Search results

The purpose of this paper is to describe the rationale and use of subjective personal introspection (SPI) as a methodological approach.

SPI was utilised to develop a “narrative” of the author's own “action‐oriented” research experience within a multisector collaborative venture established by 13 partner organisations representing the academic, pharmaceutical industry and government sectors. The “confessional” stance that the study assumes describes some of the perceived tensions enacted during field work. The SPI approach is theoretical and reflective, as well as descriptive and analytical, in reporting the antecedents, actions, and outcomes in action‐oriented research.

Because the focus of the paper is subjective, personal, and introspective, it does not illustrate “findings” about multisector collaboration, but rather reflections and insights about the way the research was conducted.

The paper widens the forum for incorporating SPI beyond the consumer behaviour context to the context in which action‐oriented researchers incorporate introspection in their study of organisations.

The paper goes some way to bridging the gap between SPI and reflexivity (if there is indeed a gap) and it causes qualitative, action‐oriented organisational researchers to contemplate a number of questions: what is the role of the researcher; what is the source of their authority to narrate and what are they authorised to recount; and what are the consequences of this?

This paper aims to explore tourism consumer’s perceptions of cultural, emotional and behavioural differences. The subjective personal introspection (SPI) approach is used to investigate specific cultural differences which impact tourism satisfaction. It aims to identify the key attributes of cultural tourism satisfaction by comparing three European cities. The cultural attributes are synthesised into a confirmatory personal introspection (CPI), and a provisional research model is proposed.

The research data of the cultural experiences are based on SPI data of “native-visitors” to London and ordinary visitors to Venice and Barcelona. The duration and the travel arrangements are the same for all three cultural experiences. The CPI uses thought experiments to formulate new research propositions.

The SPI results show that the tourism gaze focus can be the cognitive-affective experiences of cultural holidays. Tourism consumer satisfaction is dependent on the quality of natural and man-made attractions and the social-emotional interactions between the hosts and guests in a destination. The three cities in our research, London, Venice and Barcelona, have different micro-cultures and levels of social-emotional interactions vary considerably between them. Overall tourism satisfaction is hypothesised to be influenced by the degree of social interaction and micro-cultural differences.

The findings support the usefulness of SPI in tourism consumer research. SPI research findings produce in-depth understandings of the cultural tourism product attributes which cannot be captured in any other way. The personal insights are valuable to marketing professionals because they provide first-hand feedback of consumer’s perceptions over a longer period than a focus group session. The confirmatory introspections are valuable hypotheses to be tested empirically with specific tourism segments to identify product strengths and weaknesses as well as opportunities and threats.

The use of SPI and CPI produces original hypotheses of the cultural tourism attributes which influence tourism satisfaction. The paper demonstrates that the tourism gaze can be expanded to investigate the cognitive-affective observations which have a direct effect on tourism satisfaction and decision-making.

The purpose of this paper is to draw on a subjective personal introspection (SPI) approach and Breakwell’s identity process theory (IPT) principles to show how elements from different cultures are performed by an individual to form a unique patchwork identity, and how this patchwork identity will contribute to deepen tourist gaze and, thus, achieving and maintaining authentic destination experience.

The use of SPI gives the researcher an easy access to data collection of his personal, daily experiences related to changing destinations and consuming different places in Europe (France, UK and Italy), North America (USA and Canada) and North Africa (Algeria, Morocco and Egypt) for unlimited 24-hour access from an insider’s ongoing lived experiences.

The results show that Breakwell’s IPT four principles are an integral part of patchwork identity construction when living and experiencing several places. Patchwork identity encompasses the individual’s ability to cross different social and symbolic boundaries when experiencing different destination. Each cultural context contributes to the bricolage and the assemblage of individual patchwork identity revealing one or more IPT dimensions.

This paper serves to emphasize the importance of SPI-based research to patchwork identity construction in understanding the impact of cultural identity on tourist gaze. This approach can help marketers and tourism professionals to understand how consumers select the cultural elements that fit their identity and how the patchwork identity formed will contribute to deepen tourist gaze and destination experience of authenticity.

The use of IPT and SPI-based research to explore tourist gaze offers a comprehensive framework based on a personal introspective approach where the starting point is the meaning individual provides to his hyphenated identity as coping mechanism to respond to social, psychological, ideological, cultural, symbolic, functional, structural, etc., aspirations.

This paper aims to demonstrate deep gaze using a Japanese Shinto wedding ceremony as an example. Some long-term tourists develop an intimate understanding of the host country’s culture by gaining access to authentic experiences typically limited to the locals. These native visitors experience a deep gaze.

Combing subjective personal introspection (SPI) and confirmatory personal introspection (CPI), the author’s 76 wedding photographs are examined critically.

Results demonstrate how a native visitor uses SPI and CPI analyses of native gaze. While the Shinto wedding ceremony’s authenticity mixes traditional and evolutionary elements, the ceremony is best viewed as a Gestalt experience. The evidence suggests authenticity need not have deep roots in the culture.

The findings serve as only one configuration of many possible gazes. Tourist Gaze 4.0 is a set of complex antecedent conditions and multiple configurations.

Using photographs taken by native family members, this paper demonstrates how SPI and CPI identify deep gaze through a different lens.

Some consumption activities are inherently interesting, pleasurable, gratifying and potentially important to consumers' lives. The primary aim of this paper is to further understanding of the role pleasurable consumption plays in consumers' lives.

To explore consumer value in pleasurable consumption experiences, the consumer value typology in conjunction with the subjective personal introspection (SPI) approach, is applied to experiences captured in travel photographs.

Analysis identifies all eight consumer value types with play, aesthetics and, surprisingly, spirituality the most evident. Pleasure is shown as much more than immediate, self‐gratification. Issues of competency, both active effort and appreciation of others' abilities, individual growth and development as well as sharing and feelings of relatedness are all important components of pleasure.

The use of consumer value as a conceptual framework in combination with a reflective tool such as SPI suggests not only alternative approaches for future research into pleasurable consumption, but also indicates some innovative strategies to put into practice.

Communicating the different value types prior to consumption and incorporating active reflection, possibly could assist in improving consumers' enjoyment of their experiences which, in turn, could reduce post‐purchase dissonance. Besides being used as a promotional tool to increase customer satisfaction, the consumer value framework could facilitate product bundling and possibly expand product benefits.

The paper illustrates the multidimensional nature of pleasure through two research methods infrequently used, SPI and the photo essay, positioning both as valuable tools for exploring and enhancing pleasurable consumption.

This paper describes the personal history and intellectual development of Morris B. Holbrook (MBH), a participant in the field of marketing academics in general and consumer research in particular.

The paper pursues an approach characterized by historical autoethnographic subjective personal introspection or HASPI.

The paper reports the personal history of MBH and – via HASPI – interprets various aspects of key participants and major themes that emerged over the course of his career.

The main implication is that every scholar in the field of marketing pursues a different light, follows a unique path, plays by idiosyncratic rules, and deserves individual attention, consideration, and respect … like a cat that carries its own leash.

In the case of MBH, like (say) a jazz musician, whatever value he might have depends on his originality.

The purpose of this paper is to investigate the way in which film can introduce jazz to a wider audience.

This study applies the method of subjective personal introspection (SPI) to the area of film and music consumption. The paper reports on insights provided by two researchers through using SPI to investigate their relationships to film and jazz music. In so doing, the paper adopts a Bourdieuian frame in applying a reflexive methodological approach and considering the role of cultural and symbolic capital in influencing these consumption practices.

This paper found that aside from the recognition problem facing jazz, episodes of sublimation may prevent potential audiences from increasing consumption of jazz music.

In common with all SPI studies, the focus of the research is very narrow. While the indepth insight provided here is of use to scholars of arts consumption, further research should explore the prevalence of sublimination in arts communities in order to extend this further.

This study moves our understanding of why consumers may not develop their consumption relationship with jazz music. The findings can be used by jazz professionals in addressing ways in which consumers may overcome their lack of cultural capital and the emphasis placed on this by the wider jazz consumption community.

The paper investigates issues of inclusion and exclusion which should have wider social relevance.

The paper addresses the issue of participation in the arts and should be of value to academics and arts marketing practitioners alike.

To thrive in today's competitive marketplace, businesses constantly need to search for opportunities to develop and be tuned into consumers as innovators. With this in mind, the purpose of this paper is to further understandings of the ways in which consumers transform ordinary products to serve their everyday needs; and broaden appreciation of the role observational research plays in opportunity identification.

A hermeneutic approach to observational research is adopted, incorporating both subjective personal introspection (SPI) and videography to discover one family's unusual usage behaviours.

Analysis, following Holbrook's typology of consumer value, reveals examples of innovative behaviours for the four active consumer value types of efficiency, status, play and ethics, while identification of the reactive value types of aesthetics, esteem, excellence and spirituality proves more difficult.

This research suggests alternative approaches for future research into opportunity identification, making use of videography and SPI. Moreover, the current work emphasises that innovation and the creative require consideration of the relational rather than just self‐seeking behaviours, needs or events.

This paper illustrates two research methods infrequently used, SPI and videography, positioning both as valuable tools for opportunity identification.

The purpose of this paper is to explore introspection in marketing research, its controversial origins, its positioning as an art form, the possibilities and the pitfalls of research based on this method, and how to successfully enter into its creative spirit.

Although its overall approach is broadly conceptual, in a similar fashion to the dramatic device of a‐play‐within‐a‐play, the paper makes a habit of using introspection to reflect on introspection.

While it is clear that well‐written introspections can deliver rich stream‐of‐consciousness accounts of marketing‐relevant goodness from beginning to end, they provide more than just frivolous entertainment. The innermost imperative of introspection equates well with consumption, creativity and aestheticisation, the corner‐stones of arts marketing.

The inherent mucky‐mindedness of introspection as a formal method lays its success or failure on the shoulders of the paper's author.

Whatever their interpretive methodology of choice, arts marketers, indeed all marketers, should give serious thought to integrating introspection into their research approach.

While many of the ideas in the paper are pilfered from other sources (see long list of references), the author is proud to assert that precisely these words have never been written in precisely this order.

This study aims to apply confirmatory personal introspection (CPI) to illuminate the experiences of the authors as partial native-visitors to Western Australia. The native-visitor is the tourist who is able to see beyond Urry’s shallow conception of the Tourist Gaze through their lengthy immersion as “insiders” in the destination’s culture. In this paper, the experiences of two immigrants, the authors, to Western Australia illustrate the different perspectives of the Tourist Gaze 4.0.

The paper uses CPI, as this is a more reliable method of uncovering a traveler’s experiences than subjective personal introspection because CPI uses additional data sources such as written historical records and photographs for confirming the researcher’s accounts. In this study, accounts of both authors alongside photographs are used to both confirm and contrast their individual experiences.

The paper demonstrates the varied forms of the tourist gaze, with an emphasis on that of the native visitor. The findings illustrate how individuals’ both maintain aspects of their original cultural identity and adopt those of the new country after an extended time living in that country. This enables individuals to see attractions and destinations from an insider perspective.

This study shows how even after an extended period of time living in a new country, visitors may not have the cultural confidence to behave as local residents at tourist attractions and destinations, which could limit their engagement and enjoyment of these experiences. Marketers should take this into account in designing and promoting tourist experiences to visitors.

CPI provides a valuable means for illustrating the range of perspectives within the Tourist Gaze 4.0. The method enables individuals’ rich experiences to be uncovered but at the same time uses multiple data sources to provide additional rigour.