Using projective techniques to tap into consumers' feelings, perceptions and attitudes ... getting an honest opinion

An investigation into customer loyalty to food retailers posed a methodological problem namely how to delve beneath the surface and access consumers' unspoken feelings, perceptions, attitudes and values. This paper explains how four different projective techniques were used to access the thoughts and feelings of 160 interviewees in order to obtain a thorough understanding of the interviewees' satisfaction with their 'main' food retailer and to characterize the relationship between the customer and retailer. A brief description of the use, analysis and examples of cartoon friends, word association, personification and mini case studies was provided in order to describe their role in the data collection process.

Attitudes, norms, identity and environmental behaviour: Using an expanded theory of planned behaviour to predict participation in a kerbside recycling programme

In an effort to contribute to greater understanding of norms and identity in the theory of planned behaviour, an extended model was used to predict residential kerbside recycling, with self-identity, personal norms, neighbourhood identification, and injunctive and descriptive social norms as additional predictors. Data from a field study (N = 527) using questionnaire measures of predictor variables and an observational measure of recycling behaviour supported the theory. Intentions predicted behaviour, while attitudes, perceived control, and the personal norm predicted intention to recycle. The interaction between neighbourhood identification and injunctive social norms in turn predicted personal norms. Self-identity and the descriptive social norm significantly added to the original theory in predicting intentions as well as behaviour directly. A replication survey on the self-reported recycling behaviours of a random residential sample (N = 264) supported the model obtained previously. These findings offer a useful extension of the theory of planned behaviour and some practicable suggestions for pro-recycling interventions. It may be productive to appeal to self-identity by making people feel like recyclers, and to stimulate both injunctive and descriptive norms in the neighbourhood.

“Authentic Reproductions”: Staging the “Wild West” in Modern Irish Drama

This article examines two metatheatrical plays written by playwrights from the north of Ireland that bookend the twentieth century. The first is Ulster Literary Theatre (ULT) playwright Gerald MacNamara’s parodic, “proto-Pirandellian”4 The Mist That Does Be on the Bog (1909), which satirizes the peasant aesthetic of the “Abbey play” of the Irish Revival.5 The second is Marie Jones’s international hit, Stones in His Pockets (1999), a “play-full,” postmodern deconstruction of the commodification of Irish culture in the era of the Celtic Tiger. Although separated by exactly ninety years, the two plays can be connected through their critiques of the cultural politics of nationalism and globalization during the periods of the Irish Revival and the Celtic Tiger, respectively. Moreover, both plays are distinguished by their dramaturgical form, as the political critique of each is corporeally embodied in metatheatrical performance.

The Advent of Modern Irish Drama and the Abjection of Peasant Popular Culture: Folklore, Fairs and Faction Fighting

This paper is part of a larger project in which the author is interested in recovering popular performative traditions and practices that have been occluded by the modernist project of the Irish Revival. This erasure has been compounded by subsequent historiographical paradigms that have reinforced the revivalist narrative of theatre history and excluded indigenous forms, traditions and practices (mumming, rhymers, strawboys) along with the wider performative culture of patterns, wakes, fairs, faction fights etc. This essay subjects to scrutiny what the author sees as a disjuncture between the riotous reality of peasant popular culture and its representation in Revivalist dramas to argue that Irish Theatre Studies needs to develop alternative historiographies of performance and to methodologically engage with theoretical models extant in Performance Studies.