Search results

This study proposes a literature review and, based on the findings, the authors develop a conceptual framework, attempting to explain how technology may influence visitor behavior and eventually trade show performance.

The present research explores the role of visitors in the trade show context. The analysis specifically focuses on the variables that influence visitors’ participation at business-to-business trade shows and how their satisfaction and perception can be related to exhibition performance. The authors also take into consideration technological trends that prior to COVID-19 pandemics were slowly emerging in the trade show industry.

The findings highlight a continuity between pre-, at and postexhibition phases. Visitors’ behavior represents a signal of how a trade show is perceived as postexhibition purchases and next visit emerge as signals of an exhibition evaluation in relation to visitors’ perception. Besides being urgent tools for the continuity of the sector due to the pandemics, emerging technological trends can be key elements in understanding visitors’ behavior and in boosting their interest and loyalty toward trade shows.

The paper proposes a conceptual model including top notch and innovative technological trends to improve the understandment of visitors’ behavior. Both practitioners in companies and academics might find the study useful, given the digital uplift generated by the pandemics.

This chapter explores an aspect of voluntary childlessness that has been neglected in previous research; how voluntarily childless (i.e. childfree) women engage in partnership formation processes and how they perceive that these processes become influenced by their voluntarily childless status. Drawing on interviews with 21 voluntarily childless, heterosexual, Swedish women, this chapter highlights how their childfree decision(s) impacted their partnering behaviour, their chances to form an intimate relationship and their preferences concerning partners and partnerships. The results show some of the challenges these women faced as they engaged in partnership formation processes concerning; for example, constraints in partner availability and potentially conflicting preferences regards autonomy, reproduction and intimacy. In addition, partnership formation was complicated due to a lack of communication, misunderstandings and disbelief in their childfree choices. The analysis illustrates that it was of utmost importance to these women that their intimacy goals were respected and protected during these processes but that some of them were also willing to negotiate their partner ideal. Nevertheless, this chapter ends with a discussion of relationship dissolution due to ambivalence concerning childfree choices and intimacy goals both on behalf of the childfree woman and her partner.

Authenticity has emerged as a prevailing purchase criterion that seems to include both real and stylised versions of the truth. The purpose of this paper is to address the negotiation of authenticity by examining the means by which costume designers draw on cues such as historical correctness and imagination to authenticate re-enactments of historical epochs in cinematic artwork.

To understand and analyse how different epochs were re-enacted required interviewing costume designers who have brought reimagined epochs into being. The questions were aimed towards acknowledging the socio-cultural circulation of images that practitioners draw from in order to project authenticity. This study was conducted during a seven-week internship at a costume store called Independent Costume in Stockholm as part of a doctoral course in cultural production.

Authenticity could be found in citations that neither had nor resembled something with an indexical link to the original referent as long as the audience could make a connection to the historical epoch sought to re-enact. As such, it would seem that imagination and historical correctness interplay in impressions of authenticity. Findings suggest that performances of authentication are influenced by socially instituted discursive practices (i.e. jargons) and collective imagination.

This paper contributes to the literature on social and performative aspects of authentication as well as its implications for brands in the arts and culture sector.