毕业论文外文翻译旅游与服务市场奇幻感觉有趣论文文献翻译中英文对照翻译.docx

1、毕业论文外文翻译旅游与服务市场奇幻感觉有趣论文文献翻译中英文对照翻译中文3780字标题：Tourism and hospitality marketing: fantasy, feeling and fun原文：Experiential marketing has become a cornerstone of many recent advances in areas such as retailing, branding and events marketing, but with attempting to sell an experience of a place through re

2、lating it to the lifestyle constructs of consumers. For many years we have discussed the characteristics of tourism and hospitality products, which suggest that marketing within the sectors is different to many other industries, as purchase decisions are made on the basis of projected and perceived

3、images, rather than prior experience. However, despite the amount of literature being written on these perceived differences, most marketing in the sector relies heavily on traditional marketing concepts, and it is often difficult to discriminate tourism and hospitality approaches to marketing from

4、those advocated for other consumer products.Tourism and hospitality has become a major economic activity as expectations with regard to the use of our leisure time have evolved, attributing greater meaning to our free time. The evolution of tourist behaviour encourages both change and the emergence

5、of new meaning (Bouchet et al., 2004). This results in marketing having potentially a greater prominence in tourism and hospitality, than in other industries. Potential that is not always fully achieved (Morgan and Pritchard, 2002). The key reason for this failing is that in the main marketing for t

6、ourism and hospitality has been focussed not on the consumer, but on the destination or outlet, with marketing strategies being related to the products offered (Williams, 2000, 2002). As marketing within this sector has evolved however, the offer has become increasingly less important due to the eno

7、rmous heterogeneity of consumer motivation and behaviour. The result is that firms and destinations within this sector need to redefine their strategies to reflect these changes.Studying the behaviour of consumers has become increasingly complex, and it is fair to argue that tourism and hospitality

8、by its very nature, should be in the vanguard of research into contemporary consumers (Williams, 2002). Tourism and hospitality offers a multitude of venues in which people can consume. Bars, restaurants, hotels, theme parks, casinos and cruise ships all operate as “Cathedrals of consumption” (Ritze

9、r, 1999) offering increasingly complex consumption opportunities to increasinglycomplex consumers. Tourism and hospitality has developed into one of the most important global economic activities, due in part to a combination of a transformation of offers and increasingly postmodern demand. These cha

10、nges mean that tourism and hospitality consumption has evolved to become more qualitative, more demanding, and more varied (Bouchet et al., 2004).Anecdotal evidence delivered through media coverage, would suggest that contemporary consumers are self-indulgent, pleasure seeking individuals, easily do

11、minated by marketers and advertisers, who act like sheep in the ways they mimic referent others. However, the reality is obviously much more complex than such a scenario suggests. Contemporary consumers are as likely to be driven by thrift as to they are to be hedonistic, they use consumption to mak

12、e statements about themselves, they use consumption to create their identities and they develop a sense of belonging through consumption. For many people it is through consumption that relationships are formed, for example, colleagues enjoying a drink after work or children hosting their birthday pa

13、rties at McDonalds, enabling them to define their circle of friends .Consumption also plays a part in finding fulfilment, developing creativity and expressing their individual abilities. Clearly such a complex phenomena cannot be easily understood.Recent arguments have been sounded that aspects of c

14、ontemporary tourism and hospitality consumption have reflected the phenomena of postmodernism. Whilst many believe postmodernism to be a meaningless intellectual fad, inaccessible to many involved in marketing within our sector, others agree that there are worthwhile insights to be gained from the d

15、ebate on the post-modern condition and its consequences for tourism and hospitality consumption and marketing. I do not intend to discuss at length the use of post-modern discourse in tourism and hospitality marketing as I have exercised it in previous work (Williams, 2000, 2002). The term postmoder

16、nism refers to a break in thinking away from the modern, functional andrational, and during the last couple of decades it has spread across all domains of knowledge, including marketing. The key concepts of post-modern marketing are fragmentation, indeterminacy and distrust of universal discourse, b

17、ut by eschewing modernism it introduces a radically new and different cultural movement which coalesces in a reconceptualisation of how we experience and explain our world. In terms of experiential marketing two aspects of the post-modern discourse are most relevant, hypereality and image.Hyperealit

18、y is one of the most discussed conditions of postmodernism, and refers to the argument that reality has collapsed and has become image, illusion, simulation and simulacra (copies for which no original exists). Hyperreality refers to a blurring of distinction between the real and the unreal in which

19、the prefix “hyper” signifies more real than real. When the real is no longer a given but is reproduced by a simulated environment, it does not become unreal, but realer than real, to the extent it becomes what Baudrillard (1993, p. 23)refers to as “a hallucinatory resemblance of itself”. In postmode

20、rnism, with the advent of hyperreality, simulations come to constitute reality itself. This scenario is exemplified throughout the tourism and hospitality industry. Baudrillard himself used the example of Disneyland, arguing it is more real than the USA itself. A point reinforced by Venturi (1995, p

21、. 67) who suggested “Disneyland is nearer to what people want than what architects have ever given them. Disneyland is the symbolic American utopia”. In postmodern society people have become fascinated by signs and as a result, they exist in a state where signs and images have become more important

22、than what they stand for. The result is that todays consumers consume imagery and do not focus on what the images represent or mean. As Miller and Real (1998, p. 30) argue “we live in a world where the image or signifier of an event has replaced direct experience and knowledge of its referent or sig

23、nified”.While it is accepted that there are problems with investigating tourism and hospitality marketing through a postmodern orientation, it clearly encompasses a broad range of consumer experiences. In addition it has the potential to reframe our thinking about marketing practice in an increasing

24、ly fragmented global marketplace.A better understanding of the underlying macro forces and micro behaviour, associated with postmodernism, can be leveraged by marketers to obtain competitive advantages in the increasingly dynamic, unpredictable, unstable and competitive tourism and hospitality envir

25、onment.Traditional marketing provided a valuable set of strategies, implementation tools and methodologies that tourism and hospitality firms could use in an earlier age. As Schmitt (1999, p. 55) argued “traditional marketing was developed in response to the industrial age, not the information, bran

26、ding and communications revolution we are facing today”. In a new age, with new consumers we need to shift away from a features-and-benefits approach, as advocated by traditional approaches to consumer experiences. We need to consider new concepts and approaches which capitalize on the opportunities

27、 offered by these new consumers. One such approach is experiential marketing; an approach which in contrast to the rational features-and-benefits view of consumers, takes a more postmodern orientation and views them as emotional beings, concerned with achieving pleasurable experiences.Experiential m

28、arketing is a growing trend worldwide, with enthusiasts reported in all sectors of the global economy, from consumer products such as Ford Motor Company (Kerwin, 2004) to health care providers such as the North Hawaii Community Hospital (Hill, 2003). As Schmitt (1999, p. 53) states “experiential mar

29、keting is everywhere”. The question is what has caused this evolution in the world of marketing, and what are the implications for consumers of tourism and hospitality?Experiential marketing was first introduced by Pine and Gilmore (1998) as part of their work on the experience economy, and further

30、refined in many subsequent articles and books by the same authors. Pine and Gilmore (1999, p. 2) explained their view of experiential marketing in the following manner “when a person buys a service, he purchases a set of intangible activities carried out on his behalf. But when he buys an experience

31、, he pays to spend time enjoying a series of memorable events that a company stages to engage him in a personal way”. Experiential marketing is about taking the essence of a product and amplifying it into a set of tangible, physical, interactive experiences which reinforce the offer. Rather than see

32、ing the offer in atraditional manner, through advertising media such as commercials, print or electronic messaging, consumers “feel” it by being part of it. As Gautier (2004, p. 8) argues “experiential marketing is a totally new way of thinking about marketing, if you think its about simply tweaking

33、 around the edges, think again”. Experiential marketing is not about one-off events, sponsorship, sampling or general field marketing. Experiential marketing describes marketing initiatives that give consumers in-depth, tangible experiences in order to provide them with sufficient information to make a purchase decision. It is widely argued that as the science of mark