No description available.

現今服務業的在產業的比重已經越來越高，而服務業生產與消費不可分割的特性導致了顧客參與成為服務流程中不可避免的一件事情。Bitner, Faranda, Hubbert, and Zeithaml (1997)亦認為顧客在服務流程中扮演服務品質、價值與滿意度的貢獻者。本研究整合各學者對顧客參與服務流程的價值創造觀點，並加入顧客參與前因之探討，發展成一個整合的模型。透過對婚紗攝影顧客的問卷調查，得以驗證本研究模型之理論。 　　本研究結果證實了Chan, Yim, and Lam (2010)的觀點，發現顧客參與並無法直接對顧客滿意度產生影響，而是需要透過服務品質的提升與關係的建立，才能進一步提高顧客之滿意度。並發現產品客製化、顧客控制以及經驗價值對於顧客滿意度的提升則不顯著，顯示即使是對顧客有利的價值創造，亦不見得能轉換為顧客滿意度。最後，本研究在顧客參與前因的部分，發現顧客知覺支持不僅對於顧客參與有增強的作用，並且會直接影響到顧客滿意度。顧客自我效能感對於顧客參與也有好的預測效果。顧客角色明確在理論中對於顧客參與有正面之影響，在本研究中的效果卻不顯著。 　　本研究根據研究結果對高顧客參與類型的服務廠商提出以下幾點建議。首先，企業應將顧客視為服務品質、價值與滿意度的貢獻者。第二，服務廠商在資源分配上，應著重資源於服務品質的提升以及與顧客建立關係上。第三，服務廠商在服務生產開始之前能夠提供越完整的資訊越好，適時地在顧客參與過程中給予激勵，並且展現對顧客的重視，都有助於顧客參與程度的提升。最後，服務人員在服務流程中扮演重要的角色，服務廠商在人才的培育上應不遺餘力。 / The proportion of the service sector in the industry today has become increasingly high. And because the production and consumption of many services are inseparable, customer participation in the service process is an inevitable issue. Bitner, Faranda, Hubbert, and Zeithaml (1997) also consider that customers play roles in the service delivery system as contributors to their own satisfaction and the quality and value which they receive. This study integrates views of the value creation of customer participation in the service process from past researches. Using data collected from customers who bought wedding photography services, this study examines how customer participation drives customer satisfaction through customer values; moreover, this study examines the antecedents of customer participation. 　　The result shows that customer participation does not cause customer satisfaction directly, but rather through the upgrading of service quality and relationship building, which supports the view of Chan, Yim, and Lam (2010). The study also finds that product customization, customer control, and experience value do not have significant help for increasing customer satisfaction. At the part of antecedents of customer participation, the study shows: (1) perceived support for customers not only enhances the level of customer participation, and has a direct impact on customer satisfaction; (2) customer self-efficacy is a good predictor of customer participation behavior. The effect of customer role clarity for customer participation is not significant in this study, but we should still consider the effect to be positive due to past researches. 　　The findings have several implications for firms that need high level of customer participation. First, companies should not see customers only as productive resources, but as contributors to service quality, customer value and customer satisfaction. Second, service firms should allocate resources to focus on enhancing service quality and building relationships with customers. Third, the service firms should provide as complete information as possible before the service production starts, encourage customers during the service process, and let the customer feel valued, in order to increase the degree of customer participation. Finally, the service personnel play an important role in the process of service delivery, so that service firms should spare no effort to nurture service talents.

Under 2000-talet har antalet vigslar stadigt ökat i Sverige. I den här studien berättar unga män och kvinnor i åtta heterosexuella par om sina bröllop, från det att beslutet om giftermål togs och tills bröllopsdagen är över. Hälften av paren gifter sig borgerligt och övriga enligt Svenska kyrkans vigselordning. Syftet med studien är att förstå den mening som unga vuxna skapar i sina bröllop och i berättelserna om dem. I analysen används reflexiv och narrativ metod kombinerad med teorier från religionssociologi, kultursociologi, familjesociologi, ritstudier och genusvetenskap. Studiens centrala resultat är att bröllop både förenar och skiljer människor åt. På mikronivå, två individer emellan, stärker giftermålet banden inom familjen. Detta gäller dels känslomässigt, dels juridiskt och ekonomiskt. Barnet är centralt i sammanhanget. Samtidigt finns det föreställningar om hur brud och brudgum ska bete sig och framträda i bröllopssammanhanget som kan ha en särskiljande effekt på man och kvinna. På mesonivå beskrivs särskilt den kyrkliga vigseln som ett bra tillfälle att samla släkt och vänner.  Flera borgerliga vigslar är däremot hemliga, i syfte att hålla släkt och vänner borta från dem. Själva riten har både en förenande och separerande effekt. Den samlar människor i en gemensam handling men upplevelsen av den är individuell och tolkningarna kan skilja sig åt från person till person. På makronivå, i samhället, framträder bröllopets enande betydelse i att samtliga som gifter sig blir en del av ett kollektiv genom att de följer normen för vad en ”riktig” familj är. Samtidigt separerar det de gifta från personer som inte är gifta vilket också kan ses som en av ritens funktioner. En jämförelse de två vigselgrupperna (borgerlig respektive kyrklig) emellan visar att det uppkommer en åtskillnad av människor som resulterar i två grupper, de som gör vad ”man ska” göra och de som inte gör det. Det stora kyrkliga bröllopet är normerande. Bröllopsnormen upprätthålls genom den offentliga mediala bröllopsberättelsen men kanske främst genom människors praktiker. På metanivå, inom forskningen, kan olika forskningsdiscipliner mötas i studier av bröllop, vilket avhandlingen är ett exempel på. Men tidigare forskning har närmast uteslutande fokuserat på de svenskkyrkliga vigslarna samt trenden med stora bröllop. Den här avhandlingen bidrar till synliggörandet av den vanligt förekommande, men publikt närmast osynliga riten; den lilla borgerliga vigseln. / In this study, 16 young Swedish adults share their personal stories about their weddings. The stories start with the couples’ decisions to marry and end with the individual experience of the wedding ceremony. Half of those interviewed have a civil ceremony and the rest marry in church. The study’s purpose is to understand the meaning that young adults create in their weddings and in their stories about them. In the analysis I use narrative and reflexive method combined with theories from sociology of religion, cultural sociology, sociology of the family, ritual studies and gender research. The key result achieved by the study is that weddings unify as well as create tensions. On the micro level, between two individuals, the rite is integrating. Interviewees justify their marriage with the argument that it strengthens ties within the family, in which children are a central part. This applies both to an emotional aspect and to a legal and financial aspect. At the same time, the stories contain notions of how the bride and groom should behave and appear in the wedding context, which may lead to conflicts between the man and woman. The bride is understood to be the main character and the man is supposed to play a supporting role. This legitimises a gender-based division of labor. On the meso-level, the wedding is experienced as a unifying force especially in the relationships of church wedding couples to family and friends. Several couples with civil marriages, however, do not want anyone else on their wedding and separates themselves from other people. On the macro-level, in society, unification appears in the interviewees’ experiences of being part of a collective, those who follow the norm for what a "real" family is. A comparison between the two wedding groups (civil and ecclesiastical) shows, however, one further aspect of tension. A distinction appears between human beings resulting in two groups: those who do the “right thing” (have a big church wedding) and those who do not. This leads to intersectional effects, concerning gender and class, on each individual. The integrating and separating effects of weddings are also seen on the meta-level, within academia. On the one hand, various research disciplines can meet in studies of weddings. But in the selection of the types of weddings that are studied, there are often priorities made that result in distinctions being made. Most studies focus on big weddings, and primarily on church weddings while the others are neglected. My dissertation contributes to the visibility of the common, but publicly almost invisible rite; the small civil wedding.

This diploma thesis deals with the issue of the written inheritance of the priest Martin Vích. It analyses and focuses on his written preparation for the preaching during liturgical year. The goal of this thesis is to bring a view about his preaching activity, and to get his characteristics, interesting images and ideas. The main section of this thesis is a practical part focused on an analysis of the preserved preaching in Christmas time, Easter time and in liturgical interim. The preserved preparation for the sacramental and funeral preaching is attached in conclusion. The thesis is also focused on a comparison with other preachers.

This research A Descriptive Visual Analysis of the Survival of Tamil Arranged Marriage Rituals and the Impact of Commercialism is a critical analysis of ritual performances as a key component of Tamil wedding ceremonies. These rituals are performed before, during, and after the wedding and are interrogated throughout in this dissertation. This research explored and attempted to identify the significance of ritual performances in Tamil people’s marriages of southern India. Through the documentation and unpacking of traditional Hindu wedding celebrations, this study examined how these ancient rituals have been influenced by the modern world. It explored how cultural beliefs are negatively impacted through the commercialisation of wedding ceremonies and how they justify the maintenance of ritual practice. Symbolic activities and ritual performances are studied and discussed throughout this study by observing various Tamil wedding ceremonies and conclusions are drawn through conversations with couples and parents who have participated in such events. The dissertation further explores the ways in which these rituals are ultimately reflected and represented in artistic practice, inspired by the works of various artists who engage with their mediums in a ritualistic manner. / Art History, Visual Arts and Musicology / M.VA (Art, History, Visual Arts and Musicology)

Dans les assemblées traditionnelles des Bapunu du Gabon, l’exercice de la parole constitue toujours un « événement de communication » (communicative event). Cette étude, qui porte sur l’art oratoire de ce peuple bantu d’Afrique centrale, en est une démonstration manifeste. À partir du cas de deux types de « palabre » à la fois différents et apparentés, à savoir le mariage traditionnel et le jugement coutumier, l’auteur nous plonge au coeur d’une rhétorique interactionnelle particulière. Il nous montre que l’art oratoire punu a un caractère tout à la fois dialogique et monologique : les orateurs, au cours de ces événements communicatifs, se donnent la réplique dans l’« espace de discours » qu’ils occupent tour à tour. Mais ces interventions ― contributions individuelles à l’échange ― correspondent, en fait, à des tirades au cours desquelles se déploient à la fois l’argumentation et un certain nombre de procédés rhétoriques qui mettent à contribution l’auditoire. / In ritualized encounters of the Bapunu in Gabon, there is no doubt that speech is always a communicative event. This dissertation deals with two types of speech events – traditional weddings and customary trials. In these two different though related events, the author gives evidence of a very specific interactional rhetoric. He shows that punu oratory presents aspects of dialogue and aspects of monologue all at the same time. In fact, each orator comes to take the « speechfloor » in order to answer other orator’s contradictions. But these dual contributions to the interaction are intrinsically tirades where argumentation is displayed, and some rhetoric processes are designed to seek the public’s reaction. On the whole, the demonstration leads us to a comprehensive and insightful approach to Punu oratory.

La question de la migration des Grands Comoriens trouve sa justification dans la quête d'amasser de l'argent pour réaliser le grand mariage, étape nécessaire à la reconnaissance de l'individu dans la hiérarchie sociale. L'étude se propose de suivre l'itinéraire des premiers migrants Comoriens , les fameux navigateurs de la compagnie des Messageries Maritimes, depuis l'île de Madagascar dans les années quarante jusqu'en France, ensuite de voir leurs conditions d'installation dans la ville de Marseille avant de se pencher sur la contribution de la diaspora au développement économique et social de la Grande Comore. La présence des Grands Comoriens à Marseille depuis les années quarante s'est accrue au fil du temps. Ils sont devenus au bout de trois décennies la plus importante communauté noire africaine dans la cité phocéenne et marquent discrètement leur territoire de leur identité et particularismes. Très fortement liés à son île, la diaspora de la Grande Comore est devenue, grâce à l’apport matériel et financier qu’elle transfère, un acteur incontournable pour le développement de celle ci (25% du PIB, apport plus important que l’aide extérieur au développement). Mais le spectre d’une grave crise rode, car rien ne garantit que les nouvelles générations vont maintenir les transferts parce qu’elles sont préoccupées davantage par leur intégration dans la société française que par des considérations villageoises. / The issue of Grande Comore diaspora is closely linked to the need to raise money for the big wedding, necessary step for the recognition of the individual in his society. The research proposes to approach the topic by following the itinerary of the first comorian migrants, the famous navigators in the Messageries Maritimes company, from Madagascar to France in the forties, then show the conditions of installation in the city of Marseille, and then analyze their contribution to the economic and social development of their country of origin. The presence of Grand Comorians in Marseille which began in the late forties, has intensified over the years. They became, over three decades, the largest black african community in Marseille and are emerging slowly with their identity and particularisms. Strongly attached to their island , Grande Comore diaspora has become an indispensable actor thanks to the financial and material contribution it brings today for the development of the island(25% GDP, more important than foreign aid to development). But the specter of a deep crisis threatens the Comoros: nothing garantees the continuity of transfers by new generations more concerned with their integration in France and less affected by village solidarity.

In der vorliegenden Studie, die von der Philologisch-Historischen Fakultät an der Universität Augsburg 2005 als Dissertation angenommen wurde, wird „erstmals ein repräsentatives Korpus von über 200 Hochzeitspredigtdrucken“ (Klappentext) im „Zeitalter der Konfessionalisierung“ erschlossen, deren ,sintflutartiges‘ Auftreten (S.1) bis ins frühe 17. Jahrhundert auf die „Neubewertung der Ehe […] für den europäisch-abendländischen Kulturkreis“ (ebd.) und damit zugleich dieses Übergangsrituals in seiner Verkirchlichung in den Konfessionskirchen des 16. Jahrhunderts (S.104–107) hinweist. Markgraf sichtete die zwischen 1520 und 1700 (S. 36) erschienenen Drucke aus der Herzog-August-Bibliothek Wolfenbüttel, der Staats- und Stadtbibliothek und der Universitätsbibliothek Augsburg und weist diese in einer umfangreichen Bibliographie (S.547–625) ausdrücklich für die „geschichtswissenschaftliche Forschung“ (S. 44) nach. Mit 177 Texten aus Wolfenbüttel und 50 Texten aus Augsburg bilden „mehr als die Hälfte der ermittelten Gesamtüberlieferung“ (S. 38) das Untersuchungskorpus, das letztlich – Überschneidungen herausgerechnet – aus 209 Einzeltexten und drei Sammeldrucken (mit je sieben bzw. zweimal 15 Drucken) besteht. Die „,reformatorischen Hauptschriften‘ und die Ehetraktate Luthers“ ,De bono conjugali (401) des Aurelius Augustinus und die Oeconomia christiana (1529) ergänzen das Korpus (S. 39).

Cross – cultural composition has been defined as the creation of a cultural synthesis of the old and new, traditional and foreign into philosophical, artistic, stylistic and aesthetic product that communicates to various audiences. The study adopted a mode of creativity / dynamic approach through the synthesis of traditional Samia marriage music and Western compositional techniques and approaches. To ground the study in the rich cultural traditions of the Samia people of Funyula Division in Western Province of Kenya, an anthropological documentation formed an important part of the study. The study adopted Absolute Formalism theory by Reimer (1989) based on component relationships in which different parts like harmony, melody, and text rhythm relate to one another to create unity. The study also incorporated Aesthetic Functionalism theory by Akuno (1997) on social functions in which; the contextual meaning of the composition was based. The study used the Accommodation theory on Convergence, Giles and Smith (Giles & St Clair, 1979) to unify the analogous aspects in the two stated theories. In the study, descriptive and creative designs were used to cater for the music and social context. In the descriptive phase, Samia marriage folk songs were collected from traditional performers, who were also, interviewed using a questionnaire. Purposeful and snowball sampling techniques were used to select twenty folk songs. They were recorded, transcribed and analysed for dominant traditional musical features and compositional promise. In the creative phase, lyrics were identified and reorganised, the prevalent features isolated and used. The result was a compositional inspiration on which the Marriage Suite was based. The ultimate product of the study was an artistic model framework that could guide the creation of art music using Kenyan traditional music idioms; accomplished through the Marriage Suite. To safeguard contextual and music fidelity, member checking was consistently maintained during data collection and creative phase. Rhythmic and melodic accuracy of the transcribed songs was ascertained by play backs using FINALE music notation. Social identity in the composition was taken into account through use of Samia music characteristics that included intervals, solo-responsorial aspects, overlapping entries, parallelism and common rhythmic patterns. / Art History, Visual Arts & Musicology / D. Litt et Phil. (Musicology)

L'œuvre principalement photographique de Kimiko Yoshida (née le 23 juin 1963 au Japon et installée en France depuis 1995) se fonde sur la création de « mythes» à travers ses autoportraits. Les « mythes du Photographe» à l'origine des « fonctions» de son œuvre - visant entre autres à « informer, représenter, surprendre, faire signifier, donner envie» selon Roland Barthes dans La chambre claire - trouvent leurs sources dans la société, la culture, l'époque auxquelles l'artiste appartient et par conséquent également dans ce qui touche à la singularité de la personnalité, du vécu, de l'histoire à l'échelle intime de celui-ci. De fait, le titre général de cette étude énonce une quête des « mythes personnels et pluriels dans l'œuvre de Kimiko Yoshida », dont le thème de « rentre-deux» constitue la posture esthétique majeure, l'artiste et son œuvre se trouvant entre Japon et Occident, entre figuration et abstraction, entre réalité et fiction, entre citation et transgression. Ce discours fictionnel par l'image et dans l'image subit différentes métamorphoses qui forment les quatre axes fondateurs de la thèse, à savoir l'entre-deux particulier du « personnage conceptuel» défini par Gilles Deleuze et Félix Guattari dans Qu'est-ce que la philosophie / appliqué à la « signature» Kimiko Yoshida : l'étude d'un entre-deux géographique et culturel définissant un « syncrétisme» artistique singulier: les illustrations des différentes dimensions spatio-temporelles perceptibles dans l ' œuvre de Kimiko Yoshida, notamment à travers les (enjeux des couleurs des images : et l'interrogation concernant la place du sujet à l'image, entre trace et absence. / The work of Kimiko Yoshida (born on June 23rd, 1963, in Japan and living in France since 1995), mainly based on photography, is founded on the creation of « myths ». This study is about searching, defining and analysing the « functions » of Kimiko Yoshida's self-portraits. The « myths of the Photographer », at the origins of her work's functions - aiming. amongst others, to « inform, represent, surprise, signify, create desire» according to Roland Barthes' Camera Lucida - are rooted in the society, the culture and the time the artist belongs to, and as a consequence also in the singularity of his/her personality, experience, and intimate story. Thus, the general title of this study brings forwards a research of « personal and plural myths in Kimiko Yoshida's work of art», whose topic of the « in-between » is the main aesthetic position, the artist and her work situated between Japan and the West between representation and abstraction, between reality and fiction, between quotation and transgression. The fictional speech through and in the image undergoes several transformations which make up the four founding lines of this thesis, that is to say the distinctive in-between of the « conceptual character » defined by Gilles Deleuze and Félix Guattari in Whut is Philosophy ) applied to Kirniko Yoshida's name : the study of a geographical and cultural in-between defining a singular artistic « syncretism » : the illustrations of the several perceptible space-time dimensions in Kimiko Yoshida's work, notably through the games/aims of the images' colours : and the questioning about the subject in the image, between trace and absence.