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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.

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)

Esta tesis, siguiendo la reciente edición de Alberto Pérez-Amador Adam, aborda al Primero sueño (PS) de Sor Juana Inés de la Cruz desde diversas tradiciones literarias con novedosas fuentes hispánicas y latinas. Aquí se propone que el poema, mediante una estrategia textual original, sienta las bases para su interpretación, al menos en un sentido coherente con la teoría de los sentidos de la escritura de la exégesis bíblica. Se sostiene, asimismo, que el PS de Sor Juana Inés de la Cruz refleja un singular modo de composición e intelección que convierte al poema en enunciado y, asimismo, en su propia hermenéutica. En principio, esta idea parte de una comprensión del poema como discurso anagógico, es decir, como texto que supone una progresión ascendente a través de las vías del conocimiento (Pérez-Amador Adam 434). Este proceso se expresa por medio de símbolos y mitos que, como en el discurso alegórico, están encadenados para aunarse en un símbolo mayor. Una aproximación semejante ha sido emprendida ya en los estudios de Rocío Olivares (1998) y Alberto Pérez-Amador Adam (2015). Esta hipótesis se sostiene en el hecho de que PS tiene como modelo y fuente para sus repertorios simbólico y mitológico a las tradiciones mitográfica y emblemática (Rocío Olivares, 2011, 70-71). Al tratarse de una obra de madurez, refleja el procedimiento creativo de la poética de Sor Juana Inés de la Cruz; por lo tanto, se estima necesaria una valoración filosófica del poema a partir de la sugerente línea de investigación iniciada por Ruth Hill a inicios del siglo XXI que vincula al PS con la filosofía moderna, concretamente con pensadores anglosajones como Francis Bacon. / Tesis

Licenciado en artes con mención en teoría e historia del arte / La Relación Autobiográfica de sor Úrsula Suárez (1678) y el Epistolario de Sor Josefa de Peñaillillo (1739) son dos textos coloniales producidos en el encierro del claustro conventual en nuestro país. Ambos documentos son considerados como material inédito en lo que refiere a la escritura conventual femenina en Chile, portando en ellos una riqueza enorme a los estudios de la vida conventual, cotidiana y espiritual del Chile colonial. Con respecto a esto último, en esta investigación reparo especialmente en las manifestaciones sobrenaturales, como escucha de hablas, arrobos y sobre todo, las visiones místicas que lograron alcanzar dichas monjas. Este trabajo propone una relación entre las visiones que escriben estas monjas en sus respectivos textos y los cuadros coloniales a los que estuvieron constantemente expuestas dentro de sus respectivos monasterios: Las Clarisas de la Victoria en el caso de Úrsula y Dominico de Santa Rosa de Lima en el de sor Josefa. Dentro del relato de estas dos monjas es posible identificar elementos literarios, simbólicos y plásticos que influyeron tanto sus relatos visionarios, como las visiones mismas que experimentaron y que refirieron en los textos que ambas dejaron. Para llevar a cabo esta relación es necesario hacer una sucinta revisión de lo que fue la vida conventual femenina en el chile colonial –puntualizando cada uno de los monasterios-, las normas conventuales –reglas y constituciones de cada convento-, las influencias literarias –Santa Teresa de Ávila principalmente- a las que fueron expuestas nuestras monjas, los modos de comportamiento dentro de los claustros –retórica del diminutio, mortificaciones corporales, etc.- y el factor más trascendente para nuestra disciplina, la normalización de la mirada dentro del claustro a través del cuadro. De este conjunto de factores, resulta un tipo de monja ideal, que a su vez produce un tipo de relato con características visionarias que se alimenta de cierta influencia de la pintura sobre sus experiencias místicas.

Made available in DSpace on 2015-04-15T12:50:32Z (GMT). No. of bitstreams: 1 466733.pdf: 3940596 bytes, checksum: cc73ebf82d2dc4349e756daf394cf277 (MD5) Previous issue date: 2015-01-16 / The objective of this research is to identify and relate the various references and features of Mary in the work of Sor Juana In?s de la Cruz, from the more traditional theological aspects attributed to the Virgin. Born in San Miguel de Nepantla in 1651. At the age of nineteen she left the court's protection and opted to profess the Order of Jeronimas, where she produced most of her literary work in prose, verse, theater, novels, sonnets, love poetry, carols,letters, philosophical and theological writings. She wrote latin and castilian poems in the mexican language and in several dialects of the region. Maria clared to discuss and claim for the women of her time, the right to study and knowledge. Moreover, their knowledge in several areas of science were considered extraordinary for the occasion. She came to challenge in writing the Sermon of Mandate on the jesuit priest Antonio Vieira, with serious repercussions and ramifications at the time but whose discussion on the subject extends to the present day. From these initial observations, we examine how Sor Juana would have represented some notions of Mary's figure, especially in her carols in honor of the Conception and the Assumption of our lady and part of her prose writings, articulated how these notions in a particular type of narrative that sometimes tends to acquire a specific meaning. The intention is to analyze the relationships between these narratives and the context lived by religious woman in wich contex we understand as strongly shaped by the Christian faith, but also discussions, beliefs, theological challenges, literary and political. Therefore, this study intends to integrate different areas such as history, philosophy and the baroque literature of New Spain. From this research, we intend to contribute by bringing to the debate a topic and a time that are also part of the history of the Church and the religious and cultural thinking that permeated Mexico of XVII century, and adds a feminine name to the Scholastic Colonial Latin America. / O objetivo desta pesquisa ? identificar e relacionar as diversas invoca??es e caracter?sticas de Maria na obra de Sor Juana In?s de la Cruz, a partir dos aspectos teol?gicos mais tradicionais atribu?dos ? Virgem. Nascida em S?o Miguel de Nepantla em 1651, por volta dos dezenove anos deixou a prote??o da corte e optou por professar na Ordem das Jer?nimas, onde produziu a maior parte da sua obra liter?ria em prosa, verso, teatro, romances, sonetos, poesia amorosa, villancicos, cartas, escritos filos?ficos e teol?gicos. Escreveu poemas latinos, castelhanos, na l?ngua mexicana e em diversos dialetos daquela regi?o. Ousou discutir e reivindicar para as mulheres da sua ?poca, o direito aos estudos e ao conhecimento. A prop?sito, seus conhecimentos nas mais diversas ?reas da ci?ncia foram considerados extraordin?rios para a ocasi?o. Chegou a contestar, por escrito, o Serm?o do Mandato do padre jesu?ta Antonio Vieira, com s?rias repercuss?es e desdobramentos naquele momento, mas cuja discuss?o sobre o assunto se estende at? os dias de hoje. A partir destas observa??es iniciais, passamos a examinar como Sor Juana teria representado algumas no??es da figura de Maria, especialmente nos seus villancicos em honra da Concei??o e Assun??o de Nossa Senhora e em parte dos seus escritos em prosa, de como articulou estas no??es em um determinado tipo de narrativa que, por vezes, tende a adquirir um sentido pr?prio. A inten??o ? analisar as rela??es entre tais narrativas e o contexto vivido pela religiosa, contexto esse que entendemos como fortemente moldado pela f? crist?, mas tamb?m por discuss?es, cren?as, desafios teol?gicos, liter?rios e pol?ticos. Para tanto, o presente estudo pretende integrar ? teologia, diferentes ?reas como a Hst?ria, a Filosofia e a Literatura Barroca da Nova Espanha. Com esse exerc?cio, pretendemos contribuir, trazendo para o debate um tema e uma ?poca importante para os prim?rdios da hist?ria da Igreja no M?xico do s?culo XVII, al?m de acrescentar um nome feminino ao per?odo da Escol?stica Colonial da Am?rica Latina.