Search results

Sculpted by the elements and inhabited by an established corpus of local families, Kandovan Village is a rare example of functioning cultural heritage largely overlooked by international tourists. Within this context, this chapter demonstrates how heritage sites can use their inherent sociocultural characteristics to stimulate tourism. Leveraging this encourages site managers to draw upon less tangible elements, such as the sincerity of local inhabitants and the potential for their site to serve as a platform for social interaction, in order to engage tourists, stimulate memorable experiences, and encourage repeated visits and recommendations to others. In doing so, this chapter highlights the importance of prior knowledge, word of mouth, and co-creation in crafting cultural heritage tourism experiences.

Since the arrival of mass production, commodification has been plaguing markets – none more so than that for music. By separating production and consumption in space and time, commodification challenges the very conditions underlying economic exchange. This chapter explores authenticity as the institutional response to the commodification of music, rekindling the relationship between isolated market participants in the increasingly digitized world of music. Building upon the “Production of Culture” perspective, we unpack the commodification of music across five different institutional realms – (1) production, (2) consumption, (3) selection, (4) appropriation, and (5) classification – and provide a thoroughly relational account of authenticity as an institutional practice.

The author focusses on corporate history from a media aesthetic perspective using the case of the Danish brewer Carlsberg. Through a careful examination of the company’s website that draws on Kress and Van Leeuwen’s work on modality, the author examines how images and symbols of the past and present are intertwined so as to ‘curate’ history and present the brand as both deeply rooted and authentic.

Drawing on the confirmation–disconfirmation paradigm and the elaboration likelihood model, this study builds and tests a conceptual model that examines the effect of perceived authenticity on affective and behavioural outcomes as well as the moderating role of consumer involvement on the link between authenticity and satisfaction. The model was tested on data collected from 224 members of a theatre audience using structural equation modelling. Results indicate that perceived authenticity associated with both the core arts product and the venue enhances audience satisfaction which is a strong predictor of intention to recommend. Audience involvement with theatre moderates the link between authenticity of venue and satisfaction, with this association being stronger for low-involvement consumers.

Online Social Networking Sites (SNSs) such as Facebook and Twitter have become increasingly popular in the last decade. Each SNS varies somewhat, with different forms of expression, communication and customization. Different sites may have different priorities, methods of interacting, social features and definitions of what it means to be ‘social’ on their sites.

This paper reports on 2 months of exploratory observations and interviews with participants using two of the most popular SNSs; Facebook.com and Twitter.com. Paying attention to the modal nuances of the sites and their effect on social interaction and identity portrayal, the focus of analysis is upon how these two sites are interacted with as ‘stages’ for identity performances, and how the varying aspects of design and modality on these interactive sites can result in different multimodal identity performances and social interactions.

Data revealed that youth are adeptly able to negotiate the different modal options presented to them online, yet the temporal aspects presented by the design of the site, the differing definitions and priorities in the framing of identity presented by the SNSs, and the modal choices present across the two sites resulted in markedly differing presentations of identity to markedly differing audiences.

This research demonstrates the impact of modality and design on how we act and interact, and highlights that as Digital Sociologists and Researchers, we should be careful not to treat all Online SNSs the same, but pay attention to the plethora of nuances these sites offer as stages for identity performances.

How headquarter (HQ) and subsidiary actors end conflicts and reach agreements is an important but still under-researched question in multinational corporations (MNC) literature. This conceptual article approaches these conflict dynamics from the Convention Theory perspective. Convention Theory draws attention to justice principles (known as “order of worth”) and to the material aspects in relations between MNC actors. We offer a framework that contributes to HQ-subsidiary relations research in three ways: (1) it links conflicts to justice principles, (2) it enriches the understanding of the stability of agreements, and (3) it sheds light on the activities needed for realizing preferred arrangements.

Recent research finds that producers assigned to multiple categories receive less attention and legitimacy and have lower chances of success and survival. We argue that the effect of category spanning on the reception from the audience depends on the fuzziness of the categories. When a set of categories lacks contrast (have very fuzzy boundaries), spanning them does not cause much additional confusion for the audience, thus the penalties associated with spanning ought to be slight. But, when the contrasts of the categories spanned are high, audience members will have difficulty interpreting the producer, so spanning categories will be devalued more. We study these processes using data from an online-review web site. Results show that audience members devalue organizations that span high-contrast categories more than those that span low-contrast categories. These effects are weaker for more active reviewers.