The Gendering of Religious Experience : Ecstatic Trance in Cheondogyo

Kirsten BELL Ewha Womans University Press 2003 Asian Journal of Women's Studies(AJWS) Vol.9 No.2

Cheondogyo is a Korean religion which espouses a central doctrine that has often been labelled 'radically egalitarian.' However, although religious ideologies emphasize gender equality, in practice these themes are translated in ways that seem to limit women's access to power. These gender differences are most apparent in ecstatic trance, which occurs reasonably often during religious training sessions. While legitimized by the religion's founder as a key source of spiritual enlightenment, the more boisterous forms of ecstatic trance are viewed with hostility. Because these forms of trance are exclusive to women, this condemnation of ecstatic trance becomes a condemnation of a largely female expression of religiosity. Moreover, ecstatic trance is seen to confirm a female affinity for instinctive spirituality, which deems them unsuitable for the types of leadership positions currently dominated by men.

Fluid-Electrolyte Balance : Effect of Angiotensin 2 and Nitric Oxide on H(+)-ATPase Activity in the Mammalian Collecting Duct

( Kirsten M. Madsen ),( Akihiro Tojo ),( C. Craig Tisher ) 대한신장학회 2000 춘계학술대회 초록집 Vol.19 No.2

THE INFLUENCE OF BRANDED RITUALS ON LUXURY PRODUCT CONSUMPTION PRACTICES: IMPLICAITONS FOR ADVERTISING

Kirsten L. Cowan,Nathalie Spielmann 글로벌지식마케팅경영학회 2016 Global Marketing Conference Vol.2016 No.7

Luxury brands embed meanings in advertising and encourage brand/category ritualistic behavior (Johar, Holbrook, & Stern, 2001; Otnes & Scott 1996). The ritualization of a luxury brands, such as champagne, is important because rituals encourage transformation and status attainment (Driver, 1991; Otnes & Scott, 1996). Yet, do all luxury consumers interpret the rituals communicated in advertising similarly? We consider Collins (2004) Interaction Ritual Theory (IRT) to examine how advertised rituals transform consumption practices of luxury products. We used a hermeneutic phenomenological research method (Langdridge, 2007), collecting data (interviews and photos) from 18 informants (Atkinson & Flint, 2001) using a two-tier collection strategy (see Ziller, 1990). After informants provided images of champagne (see Collier & Collier, 1986; Heisley & Levy, 1991), semi-structure interviews were conducted. The questions related to topics such as champagne sharing, ritual influence, image descriptions, and personal consumption. The data were analyzed using a grounded theory approach (Glaser, 1978), inductively coded based on IRT’s conditions. A thematic analysis of the images was also conducted (Fereday & Muir-Cochrane, 2006) as was an iterative analysis of the transcripts. The researchers separately and then together analyzed the images and transcripts to determine similarities, understandings, and interpretations of emergent themes. Consistent with taste regimes literature (Arsel & Bean, 2013), we find champagne consumption is also practiced and ritualized according to two types of regimes. Within an open regime, informants experience champagne as a medium for engaging with limited individuals, with the product as the kernel of the experience. The open regime is a negotiated (beyond what is advertised) ritual that can be explored and extended. Alternatively, a closed regime represents a more stagnant system of social interaction, emerging as a product of the situation, often a celebration (as typically advertised). Those practicing a closed regime banalize the ritual, have hegemonic discourses related to product, and have more difficulty naming brands. Consumer’s luxury brand expectations, including rituals, are often interpreted through advertising and brand-created communications. Understanding how consumers integrate brand messages into rituals with the products and brands as well as the brand role in rituals is important. While it can be hard for brands to know their target customers’ ritual regime, brands may choose varied communications approaches to reach both consumer types. Either way, consumer expectations of open regimes are likely built through advertising, while closed regimes are built through special events and intensive distribution strategies.

Cheondogyo and the Donghak Revolution

Kirsten Bell The Academy of Korean Studies 2004 Korea Journal Vol.44 No.2

ROLLING OUT THEGREEN CARPET: EXPRESSING UNIQUENESS THROUGH ECO-FRIENDLY CLOTHING SELECTION

Kirsten Cowan,Tammy Kinley 글로벌지식마케팅경영학회 2016 Global Marketing Conference Vol.2016 No.7

Conflicting accounts of environmentally-friendly motives exist (see Chan, 2001; Hartmann & Apaolaza-Ibanez, 2012; Haws et al., 2014; Johnstone & Tan, 2015; Rashid, 2009; Royne et al., 2013). Recent research has turned to identity-society explanations (see Park & Lee, 2016). This research furthers this inquiry and narrows the gap. To understand environmentally-friendly clothing options (EFCO) motives better, this study uses uniqueness theory, which posits that consumers adopt dress different from mass fashion simply because it is unpopular (Snyder & Fromkin, 1977; Tian et al., 2001). Accordingly, environmentally-friendly attitudes should have nothing to do with the environment, but with norms, conformity, pressure (Law et al., 2004), and uniqueness. Thus, the research questions consist of: 1) is need for uniqueness in dress related to EFCO purchase intentions? 2) If so, does uniqueness relate to other EFCO motives? A survey was administered (n=220), using existing scales, to an online consumer panel All scales exhibited sufficient reliability. Pearson-Product Moment Scores and ANOVAs were used to assess variable relationships. As predicted, concern for the environment and perceived individual impact on the environment were unrelated to need for uniqueness. There was a significant and positive relationship between need for uniqueness and each of: attitudes toward EFCO and social pressure to act green. This indicates that individuals feel social pressure from important others to adapt to consumer trends. However, the manner in which they adopt mass consumer movements, such as sustainability, may be in more unique ways and via unpopular choice, such as EFCO. Finally, an ANOVA indicated that those high in uniqueness were willing to pay substantially more for EFCO.

MODERN VERSUS TRADITIONAL LUXURY BRAND DIGITAL STRATEGY

Kirsten L. Cowan,Alena Kostyk 글로벌지식마케팅경영학회 2018 Global Marketing Conference Vol.2018 No.07

Introduction With most consumers in developed countries actively using Internet in their daily lives (International Telecommunication Union, 2017), and billions of monthly active social media users (Facebook, 2017; Instagram, 2017), businesses across the globe work to ensure their efficient representation in the online environment. For luxury brands, digitalization poses unique challenges. While some luxury brands fully embrace the digital environment, whether through designing memes for their social media campaigns (Gucci, 2018), or through selling their luxury products via online channels (Vacheron Constantin, 2018), other luxury brands avoid digitalization. Some marketers suggest that “digitalization of luxury brands” is somewhat paradoxical, since customers of luxury brands expect exclusive access, insider knowledge, and more personalized, intimate service than online environment can offer (Deloitte Touche Tohmatsu Limited, 2015; Hennings, Wiedmann, and Klarmann, 2012; Popomaronis, 2017). Considering that “one size” does not fit all in marketing, could it be the case that digital presence has favorable impact on some luxury brands, but not on others? Brand personality, culture and values of luxury brands can work to create a traditional, or a more modern, brand image (Azoulay & Kapferer, 2003; Madhavaram, Badrinarayanan, & McDonald, 2005). It seems reasonable to assume that more modern luxury brands are expected to modernize, even in a digital capacity, while traditional luxury brands are expected to be resilient to change. In other words, digitalization might be perceived differently by customers of traditional luxury brands versus modern luxury brands. However, luxury brand literature is silent as to how these brands should engage audiences online. The primary goal of this paper is to determine whether digital presence leads to differential consumer outcomes depending on the luxury brand identity. Theoretical Development It is universally accepted that the online environment is one of the key factors impacting consumer outcomes in our digital age (Darley, Blankson, & Luethge, 2010). Specifically, brand website quality, interface, experience and website satisfaction all have a strong influence on the consumer decision process, and determine how consumers engage with and obtain knowledge of a brand (see Darley et al., 2010 for a review). Moreover, navigation and convenience of the brand website environment were found to be important predictors of consumers’ attitudes (Childers, Carr, Peck, & Carson, 2001). In fact, when it comes to evaluating brands and their websites, consumers are driven by three factors: website functionality (e.g., navigation), psychological factors (e.g., trust and feelings of reliability/professionalism), and content (e.g., website design) (Constantinides, 2004). At the same time, these three driving factors in website evaluation (i.e., functionality, psychological factors, and content) help build the brand identity, and create a specific brand image through brand presentation style, and the relationships created with customers (Nandan, 2005). A strong component of brand identity is brand personality. Using Aaker’s (1997) brand personality dimensions as a starting point, Heine (2009) developed a luxury brand personality scale, identifying the following traits: modernity, eccentricity, opulence, elitism, and strength. The first trait, modernity, refers to the temporal perspective of the brand, ranging from modern to traditional. ”Traditional” can mean conservative, classic, and old-fashioned, yet luxury brand positioning is often based on tradition, which results in low modernity (Esteve and Hieu-Dess, 2005; Mutscheller, 1992; Vernier and Ghewy, 2006; Vickers and Renand, 2003; Vigneron and Johnson, 2004). The concept of a “modern brand,” on the other hand, elicits associations such as contemporary, trendy, and progressive. For luxury brands, while Donna Karan New York would identify as a modern brand, Hermes provides an example of the traditional brand. Past research indicates that modern brands are more symbolic, embody conspicuousness, and do not require luxury knowledge. Furthermore, modern brands are often deemed more exciting (Aaker, 1997) and creative (Roux, Tafani, and Vigneron, 2017). In contrast, a traditional brand requires craftsmanship, represents aesthetic possession, and requires knowledge (Pitt, Berthon, Parent, and Berthon, 2001). While Kapferer (1998) considers that tradition and modernity are part of luxury brand identity, and thus strategy, only recent evidence demonstrates that luxury brand image can influence consumer evaluations and decision making (Roux et al., 2017). We suggest that luxury brand identity should impact the digitalization strategy of the luxury brands. First, even though past research suggests that e-commerce and use of social media bodes well for luxury brand strategy (Godey et al, 2016; Lee and Walkins, 2016), we argue that for modern (vs. traditional) luxury brands, digitalization and social media presence is viewed more negatively. This is due to the fact that modern brands are more symbolic, that is a sign of affluence (Pitt et al., 2001), and linked more closely to the trait of exclusivity (Roux et al., 2017). When negative attitudes of the modern luxury brand consumers arise, they will result in lower evaluations of the brand digitalization efforts (e.g., brand website). Formally, H1: Exposure (vs. no exposure) to the brand’s social media page will lead to lower (vs. higher) brand website evaluations for the consumers of a modern (vs. traditional) luxury brand. Given that consumers can express love for brands and designate status to brands, their overall relationships with a brand can influence brand website evaluations. However, consumers could attribute higher or lower value to a brand’s identity in the online environment, thereby determining the success or failure of luxury brand digital strategy (Quach and Thaichon, 2017). More specifically, consumers might perceive brand website to be an integral part of a modern brand’s image, and might not see a website as a critical component of a traditional brand’s image. In other words, a website of a modern brand might be subject of higher scrutiny than that of a traditional brand, and thus might be more dependent on the overall consumer attitudes towards the brand. Therefore, we propose that brand love can attenuate the negative influence of digitalization on website evaluations for a modern brand. As such, H2: For a modern luxury brand, high (vs. low) brand love will increase (vs. decrease) website evaluations. No such relationship exists for a traditional luxury brand. Study 1 One hundred and forty-six French participants were recruited on social media (Mage = 28; 71.9% female) to participate in a survey conducted in French about luxury brands. Participants were randomly assigned to one of four conditions in a 2 (Luxury brand: modern vs. traditional) x 2 (Social media page: shown vs. not) between-subjects experimental design. After viewing the website for either the brand identified during the pretests as traditional (Hermes) or modern (Celine), participants in the “social media page: shown” condition viewed the target brand’s Instagram page. Participants in “social media page: not shown” condition immediately proceeded to the study questionnaire. Following this, all participants responded to the questionnaire measuring the dependent variable, Website evaluations, on a 3-item 7-point scale (“How would you rate this website on the following features: design, navigation, and professionalism”, 1 - very negative and 7 - very positive; α = .94; Constantinides, 2004). Next, participants responded to two covariates, including two 7-point Likert-type items to capture Luxury brand knowledge (e.g., “I know more about luxury brands than most other people”; r = .96; p < .001; Mueller, Francis, & Lockshin, 2008), and one item measuring Luxury shopping habits (“How often do you buy luxury goods?”, 1 - more than once a month and 7 - never). Social media usage, as it pertains to this study in particular, was measured as a covariate on a one-item scale (“How often do you use social media?”, 1 - several times a day, 4 - at least once per month). Lastly, demographics were captured. An ANCOVA with the Luxury brand (0 - traditional brand, 1 - modern brand) and the Social media page (0 - not shown, 1 - shown) as the independent variables, Luxury brand knowledge, Luxury shopping habits, and Social media usage as covariates, and Website evaluations as the dependent variable yielded a significant 2-way interaction (F(1, 144) = 3.91; p = .05), driven by main effects of Luxury shopping habits (F(1, 144) = 5.28; p = .02) and Social media usage (F(1, 144) = 6.75; p = .01). The means revealed directional support that the traditional brand website was evaluated more favorably (M = 5.59) than that of the modern luxury brand (M = 5.38). Planned contrasts revealed that for those who saw the social media page, the Website evaluations were higher for the traditional brand (M = 5.56, SD = 1.48) than the modern brand (M = 5.10, SD = 1.88; F(1, 144) = 1.76; p = .06). For those who did not see the social media page, Website evaluations did not differ for the modern (M = 5.68, SD = 1.52) or traditional luxury brand (M = 5.63, SD = 1.53; F(1, 144) < 1). Moreover, for the traditional brand, the social media page did not influence Website evaluations (M = 5.56, SD = 1.48 vs. M = 5.63, SD = 1.53 for shown vs. not shown; F(1, 144) < 1). On the other hand, for the modern brand, Website evaluations were lower for those who saw the social media page (M = 5.10, SD = 1.88) versus did not see the social media page (M = 5.68, SD = 1.52 F(1, 144) = 2.61; p = .02). Thus, the modern brand was more influenced by digital strategies than the traditional brand, such that for the traditional brand, viewing the social media page did not influence the website evaluations. In contrast, viewing the Instagram page of the modern luxury brand had a negative influence on luxury website evaluations. The modern brand website, specifically, was viewed as less aesthetically pleasing, and less professional, after viewing the brand’s Instagram page. We speculate that this is because the luxury brand was seen as less rare, and special, after viewing its social media page, and these negative associations affected downstream consumer judgments when evaluating the brand website. Study 2 To formally test hypothesis two, European consumers speaking English were recruited via social media to participate in a study on luxury brands. An experiment using a 2 (Luxury brand: modern vs. traditional) x (Brand love, continuous) between-subjects design was undertaken. The Luxury brand variable was manipulated by exposing participants (N=128; Mage = 21; 60% female; 63% German) to one of the two brands recognized as either more modern (Chanel) or more traditional (Hermes). The dependent variable, Website evaluations, was measured as in study 1 (α = .77). Participants also responded to two 7-point Likert items measuring Brand love (e.g., “I love the brand whose website I just visited”; r = .75; p < .001; Bagozzi, Batra, and Ahuvia, 2014), and two covariates of Luxury brand knowledge (r = .9; p < .001) and Luxury shopping habits. Lastly, demographics were captured. A regression using PROCESS Model 1 with the Luxury brand (0 – traditional brand, 1 – modern brand) and mean-centered Brand love as the independent variables, Luxury brand knowledge and Luxury shopping habits as covariates, and Website evaluations as the dependent variable yielded a significant 2-way interaction (β = .38; t = 1.82; p = .07) driven by a main effect of the Luxury brand, so that the website of the traditional brand was evaluated more favorably (M = 5.85) than that of the modern brand (M = 4.88; β = - .98; t = -3.13; p = .002). Planned contrasts revealed that when Brand love was low, Website evaluations were greater for the traditional brand (M = 5.84) than the modern brand (M = 4.28; β = -1.56; t = -3.86; p = .0002). However, there was no difference in Website evaluations when Brand love was high (M = 5.87 vs. M = 5.47 for traditional vs. modern, respectively; β = -.40; t = -.82; p > .4). Moreover, for the traditional brand, Brand love did not influence Website evaluations (M = 5.85 vs. M = 5.87 for low vs. high brand love; β = .01; t = .08; p >.9). On the other hand, for the modern brand, Brand love had a positive impact on Website evaluations, such that evaluations were higher when Brand love was higher (M = 5.47) versus lower (M = 4.28; β = .39; t = 2.40; p = .018). Thus, luxury brand websites emanating from traditional brands are more widely accepted than those from modern brands. Additionally, these results support hypothesis two that brand love attenuates lower website evaluations for the modern luxury brand while not influential of evaluation of the luxury brand website for traditional brands. Important for the modern luxury brand, brand love should be high for brands pursuing digital strategies. Conclusion In sum, the findings from the two experiments indicate that digital techniques employed by traditional luxury brands are more widely accepted than those of modern brands. Specifically, the findings reveal that while social media pages can detract from the evaluations of the modern luxury site, they do not influence the evaluations of the traditional luxury site (study 1). Given that one of the benefits of luxury brands’ sharing of content in a digital environment involves facilitating brand love, it is imperative for modern luxury brands to garner high brand love. After all, brand love increases site evaluations for modern luxury brands (study 2). Using appropriate brand identity interface to communicate brand identity to the brand contacts is important in building brand equity (Madhavaram et al., 2005), especially in the domain of luxury brands, where brand equities amount to billions of dollars (Quach and Thaicon, 2017). Therefore, understanding how best to use digital interfaces is paramount to luxury brand strategy.

The synthesis of carbon nanotubes from M?ller clusters

Kirsten Edgar,John L. Spencer 한국물리학회 2006 Current Applied Physics Vol.6 No.3

Carbon nanotubes may be synthesised by chemical vapour deposition over supported Mu¨ller clusters. A variety of both clusters and¨ller clusters catalyse the synthesis of very limited amountsof multi-walled nanotubes whereas ironmolybdenum Mu¨ller clusters catalyse the synthesis of single-walled nanotubes when supportedon alumina or magnesia.

The Burghelea-Friedlander-Kappeler-gluing formula for zeta-determinants on a warped product manifold and a product manifold

Kirsten, Klaus,Lee, Yoonweon American Institute of Physics 2015 Journal of mathematical physics Vol.56 No.12

Teaching ESL K-12: Views from the Classroom

Kirsten Reitan 대한영어교육학회 2003 Korea TESOL Journal Vol.6 No.1

Characteristics of Drift Pumice from New Caledonia Beaches

Kirsten Ngaire Nicholson,Ariel Stewart 한국해양과학기술원 2016 Ocean science journal Vol.51 No.4

Siliceous drift pumice was collected from a total of 40 beaches around the main island of New Caledonia, Southwest Pacific, in order to determine its provenance. New Caledonia is enclosed by a barrier reef lagoon whose 2008 designation as a UNESCO World Heritage Site brought attention to the environmental degradation caused by a century of open cast nickel mining. The frequent, voluminous pumice eruptions in the Southwest Pacific provide ample source material that is somewhat durable, highly transportable in water, and easy to collect and analyze. Geochemical and mineralogical analyses were used to identify the source of the pumice in order to map the transport vector across the open ocean and into the lagoon. Drift pumice was sampled during 2008 and 2010. The mineral assemblage of the pumice was consistently calcic plagioclase, clinopyroxene, orthopyroxene, and opaque minerals. All of the pumice was of fairly uniform geochemistry: low in mafic elements, low in alkalis, with LILE enriched compared to HFSE, and negative Eu, Ti, and Zr anomalies. The pumice is predominately dacitic and tholeiitic. This geochemical signature was consistent with published data from the Tonga arc, which is further supported by the mineralogy. With the exception of two samples (which probably came from either the Kermadec arc or Vanuatu) all of the pumice comes from the Tonga arc. The samples from 2008 are consistent with pumice erupted from Metis Shoal in 2006, and the majority of 2010 samples are consistent with pumice erupted from an unnamed volcano (0403-091) that erupted in 2001.