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Considering the diversity of literary sites, various needs and motivations of literary visitors, and the limited research on literary tourists’ experiences, this study aims to explore the literary gaze at Hafez Tomb in Shiraz, Iran. As the visitor gaze encompasses various dimensions of experience, this study connected the two notions to identify the components of the literary gaze and determine the attributes that best describe it.

Data sources include semi-structured interviews with visitors and user-generated content on Tripadvisor. The deductive thematic analysis and multiple correspondence analysis were used.

The findings revealed the multidimensionality of the literary gaze. The dominant factors that best describe the literary gaze at Hafez’s tomb were the sensory component of the experience, including “seeing”, “smelling”, “hearing”; affective including “anticipation”, “joy”, “trust”; cognitive including “perceiving”, “thinking”, “learning”; behavioural including “literary related”, “general”; and relationship including “tourist-companion”, “tourist-tourist”.

Understanding the literary gaze can assist site managers and destination marketers in designing the literary experience and developing promotional strategies that reflect the multifaceted nature of the literary experience. Tourism authorities should identify and shape tourists’ perceptions of literary sites to build the city’s image and brand as a literary city.

This paper used the orchestra model of experience to analyse the literary tourist’s gaze. This modification could explain that the literary gaze has multiple dimensions and studying all the dimensions gives the literary experience greater significance.

In recent years, research on children's tourism experiences has gained prominence, as children are becoming an increasingly vital market for the tourism industry. While events are a main sector of the industry and host millions of children every year, there is a lack of research specifically focussed on children's experiences in events. This chapter focusses on children's entertainment events which can provide children with a satisfying, memorable and educational experience. This study has developed a framework to facilitate deeper mixed studies on children's experiences in event tourism. The framework is composed of four pillars based on various social, tourism and event theories and models, including the Cognition–Affect–Behaviour (CAB) theoretical framework, the Orchestra Model of Experience, the Event Experience Scales (EES), the Theory of Child Well-being and the Transtheoretical Model of Behaviour Change (TTM). The framework can be used by future researchers as an analytical evaluation tool to study children's experiences in different types of events and understand the mechanisms of behaviour change in this context.

Significant heritage buildings in Europe, and most especially cathedrals and churches in Western Europe, are sites of considerable international tourism appeal. A developing analytical approach termed the orchestra model of experience was used to structure the collection of empirical data about Chinese tourists’ reactions to major cathedral sites in Florence and Milan. These results are used to identify the challenges of meeting not just the needs of Asian tourists but also simultaneously deriving commercial benefits and maintaining the Christian values of the settings. Emphases are placed on the roles of interpretation and the management of protected spaces to meet these goals.

Children have the ability to contribute to sustainable tourism research. A great deal of research on nature holiday has been conducted. However, it is unclear how this travel might serve as a good motivator for children to engage in environmentally responsible behaviour. To address this research gap, 72 drawings of children aged nine to 12 from Tehran, Iran, accompanied with the stories of their holiday were collected. Thematic analysis was done to assess their experience in nature and their cognitive state of environmental responsible behaviour. According to the finding, children are significantly concerned about nature, and they mostly perceived their best holidays in the natural environment. Children displayed a profound awareness of environmental responsible behaviour themes through their encounters with nature. Their experiences are classified into five levels: sensory, emotive, cognitive, behavioural and relationship. Each of these stages of experience may be used as a guideline for encouraging and training youngsters to be responsible.

This paper aims to stimulate the discussion in the fields of hospitality, tourism and leisure on what exactly constitutes “an experience” and how to measure it; the authors unpack the experience construct into its core constituent elements, namely, emotions.

The paper reviews insights from psychology and cognitive neuroscience that define experiences as a fine-grained temporal succession of emotions that occur during an experiential episode. Limitations of current methods for measuring experiences are discussed, after which biometric and neuroscientific methods are reviewed that are optimally geared toward measuring emotions, as they occur during an experience with fine temporal detail.

An overview is presented of the available studies within the fields of hospitality, tourism and leisure that use these methodologies. These studies show that using these methodologies provides a fruitful methodological approach to measuring experiences in real time.

Companies are constantly seeking to create memorable experiences for their customers. The proposed research methodologies allow companies to get a more fine-grained image of what impacts customers over the course of their experience and to actively integrate the use of emotions into creating experiences, as emotions are key to making them memorable.

The paper sketches the contours of a rapidly emerging framework that unpacks memorable experiences into their constituent element – emotions. It is proposed that this will contribute to a deeper understanding of how consumers experience offerings in the hospitality, tourism and leisure industry.

The purpose of this study is to explore the paranormal tourist experience on ghost tours, taking into account the participants’ perceptions and their prior knowledge of the paranormal, in order to determine the principal components of the future of paranormal tourist experience.

The study is divided into two phases. The first phase is based on participant observation during a ghost tour. The second phase is based on a previously published framework for paranormal tourism. It introduces a qualitative adaptation of the orchestra model to look in-depth at how experiences with paranormal tours might shape the future of tourism as a major subtype.

Paranormal tourism has external (situational-enchantment, historical, mystical, ghostly and unsolved mysteries) and internal (affective, cognitive, sensory, behavior and relationship) components that are inter-linked. Future paranormal tourist experiences (FPTEs) must be focused on enhancing these aspects in order to offer an immersive experience.

Consequently, this paper proposes the FPTE model.

The aim of the study is to examine the development of four not-for-profit Chinese orchestras in Hong Kong, aiming to identify their key characteristics in management and operational practices, and highlight a probable proposal on how the concept of cultural entrepreneurship could be brought about for the growth of an orchestra.

This study looks into the cases of the development of four not-for-profit community Chinese orchestras in Hong Kong in accordance to the theoretical framework built on the reviewed literature. A self-assessment questionnaire survey was conducted among the key leaders in the orchestras, asking them to evaluate themselves about their features as a cultural entrepreneur, and the extent of the development of the orchestras towards entrepreneurship. The survey serves as preliminary reference data for follow-up phone interviews, with questions asked in accordance to the results of the survey.

The study shows that the four leaders of the Chinese orchestras have different qualities of a cultural entrepreneur. The four orchestras use different strategies to promote Chinese music, and adopt diversified approaches to survive. Four models of community orchestra having different features are identified, namely new generation model, affiliation-based model, mentor-mentee model, and developmental model. The findings suggest that community orchestras have limitations to the development of cultural entrepreneurship in Hong Kong, and they need the support of the right person and policy to grow and foster.

The results inform and give insights to cultural entrepreneur-to-bes and practitioners in the cultural industries as well as policy makers on some of the probable innovations employed by not-for-profit community performing groups.

The original purpose of this study was not to focus on job satisfaction, but rather to conduct an exploratory investigation of how symphony orchestra players cope with the frustrations and disappointments of orchestra life. Symphony orchestra players report surprisingly low levels of job satisfaction given the perception held by many that life and work in symphony orchestras is glamorous and rewarding.

Job satisfaction data were collected in the form of interviews and surveys from 66 musicians in an élite, major orchestra and a non‐élite, regional orchestra.

Players in both orchestras were similarly satisfied with co‐worker relationships and experienced similar levels of intrinsic work motivation and job involvement. Despite better financial resources in the major orchestra, satisfaction with opportunities for growth and opportunities to exert influence increased with tenure in the regional orchestra, whereas the opposite was true for major players.

The article discusses context‐driven job satisfaction tradeoffs associated with careers in élite versus non‐élite organizations and the role organizations may play in facilitating or impeding workers’ participation in valued activities. It emphasizes the importance of participation in valued activities as a key driver of job satisfaction.