毕业论文市场营销外文文献翻译.docx

1、毕业论文市场营销外文文献翻译Relationship marketing and service marketing: convergence point of Culture Department of value creationABSTRACTUsing the relationship paradigm as a theoretical framework, a management model for cultural services (relationship marketing of cultural organizations) is proposed, what is an

2、 unprecedented contribution in the marketing field. By combining two convergent perspectivesas relationship marketing and services marketing, the model is structured on the basis of two large types of relationships in the management of a cultural organization: instrumental relationships and group re

3、lationships. The paper is an in-depth study of relationships regarding performing arts audience. A theoretical/empirical approach was applied, including face to face interviews to 1005 performing arts consumers and telephone interviews to a sample of 2005 individuals in Spain.Keywords: Cultural mark

4、eting erforming arts services relationship marketing 1. INTRODUCTION: The most recent literature on marketing management is demonstrating a revolutionary change in both form and content, which, undoubtedly, will result in several research projects in the short term aimed at shedding some light on th

5、is dilemma. Traditional management models and paradigms do not adapt to the requirements of new products, as there are more and more exceptions and questions on the models developed so far (Lovelock and Gummesson, 2004; Vargo and Lush, 2004). In this complex context, this paper aims to make an in-de

6、pth study of the field of cultural services management by using two concurrent perspectives relationship marketing and services marketing, in order to contribute to the development of the new marketing domain: cultural marketing (Kotler, 2005). This is a field still in its development phase, but has

7、 probably found, with these new trends, the right moment to grow and develop management structures and models that meet its particular requirements. From the very beginning, contributions made to the cultural sector by the marketing discipline have been very diverse. However, although they seem to h

8、ave come to a consensus in the scientific world about the idea that the management of cultural identities presents such special characteristics that make it considerably different (Voss and Voss, 2000; Colbert, 2001; Johnson and Garbarino, 2001; Arts Council of England, 2003; Kotler and Scheff, 1997

9、). Contributions from the marketing management area still do not suffice to construct a knowledge base that is solid enough to create a theoretical management framework similar to the one other disciplines with more tradition in marketing research have. In this context, it is stated that the relatio

10、nship marketing paradigm offers a suitable framework for the implementation of cultural management and this research study has focused on the performing arts services sector, as considering that it is one of the most forgotten sectors by scientific researchers of management. Furthermore, the decreas

11、ing consumption of this art form in Europe goes against the trend if taking into account that time and money invested in leisure activities has not stopped growing with countries economic development. In view of this situation, questions as following are required: what is the reason for this loss of

12、 competitive advantage?, what is being done wrong to be losing impact in a market, which, in theory, is becoming more and more inclined to consume leisure activities, such as the performing arts?, which agents are responsible for the results?, which agents are affected by the results?, what can be d

13、one to improve this? These questions are the basis for carrying out this research study. 2.RELATIONSHIP MARKETING, SERVICES MARKETING AND CULTURAL MARKETING AS THREE CONVERGENT PERSPECTIVES: Relationship marketing has become one of the most important contributions in the development of modern market

14、ing science (Payne and Holt, 2001), and it has generated a recognised interest in the field of scientific research. What is more, in the opinion of numerous authors, it has even been seen as a new paradigm (Gummesson, 1999; Peck et al., 1999; Webster, 1992; Sheth and Parvatiyar, 2000; Kothandaraman

15、and Wilson, 2000). With the concept by Gummesson (2002) on “relationship marketing is interactions in networks of relationships” as a starting point, the management of a cultural organization is understood as being necessarily determined by a multitude of agents in the market, be included in the org

16、anizations planning process, since the value of the final product is going to depend on them to a large extent. The role of the interest groups in the planning process of the organizations is one of the least cultivated areas of relationship marketing (Henning-Thurau and Hansen, 2000). Payne and Hol

17、t (2001) explicitly refer to this deficiency: “understanding long-term relationships with both customers and other stakeholder groups has been neglected in the mainstream marketing literature; managing the organizations internal and external relationships needs to become a central activity; this cen

18、tral activity is relationship marketing”. We are faced, therefore, with a new scenario in which one-to-one marketing has given way to many-to-many marketing (Gummesson, 2004); in other words, planning relationships with individuals has evolved to planning relationships with collectives, with interac

19、tion networks. On the other hand, either when contributions in the field of cultural marketing do not record enough standardization or volume to be grouped in trends or schools, they do share a value: the importance of relationships in their management. Contributions made in this area are very diver

20、se, in most cases focusing on relationships with customers (relationships with the performing arts audience). Garbarino and Johnson (1999) use the stage of an off-Broadway theatre in New York to explore the transaction/relationship continuum proposed by Gronroos (1995) to conclude that the performin

21、g arts audience has different behavioural profiles depending on the relationships developed with the organization or, specifically, “in a consumer environment in which customers receive highly similar services . there are systematic differences in the relationalism of different customer groups”. Ren

22、tschler et al. (2001) also considered an empirical approach to relationships with the audience of performing arts organizations in Australia: “what arts organizations need to consider is whether the expense of having high single-ticket sales is sustainable and, if not, what to do about it”.3.THE PRO

23、DUCT AND RELATIONSHIPS WITH CUSTOMERS SUGGESTIONS ON A MODEL FOR THE RELATIONSHIP MANAGEMENT OF CULTURAL SERVICES: Relationships with the audience are the central component in the configuration of the relationship marketing management model for cultural organizations. This central place is shared wi

24、th the cultural product, whose general marketing model presents special characteristics that differentiate it from the classic structure of marketing, as: 1. Marketing process starts in the producer organization, and from this origin (the cultural product) a decision has to be made concerning the pa

25、rt of the market that may be interested in consuming it. 2. Once potential consumers have been identified, the company will decide on the remaining relationship policies (instrumental and group, which we will cover below). Therefore, we are faced with a kind of market whose marketing process shows a

26、 “product-to-client” type structure. The atypical structure transforms the relationship policy with the cultural customer, as it considers that the core of the product is unalterable (Colbert, 2001). This structure involves the development of a wide variety of relationships, which have to be include

27、d in the value creation process forming the marketing of a cultural product. The cultural offering of a country, a region or a district is a source of benefits for a large number of social sectors. It is not for nothing that the recognition of the “need for culture” is well-known in virtually all de

28、veloped countries (Council of the European Union, 2004), and public organizations, as well as private entities, are involved in satisfying this demand. Based on this situation, it is logical to assume that each and every one of these collectives has to be included in the organizations planning and a

29、 “win-win relationship” needs to be implemented in connection with them.Performing arts organizations will have to manage a multitude of relationships to achieve their objectives. These relationships were formerly classified into two large categories (Quero, 2003): a. Instrumental relationships: thi

30、s first category groups the marketing mix instruments and incorporates a relationship focus (i.e., product, price, distribution and communication relationships). The differentiation factor characterizing the design of these policies is that they have to be planned taking as a reference the creation

31、of value for customers and for every one of the agents involved in the production process of the cultural services. b. Group relationships: the second of the categories is related to the identification and planning process of relationships with collectives or agents of interest, as the performing ar

32、ts audience, educational centres, public organizations, competition, suppliers, non-public organizations and internal relationships. From this point of view, group relationships and instrumental relationships are understood as different in nature, but they converge in strategy; in other words, whils

33、t some of them require skills connected with the management of relationships with collectives, others require a different kind of skills, more visible for the customer and connected with decision-making in specific aspects, such as programme designing (product), ticket sales (distribution), show value (price) or conveying the informatio