In today's business environment, customer service is more critical than ever. It is a major factor when consumers decide where to take their business. However, consumer choice is not applicable to all businesses for example, public utilities. Consumers do not have a choice in picking which utility company provides them service; the choice depends upon local jurisdictions and predetermined service territories. This lack of choice creates a "forced relationship" between consumers and public utilities. Because the nature of this relationship can have a negative impact, public utilities need to reevaluate their approach and invest in effective customer service as a valuable tool to achieve their organizational goals. This study investigates the need for public utilities to expand their investment; explores the available avenues to expand their investment; and offers a recommended pathway with the features and interface to expand their investment. Technology is the key in achieving organizational goals as it can reengineer internal and external operations. Self-service technology (SST) along with the features of gamification enable an organization to reengineer both its internal and its external operations. Companies can shift work from employees to customers and develop new mediums for customer service interaction. Overall, three investments are analyzed: traditional call centers, online, and mobile. The analysis focuses on available features and how those features affect the achievement of organizational goals. Two studies comprise interviews with utility representatives and a customer survey completed to reinforce findings. Based on the research, a smartphone application is the best option to enhance customer service while addressing all organizational goals.

In this essay, I set out to explore and analyze how Shirley Jackson’s The Haunting of Hill House, and the character of Eleanor Vance in particular, disrupts and redefines the traditional conventions of the Female Gothic within the context of the 20th century. I utilize Tania Modleski's gendering of Freud's theory of psychoanalysis in her exploration of the ‘Female Uncanny,’ arguing that the source of the Uncanny in the Female Gothic can be found in the "fear of being lost in the mother." I argue that Jackson's complex personal life, including her fraught relationship with her mother and her difficult marriage with literary critic Edgar Hyman, color her fiction and the primary motivations of her protagonist, Eleanor Vance. I also outline the traditional structure of the Gothic novel and the heroine's journey. With the necessary context provided, I then explain how Eleanor Vance’s character rejects these Gothic traditions and ushers in a new era of Female Gothic fiction.

This paper explores the intersection of female madness and Gothic space in four pieces of Gothic media: Jane Eyre written By Charlotte Brontë, "The Yellow Wallpaper" written by Charlotte Perkins Gilman, Carrie (1976) directed by Brian De Palma, and Midsommar (2016) directed by Ari Aster. In these texts, female characters find themselves driven “mad,” either by their own design or from outside influences. While the madness presents itself differently in each text, they all share common elements, especially in terms of Gothic space. Each text sees its madwoman affected by the environment around them whether it is explicitly stated in-text or not. Gothic space acts as both a metanarrative on the characters’ lives and emotions, and as literal, physical spaces that the characters inhabit and interact with. Oftentimes, what the character cannot express is told through the environment around her. Feelings of suffocation, misery, entrapment, and repression are represented in and through haunted homes, quasi-asylums, closets, schools, attics, and sun-lit fields. In analyzing all four texts individually and in relation to one another, this paper also argues for the presence of a paradox inherent in the cultural formation of female madness. In each text, all written/created across 200+ years, a common theme emerges. Though the expression of madness for the women in each text is a freeing and liberating experience, they also meet tragic and often violent ends. The madness exhibited in each text is both a response to and an expression of trauma - resulting in either victimization or villainization for the women who succumb to it. The end result depicts women who have been physically, mentally, and emotionally destroyed from their own madness. In freeing themselves, they unknowingly and unintentionally subject themselves to further pain and misery.