This is a self-archived – parallel published version of this article in the publication archive of the University of Vaasa. It might differ from the original.
How Portuguese consumers evaluate packages of OTC medicines
Author(s): Cântara, Sónia; Kauppinen-Räisänen, Hannele; Sá, Daniel Title: How Portuguese consumers evaluate packages of OTC medicines Year: 2018
Version: final draft (aam, post-print)
Copyright Ensilis – Educação e Formação, Unipessoal, Lda
Please cite the original version:
Cântara S, Kauppinen-Räisänen H, Sá D. (2016). How Portuguese consumers evaluate packages of OTC medicines. Portuguese Journal of Marketing / Revista Portuguesa de Marketing. 19(36), 59-74. Retrieved from
http://search.ebscohost.com/login.aspx?direct=true&db=buh&AN=12 7307252&site=ehost-live.
This is a so-called personal version (author's manuscript as accepted for publishing after the review process but prior to final layout and copy editing).
Cântara, S., Kauppinen-Räisänen, H., and Sá, D. (2016). How Portuguese consumers evaluate packages of OTC medicines. Revista Portuguesa de Marketing, Vol. 19 No. 36, pp. 59-72. (Published 12.1.2018)
Readers are kindly asked to use the official publication in references.
___________________________________________________________________________
Como avaliam os consumidores de automedicação as embalagens de
medicamentos não sujeitos a receita médica
País de origem, reputação do fabricante, medicamentos não sujeitos a receita médica, embalagem, design da embalagem, consumidores de autocuidado
How Portuguese consumers evaluate packages of OTC medicines
Country of origin, producer reputation, OTC medicines, packaging, packaging design, self-care consumers
Sónia Cântara, Hannele Kauppinen-Räisänen, Daniel Sá
Resumo Abstract
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1. Introduction
ǡ ǡ
ȋǤǤǤǡʹͲͳ͵ȌǤ
ǡ
Ǧ ǤǦ ǯǦǤ
ǦǯǤ
ǡ ǡ
ǡ ȋǤǡʹͲͳȌǤ
Ǧ Ǧ ǡǦ
Ǥ ǡ ǡ ǡ ǡ
Ǧ ȋǤǤǤǡʹͲͳʹȌǤ
Ǥ
ǦǦ ȋȌ Ǣ
ǡ ǤǦ
ȋǤǡʹͲͳͲǢDz
ǡdzʹͲͳȌǤ ǡ
Ǧ ȋǡ ʹͲͳͷȌǤ Ǧ
Ǥǡ ǡ
Ǥǡ Ǥ
ǤǡǦ
ǡ ǡ
ǡ Ǥ ǡǡ
Ǧ Ǥ
Ǥ
ȋǤǡʹͲͳͲȌǡ
Ǥ ǦǤ
ǡ ǦǦ
ȋǤǡʹͲͳͲȌǡ Ǥ
ǡ
Ǥ ǯ
ǡ
Ǥ ǡ
ǡǡ
ȋǤǤǤǡʹͲͲ͵ǢǦ¡¡ǡʹͲͳͶȌǤ
ǯ ǡ ǡ ǡ Ǥ
Ǥ ǡ
Ǥ ȋ Ǧ
ǦȌǡ ȋ Ȍ ȋ Ȍ ȋ Ǥǡ ʹͲͳͷǢ Ǧ
¡¡ǡʹͲͳͶǢǦǡʹͲͲͻȌǤ
Ǥ ǡ ͲΨ
ȋǤǡʹͲͲͻȌǤ ǡǤ ȋʹͲͲͻȌ ǯ Ǥ
Ǧ
ǡ ǡ Ǧ
Ǥǡǡ ǡ
ǡ ȋƬǡʹͲͲͺǢDz dzǡʹͲͳ͵ȌǤ
ǡ ǦȋDz
dzǡʹͲͳ͵ȌǤ Ǧ
Ǥ
ǡ Ǥǡ
ǡͻͲΨ ȋǤǡʹͲͳͲȌǡ
ǡȋ Ȍ Ǥ ǡ Ȅ
Ȅ ǡ
ȋǦ¡¡ǤǡʹͲͳʹǢƬǡʹͲͲͺȌǤ
ǡ Ȅ
ȋǤǤ Ǧ¡¡ Ƭ ǡ ʹͲͳͷǢ ǡ ʹͲͳͶǢ ÚǤǡʹͲͳǢǤǡʹͲͳȌǡ
ǤǦ¡¡ȋʹͲͳͲȌ
Ǧ ǡ Ǧ¡¡ ȋʹͲͳͳȌ
Ǧ¡¡ǤȋʹͲͳʹȌ
Ǧ Ǥ ǦǤ ǡ
Ǥǡ
ȋǤǤǦ¡¡ǡʹͲͳͲǢʹͲͳͳǢǦ¡¡ǤǡʹͲͳʹǢ
ǡʹͲͳʹȌǤ
ǡ Ǧ
Ǥ ȋ
ȌǤ ǡ ǣ ͳȌ ǯ ǫ ʹȌ ǯ ǫ
͵Ȍ ǦȋǤǤ Ǧ Ȍǫ
ǡ Ǧ
Ǥ ǡ
Ǧ
ǡ Ǥ
2. Conceptual Framework
ǯ ǡ
ǡ ǡǡ
Ǥ ǡ ȄȄ
ǡ ȋƬ ǡͳͻʹǢǦ
ǡʹͲͳǢǤǡʹͲͳȌǤ 2.1. Ǧ
Ǧ Ǥ ǡ
ǯ Ǧ Ǥ
ǡ ǯ
ȋ Ƭ ǡ ʹͲͲͺȌǤ ǡ
Ǥ
ǯǡǡ ȋǤǤǡͳͻʹǢǤǡͳͻͻǢƬǡ ʹͲͲͺȌǤǡǦ ǡ
Ǧ ǡ
Ǥǡ
Ǥ
Ǥ ǡ ǡ ǡ
ǡ ǡ
ȋǤǤǡͳͻͻǢDz dzǡʹͲͳ͵ǢƬǡʹͲͲͺǢǤǡʹͲͲͳȌǤǡ
ȋDz dzǡʹͲͳ͵Ȍǡ
ȋǤǤ ǡʹͲͳ͵ȌǤ
Ǥ
ǡ ǡ
ǡ Ǯ Ǧ
ǫǯ
ǡ
ǡ Ǥ ǡ
ȋ
Ƭ ǡͳͻʹȌǤ ǡ ǡ ǡ
ǡǡȋǤǤǦ¡¡ǡʹͲͳͶȌǡ
Ǥ
2.2. ǯ Ǧ
ǡ Ǧ
ȋǡͳͻͻȌǤ
Ǥǡ
ǡǦ ǤǤȋʹͲͳȌ
ǡ Ǥǡ ǡ Ǥ
ǡǡ ȋǡͳͻͻͻȌǤ
ǡ Ȅ Ȅ
ȋ ƬǡʹͲͲͶǢǦ¡¡ǤǡʹͲͳʹǢƬǡʹͲͲͺȌǤ
ǡ Ǥ
ǡ ǡ ǡ
ǡ ǯ ȋǤǤǤʹͲͲͷȌǤǦȋʹͲͳǡǤͳͺͻȌ
Ǯ Ȁ ǡ
ǯǤ
ǡ ǡ
Ǥ Ǣ
ȋet al.ǡʹͲͲͷǢet alǤǡʹͲͲȌǤ
Ǥ
ǡ ȋǤǤǡͳͻͻͻȌǤǡ ǯ
ǯǤǡ
ȋͳͻͻͻȌ Ǧ Ǥ
ǡ ƬȋʹͲͲȌ Ǥ
ǯ Ǥ
ǯ
ȋƬǡʹͲͲͳǢ ƬǡͳͻͺͻǢ ƬǡʹͲͲͳǢ
ǤǡʹͲͲͶǢǡͳͻͻͻȌǤ ǡ
Ǥ ǡ ǡ
ǡ
ȋǦ¡¡ǡʹͲͳͲǢÞǤǡʹͲͳ͵ȌǤ
ǡ ǡ
ȋǤǤ
Ǧ¡¡ǡ ʹͲͳͶȌǤ ǯ
ǡ Ǧ
ȋǦ¡¡ǤǡʹͲͳʹȌǤ ǡ Ǧ
Ǥ ǡ
ǡ ȋ ǤǡͳͻͻͳǢǡͳͻͻͺȌǤǡ
ȋǤǤ Ǧǡ ʹͲͲͻǢ
et alǤǡʹͲͳʹȌǡ Ǥ
ǡ ǯ
ȋǦ¡¡ǡʹͲͳͲǢʹͲͳͳǢǦ¡¡ǤǡʹͲͳʹȌǤ 2.3. Ǧ
ȋ ǡǡȌǡǦ¡¡Ǥ ȋʹͲͳʹȌ ǡ ǡ
ǡ Ǥ ǡ ǡ
ǡǡ Ǥ ǡ
ǡ ǡ
ǡ ǡ ǡǤ ǡ
ǡ ǡ ǡ
ȋǦ¡¡ǤǡʹͲͳʹȌǤ
Ǧ¡¡ Ǥ ȋʹͲͳʹȌ Ǧ
ǡ Ǥǡ Ǧ
ǡ ȋ ƬǡʹͲͲǢƬǡ ʹͲͲ͵ȌǤǡ ǡ
Ǥ
ǡ
ǡǡ ȋǤǤǤǡʹͲͲͺǢ ƬǡͳͻͻͻǢǤǡ ʹͲͲȌǤ
ǡ ǡ
Ǥ ǡ
ǡ Ǥ ǡ Ǣ ǡ
ǢǡǤ
ǤǡǦ¡¡ǤȋʹͲͳʹȌ
ǡ
Ǥ
ȋƬǡͳͻͻͻȌǤǡ
ǡ
Ǥ
Ǥǡ
Ǥ
ǡ ǡ
ȋƬǡʹͲͲ͵ȌǤ
Ǥ
ǡ ǣ Ǣ
Ǣ ǡ Ǣ Ǣǡ
ǡ ǯȋǦ¡¡ǡʹͲͳʹȌǤǡ
ǡ Ǧ Ǥǡ
ȋǤǤǦ¡¡ǡʹͲͳͲǢʹͲͳͳǢǦ¡¡ǤǡʹͲͳʹǢǡ ʹͲͳʹȌǤ
3. Material and Methods
Ǧ¡¡ǤȋʹͲͳʹȌǡǯ ǡ
stated preference (SP) experiment (Kim et al., 2014).
Ǧ ǡ
Ǥ ǡ Ȅ
Ȅ Ǧ
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ͳ 3.1.
Ǧ Ǥ
ǡ ǡ ȋǤǤǡͳͻͻͲȌǤ
Ǧ
Ǥ
ǡ
ȋǤǡʹͲͲ͵ȌǤǯǦ
ȋ ȌǤ ǡ
ȋȌ Ǥ
Ǥǡ ǡ Ǥ
ǡ ȋǤǡͳͻͻͻȌǤ
ǡ ȋƬǡ ͳͻͻͲȌǤ ǡ ǡ
Ǥ Ǧ Ǥ ǡ
ǯ ȋȌǤ
Ǥ
ǡ Ǥ
ǯ Ǥ
ǡ ǡ
ȋǤǡʹͲͲͲȌǤǡ
Ǥ
Ǥ
ǡ
Ǥ
Ǥ ǡ
ȋ ǡ
Ȍ ȋ ǡ
ǡȌ ǯ
Ǥ
ǦǦ ǡ ǣ ǡ
ǡǤ ǡǡǡǤ
ǡǣǡǤǡ
ǣ ǡǤ ǡǡ ǡǡ
ǣǡǡǤ
ǡ ȋͳͶͶȏȐͷ
ȏ Ȑ ͳȌǤǡ
ȋǤǡͳͻͻͻȌǤǡ
Ǥ
Ǥ ǡ
Ǥ
Ǥ ǡ Ǥ
ǡ͵ʹ Ǥ
ͳ ǣȋͳȌ ȋʹȌǡ Ǥ
ǡ Ǥ
ǡ
Ǥ
ǡ ǡ
ȋǤǡͳͻͻͻȌǤ Ǧ¡¡ǤȋʹͲͳʹȌǡ
Ǥ
Ǧ ȋǤǤǤǡʹͲͲͻǢ
ǡʹͲͲȌǤ 3.2.
ǯ ǡǤ
ǡ Ǥ
Ǥ ǡ
Ǥ ǡ
ǡ ȋƬǡͳͻͺͶǢǡͳͻͺͻȌǤ
Ǥ
Ǥ ǦǦ Ǥ
͵ͲǤ
Ǥ 3.3.
ͲǤ ͳͺ͵Ͳ
ǤǦ ǡ ǡ
Ǥǡ
ȋ ȌǤ
ȋʹͲͲͺȌǡ ǡ
ǡ Ǥ 4. Results and Discussion
ǡ Ǥ 4.1.
ǡ ǡ
Ǥͳ
Ǥ
ǯ ͳǡ
Ǥ ȋͲǤͺͺ͵
ͲǤͻͷͲ ǡ Ȍǡ
ȋǦ¡¡ǤǡʹͲͳʹȌǤ ͳ
ǡ
Ǧ
¡¡ǤȋʹͲͳʹȌǤͳǡǡ
ȋ͵ǤʹΨȌǡ ȋ͵ͲǤʹΨȌǡȋʹʹǤʹΨȌȋͳͲǤ͵ΨȌǤ
ǡ ǡ
ǡ ǡ ǡ ǡ Ǥ
ȋƬǡʹͲͲͳǢ
ƬǡͳͻͺͻǢƬ ǡʹͲͲͳǢ ǤǡʹͲͲͶǢ ǡͳͻͻͻȌǤ
ǡǡǡǡǤǡ
ǤǡǡǤ
ǡ ǡǡǣǡ Ǥ
ͳ ȋͶǤΨȌǡ
Ǥ ȋʹͲͳȌ
Ǥ ȋͳͻǤʹΨȌǡ ȋͳǤͺΨȌǡ
ȋͺǤͺΨȌȋǤΨȌǤ ǡ
ǡ ǡǡǡ
Ǥ ǡ ǡǡǡ ǡ ǡ
Ǥǡ Ǥ
ǣ ǡ ǡ Ǥ
ȋǤǤƬǡʹͲͲͳǢ
Ƭ ǡ ͳͻͺͻȌǤ ǡ ǡ
ǡ ǣǡǤǡ
ǣ Ǥ
ǯ ǡ
Ǥ
4.2.
ǯ ʹǤ
Ǥ
Ǥ ǡ
ȋ Ȍ ǡ
Ǥ
ǡ Ǥ ʹ
ǡǡȋ Ȍ
Ǥǡ Ǥ
ȋƬǡʹͲͲͳǢ ƬǡͳͻͺͻǢƬǡʹͲͲͳǢǤǡʹͲͲͶǢǡ ͳͻͻͻȌǤǡ Ǥ
ǡ
Ǥ Ǥ ǡ
ǣ Unknown producers do not convey trustǤ It's too risky to choose unknown producersǤ
Ǥ
ǡ ǡ
Ǧ ȋ Ǥǡ ͳͻͻȌǤ ǡ
Ǥ ǡ ǡ ǡ
Ƭ ȋʹͲͲȌǡ ǯ ǯ
ǯ ǡ
ǤǡȋͳͻͻͻȌ Ǧ
ǡ Ǥǡ
ǡ
Ǥ
ǡ ǡ Ǥ ǡ
Ǥ
Ǥ
ǤǡǦ¡¡ȋʹͲͳͲȌ
Ǧ Ǣ
Ǥǡ ǯ
ǡ ǡǣ I look for blue when I have a headache, as it relievesǤ
I do not associate red with medicineǤ
ƬȋͳͻͻȌ ǡ ǡ
ǡ Ǥǡ
ȋȀȌǤ
Ǥ ǡ ƬȋͳͻͻȌ
ǡ
Ǥ Ǥ I do not associate the portrait shape with medicine packagesǤ
The square shape reminds me of packs of cigarettesǤ
ǡǯ ǡ
Ǥ ǡ ǡ
ǡ
Ǧ ǣ
I like the square shape because it is different than usualǤ
Ǥ
ǡ
Ǥǡ ǡ
Ǥǡ ǡ Ǧ
Ǥ
ǡ ǡ ǡ Ǥ
ǡʹǤ
Ǥ
Ǥ ǯ
ǡ
Ǥ
ʹ