Customers in an Internet shopping environment actually play dual roles. One is the role as a customer in a shopping place, and the other is the role as a user of information…
Abstract
Customers in an Internet shopping environment actually play dual roles. One is the role as a customer in a shopping place, and the other is the role as a user of information technology. In both cases, the level of satisfaction is of great concern. In this vein, a way of measuring the satisfaction level that takes both roles into account is needed. However, in past research indexes for consumer satisfaction and indexes for user information satisfaction have been developed separately in the fields of marketing and management information systems. Because of this lack of interaction between the two streams of research, an index for electronic commerce consumers that has its base in the dual roles has not been developed and tested. In this research, an instrument for measuring electronic commerce consumer satisfaction was proposed and validated using a sample of over 400 customers. The relationship between the index and consumers’ purchasing intention was also examined.
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Fabiola H. Gerpott, Nale Lehmann-Willenbrock and Sven C. Voelpel
As intangible cultural heritage, traditional performing arts depend on transmission by individuals and collectives. The purpose of this paper is to explore how traditional…
Abstract
Purpose
As intangible cultural heritage, traditional performing arts depend on transmission by individuals and collectives. The purpose of this paper is to explore how traditional performers practice their arts in South Korea. The analysis focuses on the transformations of performance conventions and contexts, as well as on new genres that developed in response to heritage legislation and social change during the last 200 years.
Design/methodology/approach
Drawing on a wide array of existing ethnographic research, the paper compares processes of transmission and transformation of three different genres: the solo singing-storytelling genre pansori, the ensemble percussion-dance genre pungmul and the various regional forms of mask dance drama subsumed under the label talnori. The paper argues that the artists, who perform these genres, while not unaffected by the expectations of their audiences, have the power to transcend traditional boundaries.
Findings
Due to early professionalization in the nineteenth century, pansori performers could adapt to the changing contexts of market-oriented modernity and survive until governmental intervention in 1962. Pre-modern pungmul and talnori was performed primarily by and for rural communities, resulting in an interruption of transmission when these contexts disappeared and partial re-invention in the wake of official preservation legislation.
Originality/value
The need for repeated performance in historically varying contexts makes the analysis of performing arts particular fruitful for understanding how practitioners of tradition (have to) adapt to change. A historical-comparative perspective provides concise insights into the dynamics of development that informs tradition today. The inclusion of offspring genres (changgeuk, madang-geuk, samulnori) furthermore shows the potential of heritage development beyond the official system of preservation.