Georgia Stavraki

Dr Georgia Stavraki


Senior Teaching Fellow in Marketing and Programme Director of the MSc Strategic Marketing
PhD in Consumer Behaviour, Fellow of the UK Higher Education Academy
+44 (0)1483 682111
05 MS 03
Student feedback and consultation hours: Please see the Teaching section

Academic and research departments

Department of Marketing and Retail Management.

Biography

Biography

Georgia Stavraki holds a PhD in Consumer Behaviour, an MSc in Informatics and Management, and a BSc in Economics from the Aristotle University of Thessaloniki, Greece. Her research focuses on the use of collage visual data as an arts-informed inquiry for understanding consumer behaviour phenomena, consumers' identity projects, and aesthetic experiences.

Research interests

Georgia's research interests lie in the areas of collage methodology in consumer behaviour, consumers' identity projects, and aesthetic experiences.

Teaching

  • MAN2094 Marketing Communications (UG)
  • MAN3136 Retail Consultancy Project (UG)
  • MANM047 Consumer Behaviour (PG) - Module Leader
  • MAN2110 Consumer Behaviour (UG) - Module Leader
  • MSc dissertation supervisor

Student feedback and consultation hours: 

Semester 2

•Please use the zoom link provided for the office hours on your respective module areas on SurreyLearn. If you are a personal tutee of mine you will receive the zoom link via email. In any other case, please email me to provide you with the link.

Departmental duties

Programme Director of the MSc in Strategic Marketing

My qualifications

PhD in Consumer Behaviour
MSc in Informatics and Management
BSc in Economics

My teaching

My publications

Publications

GEORGIA STAVRAKI, IOANNA ANNINOU (2022)Arts-based methods in business education: A reflection on a photo-elicitation project, In: Management learning Sage

This paper addresses research calls to explore the theory and practice of arts-based methods in business and management education to better understand the learning processes and the ways of knowing that these methods generate. By focusing on photo-elicitation as a pedagogical tool, we problematize an insufficient focus of current discourses on its arts-based origins and revisit photo-elicitation from an arts-based perspective. Based on a reflective account emerging from our teaching experience with photo-elicitation as an assessment strategy we provide a conceptualization of photo-elicitation as an (experiential) learning and teaching tool. This conceptualization teases out under-theorized elements (i.e. doing, power, multiple framing of meaning, audience) of the method and surfaces overlapping stages of a photo-elicitation learning process. We also offer novel insights into students’ encounters with the photo-elicitation method, thus illustrating the role of the method’s arts-based elements in understanding how learning occurs in such a context. Implications are also provided contributing to an understanding of the value of arts-based methods to the theory and practice of management education.

Emmanuella Plakoyiannaki, Georgia Stavraki , Vasiliki Tsapi (2022)The artist and the photograph: A semiotic analysis of consumers' experiences with photographs, In: Qualitative Market Research: An International Journal Emerald

Purpose This study aims to address research calls to investigate how (visual) consumption experiences carry and convey meanings to individuals. Applying McCracken’s meaning transfer model to a photographic exhibition, the authors expand this model into the realm of aesthetic experiences to explore how the meaning of such an (visual) experience emerges and flows to (novice and expert) consumers. Design/methodology/approach This research uses an interpretive case study of the photographic exhibition “Facing Mirrors” hosted as part of the Biennale of Contemporary Art, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records. Findings The evidence highlights the moveable nature of meaning within an aesthetic context and illustrates the critical role of semiotics and of the different ritualistic behaviors enacted by novice and expert visitors as a means of unfolding and creating the meaning of such an experience. Research limitations/implications The findings provide implications in terms of (co-)creating authentic, immersive and meaningful (brand) experiences in the fields of visual consumption and customer experience management. Practical implications Practical implications to arts organizations are also provided in terms of curatorial practices that emphasize the material, emotional and dialogic nature of photographs as a visual art form. Originality/value The study provides new insights into (visual) consumption experiences by bringing the meaning transfer model together with a semiotic approach, thus illustrating different performances and sense-making activities through which (expert and novice) visitors (co-)create and appropriate the value of their aesthetic experiences.

Georgia Stavraki, Emmanuella Plakoyiannaki, Jackie Clarke (2018)The appropriation cycle: Novice and expert consumers, In: European Journal of Marketing52(9/10)pp. 1886-1908 Emerald

Purpose – Recognising the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research generates a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience. Design/methodology/approach –This research employs a single case study design of Miró’s blockbuster exhibition and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records. Findings – An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and of personal versus communal interpretations – amongst other features - in distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital. Research limitations/implications – The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences. Practical implications – The empirical investigation of the understudied connection between visitors’ cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences. Originality/value – The research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers’ cultural capital with the appropriation process and interpretive responses to an aesthetic experience.

Additional publications