Purpose -This article seeks to develop a new framework to outline factors that influence the resolution of unfavourable service experiences as a result of double deviation. The focus is on understanding and managing complex service recovery processes. Design/methodology/approach -An inductive, explorative and narrative approach was selected. Data were collected in the form of narratives from the field through interviews with actors at various levels in organisations as well as with customers in a high-touch service industry. The data form the analysis of double and triple deviation situations and complex service recovery processes. Findings -The study identifies four factors that influence complex service recovery processes and outcomes in double deviation situations: communication, competence, time, and service system. The resulting theoretical conceptualisation of the recovery process from the customer's perspective emphasises customer perceived control, sense of coherence, and meaning. Together, these factors shape customers' perception of complex service recovery experiences. Research limitations/implications -The empirical study is limited to the context of restaurant services. However, the findings might generalise analytically to other labour-intensive, high-touch services that rely on face-to-face interactions between customers and the service employees in triple deviation situations. Practical implications -The different roles in a complex service recovery process must be managed constantly and in light of actors' resource integration in double deviation situations, as part of value co-creation. Service organisations should develop a shared understanding of what factors result in favourable complex service recovery processes, to avoid triple deviations. Originality/value -The paper offers extended understanding of complex service recovery processes through a new, empirically grounded conceptualisation of double service recovery to avoid a triple deviation.
The purpose of this article is to explore the narrative nature of organizational spaces and how these narratives influence human action. The study introduces a notion of 'narrating space' that emphasizes a narrative construction of space that is dynamic and performative. The study joins the recent material and spatial turn in organization studies where spaces are not considered merely as a container or a context to organizational action, but as a dynamic and active force. Design/methodology/approach: The study draws on the triadic conception of space of Henry Lefebvre (1991). Lefebvre developed three interconnected dimensions of space: conceived, perceived and lived space. Space can be conceived as an abstract architectural plan or perceived through the practice of space. The dimension that integrates these two is the lived space. Spaces are experienced through emotions, imagination and embodied sensations. Instead of being a passive object, spaces become active and performative through the human engagement. They carry narratives that change their form as time passes by. The study embraces aesthetic, embodied epistemology where sensuous perceptions are considered as valid knowledge. Findings: The study applies an aesthetic and dynamic approach to space and illustrates how spaces carry performative and processual narratives. These narratives are based on lived experience through personal, embodied experience, memories, and sensuous perceptions. The illustrations also show that narratives change over time. Theoretical implications: A narrating space concept is characterized by being subjective, dynamic, and temporal. Furthermore, it is pointed out that space is constructed through sense-based experiences.
Purpose – The purpose of this paper is to develop a visual perspective to the narrative management research by exploring the potential of drawings to construct organizational space. This study is explorative in nature and aims to open up a discussion on the importance of visuality within the narrative research. Visual narratives combined with written ones are constructed and analyzed in the paper. Design/methodology/approach – The empirical illustrations of visual narratives outline students’ first-time encounters of the university campus. Their drawings and stories are used to describe and analyze their personal and subjective experiences of how they relate to the campus space. The students were asked to recall the moment they encountered the university campus for the first time and to draw their memories on a paper. Furthermore, they were asked to describe the drawings in a written narrative. Following that, the storyline was identified through a content analysis of both the drawings and the written narratives. This participatory research approach considers informants as co-researchers in producing data and emphasizes the inter-subjective nature of the study. Findings – The study points out valuable aspects in visual narrative organization research. The drawings and written narratives were found to complement each other revealing different things of the experiences. The drawings were very rich and detailed. They captured and revealed emotions, symbolic meanings and interpretations that were not explicated in the written stories. Finally, categories of visual narratives on organizational space were developed. Originality/value – This study contributes to the development of visual methodology in narrative management research. Moreover, this paper provides a methodological contribution to study organizational space. It sheds light on the potential of using visual narrative materials, especially self-produced drawings to construct organizational space. The study develops and illustrates a visual research method that combines written narratives with drawings. The study points out the importance to involve the informants as co-creators of a narrative study to capture the emotional richness of visual narratives. The authors envision that visual aspects of narratives will be a future direction in the narrative research, because visuality may capture hidden emotional aspects, symbols and artifacts that are not easily revealed in the told or written stories.
This study investigates how spaces and places with no human interaction convey a sense of hospitality ‐ a phenomenon we term space-to-face (S2F) hospitality. By problematizing the traditional conceptualizations of hospitality that emphasize the role of human interaction, this study aims to highlight the spatial aspects of hospitality. Physical environment has commonly been investigated only as one dimension of hospitality. However, spaces and places where there is nothing but the physical environment to convey a sense of hospitality are becoming increasingly common. For instance, railway or bus stations with ticket machines have no human interaction but a space and a place to convey a sense of being welcome or unwelcome. Using a participant-generated photography, this study was built on empirical data from 46 participants, who provided 234 photos and associated descriptions of perceived hospitality in spaces and places. As a result, we found six dimensions under macro and micro layers that capture S2F hospitality: domesticity, cleanliness, safety and security, restrictedness, intactness, and functionality. As a contribution, this study broadens the views on hospitality, and explores the concept of S2F hospitality that is relevant to for all types of spaces and places.
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