertation is to determine the differences between the Yepes and Segovia editions by comparing selected studies. In order to determine the correctness of the Yepes and Segovia editions both are compared to the facsimile edition as well. Yepes and Segovia both introduced a number of changes. The most typical of these are indicated and possible reasons for their inclusion in the two editions are discussed. The conclusion is that Yepes as well as Segovia had very definite reasons for including alterations to the facsimile edition in their own editions. Both have in their own editions an individual and highly personal approach which leaves us with the unique gifts of the two editions, and the guitar student with a variety of possibilities in the performance of these studies. / Department of Musicology / M.Mus. (Department of Musicology)

Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente. / This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.

Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente. / This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.

This project sets forth a Mexican American cultural studies treatment of a US Southwestern legend known as the Lady in Blue (La monja azul). The legend is derived from17th-century religious memoriales (accounts) that narrate the miraculous apparition of a living cloistered Spanish nun, Sor María de Agreda, to the Jumano tribe of western New Mexico between the years 1620-1630. However, the Lady in Blue's conversion of the Jumanos was only the first of many recurring appearances she would make in the Americas and Europe over the next three hundred and seventy years. In the American Southwest, northern Mexico and Spain, stories about the apparating nun resurface and are reshaped in response to the demands of their contexts. Her narrative is transatlantic both in terms of what it recounts, and in terms of where it is recounted. She is not only represented on both sides of the ocean, but her portrayal almost always has to do with her being on both side of the ocean. The Lady in Blue narrative brings together dialogues on conquest, both secular and religious, dialogues on the significance of the female body and the feminine written word, and dialogues on the negotiation of space, proximity and identity. Extant research on Lady in Blue focuses on the components of her story as discrete entities, inadvertently divorcing related histories and legends from one another. 20th-century historians have read the account as a medieval holdover in Franciscan mission writing; folklorists as isolated Indo-Hispano accounts; and literary critics as individual anecdotes in twentieth-century literature. In contrast, this dissertation focuses on is the continuity of the narrative-- the way a series of historical figures and documents capture the Lady in Blue as she moves from New Mexico, to Spain, and back to the Franciscan missions of the Southwest, where she is viewed as a proto- or co-missionary. From the missions, the traditions, legends, and folklore about her grew and were contended, resulting in the contemporary dramatic works, novels, short stories and poems about the Lady in Blue. / text

Text in Afrikaans / Die doel van die verhandeling is om vas te stel in hoe 'n mate vyftien geselekteerde studies van Fernando Sor uit die Yepes- en Segovia-uitgawes van mekaar verskil deur die studies te vergelyk. Albei uitgawes is ook met die faksimilee-uitgawe vergelyk om die korrektheid van die Yepes- en Segoviauitgawes te bepaal. Seide Yepes en Segovia het heelwat veranderings aangebring. Die kenmerkendste van hierdie verskille word nie net uitgewys nie, maar daar word ook na moontlike redes gekyk waarom sulke verskille in die twee uitgawes aangebring is. Die gevolgtrekking is dat Yepes en Segovia duidelike redes gehad het waarom hulle verskil het van die faksimilee-uitgawe. Yepes en Segovia het verskillende tegniese benaderings wat bydra tot die uniekheid van die twee uitgawes wat vir die kitaarspeler 'n rykdom van moontlikhede bied in die uitvoering van hierdie studies. / The aim of the dissertation is to determine the differences between the Yepes and Segovia editions by comparing selected studies. In order to determine the correctness of the Yepes and Segovia editions both are compared to the facsimile edition as well. Yepes and Segovia both introduced a number of changes. The most typical of these are indicated and possible reasons for their inclusion in the two editions are discussed. The conclusion is that Yepes as well as Segovia had very definite reasons for including alterations to the facsimile edition in their own editions. Both have in their own editions an individual and highly personal approach which leaves us with the unique gifts of the two editions, and the guitar student with a variety of possibilities in the performance of these studies. / Department of Musicology / M.Mus. (Department of Musicology)