Search results

The purpose of this paper is to propose a new management approach to analyse the processes of museums in the experience logic and, on the basis of such a model, to study the management processes of the National Gallery of the Marches in Urbino, one of the most important museums in Italy.

This study adopted a qualitative methodology and a descriptive-exploratory approach. The proposed model, which aimed to create and manage experiences and transformations in museums, was tested in the National Gallery of the Marches by adopting the case study method.

The empirical research underlined the partial application of the proposed model in the museum under examination and the potential for the museum to improve the offering value to its visitors.

Although a single case was investigated, the present work offers a preliminary theoretical contribution, which is useful for perfecting the conceptual framework and applying it to a wider number of cases.

The management of the National Gallery of the Marches should first plan a greater number of more detailed experiences and transformations around the theme of the Renaissance, and promote the active role of visitors. Second, it should improve the communication of the offer, especially through social networks. Third, personnel (especially front office) should be motivated and trained to create value for visitors.

The paper aims at developing a new management approach for the museums to create value for the visitors and museums by bringing the insight of the experience logic into the field of cultural heritage management.

The purpose of this paper is to argue that social interaction fundamentally underpins how people examine, experience and make sense of museum exhibits. It seeks to reveal how people collaboratively view and make sense of artwork and other kinds of exhibit, and in particular how the ways of looking at and responding to exhibits arise in social interaction.

The analysis inspects in detail video‐recordings of visitors' conduct and interaction at exhibits. It draws on ethnomethodology and conversation analysis to reveal the social and sequential organisation of people's verbal, visual and bodily action and interaction.

The study finds that people explore museums and examine exhibits with companions while other visitors act and interact in the same locale. Which exhibits visitors look at and how they see and experience them is influenced by and arises in social interaction with others, be they companions or strangers. People display and share their experience of exhibits with others through verbal and bodily action and interaction.

The findings bear on current debates in marketing research. They suggest that there is a lack of understanding of people's experience of exhibits in museums. They show how video‐based studies can address this gap in marketing research. Further studies are currently being conducted to shed light on the quality of people's experience at the exhibit‐face and how it may be enhanced by the deployment of interpretation resources, such as labels, touch‐screen and handheld systems.

The findings may have some implications for the work of curators, designers and exhibition evaluators. They suggest that social interaction needs to be taken into consideration when designing and deploying exhibits and interpretation resources, such as labels, touch‐screen information kiosks, hand‐held computers, etc.

The paper uses visual/video‐recordings as principal data and illustrates its findings by virtue of visual material. It introduces video‐based field studies as a method to examine cultural and visual consumption in museums. It employs an analytic and methodological framework from ethnomethodology and conversation analysis that previously have found little application in marketing and consumer research.

This study aims to address research calls to investigate how (visual) consumption experiences carry and convey meanings to individuals. Applying McCracken’s meaning transfer model to a photographic exhibition, the authors expand this model into the realm of aesthetic experiences to explore how the meaning of such an (visual) experience emerges and flows to (novice and expert) consumers.

This research uses an interpretive case study of the photographic exhibition “Facing Mirrors” hosted as part of the Biennale of Contemporary Art, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records.

The evidence highlights the moveable nature of meaning within an aesthetic context and illustrates the critical role of semiotics and of the different ritualistic behaviors enacted by novice and expert visitors as a means of unfolding and creating the meaning of such an experience.

The findings provide implications in terms of (co-)creating authentic, immersive and meaningful (brand) experiences in the fields of visual consumption and customer experience management.

Practical implications to arts organizations are also provided in terms of curatorial practices that emphasize the material, emotional and dialogic nature of photographs as a visual art form.

The study provides new insights into (visual) consumption experiences by bringing the meaning transfer model together with a semiotic approach, thus illustrating different performances and sense-making activities through which (expert and novice) visitors (co-)create and appropriate the value of their aesthetic experiences.

The purpose of this study is to explore the dimensional structure of visitor experience in a sacred place based on the framing process.

Mix-method research was conducted in Turkey–Virgin Mary House which featured a sacred and popular tourist destination. Qualitative research, including interviews and expert panels, was used to create a set of knowledge for further analysis. Quantitative research, including two field studies comprising 842 participants, was used to validate the framing of visitor experiences in a sacred place providing reliability and construct validity.

The six dimensions were found within three framing axes of religious, environmental and organizational: inner experience; religious experience; physical environment; history; tour organization and service experience.

Current studies on visitor experience in a sacred place have mainly focused on emotions, motivations or physical dimensions. By synthesising the framing process and theoretical approaches, this study contributes to the literature by analysing the unique characteristics of visitors' experiences in sacred places, regardless of their religious identities.

The purpose of this paper is to present grounded theory as an alternative approach for conceptualizing and modelling the consumer experience. The basic theoretical tenets of the grounded theory approach are contrasted with more traditional assumptions and methods used in consumer research.

The approach is based on qualitative methods and a series of systematic ethnographic procedures, which along with the simultaneous processes of data collection and analysis, lead to the development of an inductive derived grounded theory of the visitor experience. In order to develop a model of the interactive experience of visitors to heritage sites, case studies are conducted at three World Heritage Sites in Thailand.

The findings indicate that the grounded theory approach has the potential to reveal a rich and deep understanding of visitor experiences, including the ways that visitors interact with the site, their interpretation of the site, and the meaning of the site for them.

It is suggested that the grounded theory approach can be a valuable tool in exploring the insights and meanings of visitors' experience and could be applied to future research in consumer behaviour. There are practical implications of this kind of research for the management of heritage sites in terms of visitor expectations, interactions and interpretations.

This study has developed a model of the experience and interaction of visitors to Thai World Heritage Sites which could be applied to other heritage sites. It illustrates the theoretical and practical issues of grounded theory approach to exploration and inductive development “interactive experience” of visitors at heritage sites. This is a qualitative research approach that could be adopted for a range of experience based industries such tourism, leisure and hospitality.

This study seeks to investigate and discuss the heritage experiences of both domestic and international visitors at Göbeklitepe UNESCO World Heritage Site in Türkiye.

A qualitative research approach was adopted in the current study. TripAdvisor's comments and reviews of both domestic (n = 519) and international (n = 186) visitors regarding their visits to Göbeklitepe were collected. The data were then subjected to content analysis by MAXQDA as qualitative data analysis software. Additionally, an abductive research approach, which consisted of three stages, was implemented for data analysis.

The three aspects of visitor experiences at Göbeklitepe, including cognitive, emotional and relational experiences were found and discussed. Additionally, commonalities and differences among domestic and international visitors in terms of the heritage experience they gained from their visit to Göbeklitepe were revealed and analyzed.

Based on the findings regarding the main aspects of heritage experiences at Göbeklitepe, including cognitive, emotional and relational experiences, site managers and destination marketers can create effective marketing strategies that focus on those characteristics to attract visitors to the site. Moreover, the study can guide destination marketers to develop targeted marketing campaigns that highlight the different historical and religious significance of the site for both groups of domestic and international visitors.

First, the study affirms that Göbeklitepe is an important and impressive cultural heritage site due to its historical significance to both domestic and international visitors. It also strengthens the multifaceted nature of heritage experiences. Especially, the evidence of relational heritage experiences, including the connectedness to heritage and the sense of belonging to the visitor community, enriches the literature of heritage experience in this regard.

This research uses the experience economy theory and tourism experiences to explore how different types of experiences in theme parks influence visitors' experiential satisfaction and behavioral intention.

The data were collected from visitors of different nationalities at a theme park hotel. The R program and JASP were used to analyze the data of the multinational sampling. JASP was used for the structural equation modeling (SEM) and the R program for the analysis of the measurement invariance.

The results highlight the existence of different visitor behavior in the experience economy, tourism experience and experiential satisfaction among visitors of several nationalities. However, the results highlight the existence of common visitor behavior on behavioral intention among visitors of these nationalities. This study reveals that visitors of different nationalities can have both diverse experiential and cultural motivations.

The results show that managers should apply a plan and strategy according to the differences between the nationalities. By examining visitors from different nationalities, the study was allowed to be interpreted from a wider perspective in terms of academia and industry.

This study makes a difference in the literature in terms of focusing on cross-national differences by examining the experiences of visitors from different nationalities by using experience economy theory and tourism experience elements in the same research model.

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.

This study aims to evaluate casino-hotel visitors’ tourism experiences which consist of multiple dimensions, and test their joint effects on visitors’ positive emotions and satisfaction. The findings are expected to reveal how multi-dimensional tourism experiences could shape visitors’ positive emotions, and empirically support positive emotions as the mediator between tourism experiences and satisfaction in the context of casino hotels.

A quantitative survey was conducted for this study. In all, 500 valid questionnaires were collected at four major casino hotels in Macao. Respondents were Chinese tourists who visited casino hotels in June. A structural model was developed and tested to understand the relationships between multi-dimensional tourism experiences, positive emotions and satisfaction.

Positive emotions were identified as “light pleasure” and “intense fun” emotions based on the context-specific measurement of casino hotels. The “light pleasure” emotions were found to be more effective in influencing respondents’ satisfaction than “intense fun” emotions. Different dimensions of tourism experiences were found to have different levels of impact on respondents’ positive emotions. The findings revealed how multi-dimensional tourism experiences influenced respondents’ positive emotions which in turn determined their satisfaction.

The findings advanced the understanding of the relationships between tourism experiences, positive emotions and satisfaction in the context of casino hotels. The two types of positive emotions identified in the study add values to the literature of casino-hotel visitors and emotional experiences. This study suggests a further investigation into the scope and measurement of each dimension of tourism experiences in different tourism settings in future research. The findings provided some practical suggestions for the management of positive emotions and tourism experiences in casino hotels.

The purpose of this paper is to investigate business visitor behaviour at trade shows and to propose a complementary view based on the experiential perspective in marketing.

The paper reports an ethnographic study conducted in the context of ten international trade shows in the textile‐apparel industry in Europe.

The study sheds light on the nature of the experience provided by trade show exhibitors and organisers and on visitors' lived experiences. Trade shows immerse industrial buyers in a physical and cognitive experience that requires their active participation. Under such circumstances, industrial marketers who employ experiential marketing techniques are likely to increase their trade show performances.

The paper adopts a new perspective that sees business visitor behaviour from an experiential standpoint and discusses the managerial implications that highlight the interplay of exhibitors and trade show organisers in designing and setting valuable experiences for visitors.