旅游管理专业论文外文文献翻译

译文(一)

消费者体验旅游和品牌的结合

米契尔 罗伯特

定义消费者体验旅游

制造工厂参观，公司博物馆和公司访客中心表现为被不同名字已知的观光事业片段：制造业观光事业，工业的吸引、工业的观光事业和工业的遗产观光事业。在每一个描述性的长期的共同目标是在消费者学习品牌，其运作，生产过程，历史和历史意义的时候建立一个消费者和品牌之间的纽带。有人建议在这里CET代表一个统一的主题的旅游。这个术语捕捉消费者的消费能力发现更多关于他们所消费的品牌，而制造商可以在与该工厂的客人接触的30-120分钟时间里建立与这些消费者更密切的关系。

参与的品牌

品牌经理寻求解决在三个层次消费者的需求： （1）功能（对消费者提供解决问题的办法）; （2）符号（提供心理欲望满意度）;

（3）经历（提供感官快乐，品种，认知，刺激）

CET可以通过视觉地介绍品牌，运作，生产工艺，历史和历史意义加强消费者和品牌之间的纽带。这种纽带可以被看作是个人品牌参与和品牌忠诚度的提高。认知参与反映了消费者对产品的兴趣（或学习更多）。CET可以通过刺激消费者对于品牌和生产过程的想象提高消费者的认知水平。此外，积极口碑沟通刺激满足旅客可能会比其他形式的促销更可信。

缺乏现有的直接研究关注

迄今为止，CET已经在行销文学中受到一点注意。米契尔和米契尔（2001年）对此内容这种的旅游网站进行了评估。此外，这些相同的作者已经评估食物和饮料工业中的现象（米契尔和米契尔，2000年），非营利部门（米契尔和米契尔，2001年b），和整体经济（米契尔等， 2001）。米契尔和米契尔（2002）为学者提出了格式，用来评估在当地的服务领域这些设施的地方利益。该主题通常包括对整合营销的简要讨论，但已收到直接研究的关注很有限。

消费者体验旅游的多样性

消费者体验旅游业是一群不同的旅游景点。艾克斯罗德和布伦伯格（1997）配置了288工厂在整个美国欢迎参观者。同样，伯杰和伯杰（1997年）提供约1,000自由工业旅游背景资料。（在300多个行业）是向公众开放。产品被表现的种类包括：加工食品，白酒，服装，汽车，电视节目和电影，硬币，纸制品，电子，家具，房车，玩具，调料和香料，陶瓷和玻璃器皿，金融市场，轮胎和橡胶，高尔夫球杆，棒球棒，和玩具熊。（美国汽车协会（AAA）包括类别“工业旅游”在其入境指南。）生产消费者必需品，如食物和饮料，提供了一个不成比例的旅游人数。涵盖阿克塞尔罗德和布伦伯格（1997）的288家植物旅游，104（或百分之36）的食品和饮料生产商。这些非耐用品经常被购买，挑战了营销与买家建立长期合作关系，以确保市场的地位。旅游供应商承认当消费者目睹了生产进程并有一个愉快的经验时候，创建的忠诚可能改进（米契尔和米契尔，2000）。奥洛尼和霍布森（1998）提供的较小的，不太知名的博物馆的资料被认为是CET供给的一部分，其重点放在产品类别或具体的品牌。他们的书描述了可利用的博物馆包括芥菜博物馆，芭比名人堂，固特异轮胎橡胶世界馆，点唱机博物馆和液体纸博物馆。目前，有超过1500名在美国的酿酒厂，其中大部分为消费者提供美酒品尝和旅游。这是CET为他们展示了酿酒厂，其产品，其生产过程所提供的额外部分。此外，在一些最近发生爆炸的较小的酿造啤酒的酒吧，制造工艺和时尚的饮料使消费者获取利益。目前有超过一千个地方提供客户现场制作的啤酒。葡萄酒和啤酒的生产者都提供了不同层次的消费者产品参与的经历。KrispyKreme的甜甜圈每天在27个州的149家生产超过300万。每一家提供全面服务的商店是专带有玻璃可视面积,展示生产过程,并为消费者提供“多感官体验”。

消费体验旅游的基本兴趣

许多人认为工厂参观，公司博物馆，游客中心和公司旅游对有子女的父母来说是低成本的娱乐，因为这种旅游一般都是免费或只需要象征式收费（卢卡斯，1998）。这是一个主要的目标市场并有利于消费者深入寻求这种魅力的根源。哈里斯（1989年）和普伦蒂斯（1993）指出，工厂和矿山点雇用了美国历史上劳动力的很大比例。对于服务经济的转变工人开始走出工厂。这从空间上和文化上使人们离开了制造业领域，导致了手工工业的减少。该工厂参观创建了新型的工业工作，又滋长旅游在生产过程中的利益。哈里斯和普伦蒂斯进一步指出，许多年轻的工人对工厂的工作经验不足，对这个主题越来越好奇。年纪较大的雇员对于“落叶归根”可能津津乐道。陆克文和戴维斯（1998年）将把工业革命看成是美国历史上的一个决定性事件，工厂参观为游客提供了一次机会去了解过去。理查兹（1996）注意到工业革命创造了一个时代，其中从过去到现在

发生了迅速转变。因此，全社会创造的怀旧情绪，旧技术产品被认为是文化和历史文物。公司博物馆或访客中心利用这些情绪提供了一个消费者与品牌之间的纽带。

消费者体验旅游目标

制造商可以使用它的硬件设施，建立（或加强）与各种各样的团体之间的关系。对CET目标消费者可分为三类： （1）现有和潜在消费者; （2）商业伙伴; （3）社区利益相关者。

原文(一)

Consumer experience tourism and brand bonding

MarkA.Mitchell RobertA.Orwig

Defining consumer experience tourism

Manufacturing plant tours, company museums, and company visitor centers represent a segment of tourism known by different names: manufacturing tourism, industrial attractions, industrial tourism, and industrial heritage tourism. The common goal within each descriptive term is to establish a bond between a consumer and brand as the consumer learns about the brand, its operation, production process, history, and historical significance. It is suggested here that CET represents a unifying theme for this segment of the tourism industry. This term captures the consumer's ability to discover more about the brands they consume while manufacturers can forge closer relationships with those consumers during the 30-120 minutes of time spent as the facility's guests.

Involvement with a brand

Brand managers seek to address consumer needs at three levels: (1)functional (providing solutions to consumer problems);

(2)symbolic (providing satisfaction of psychological desires);and

(3)experiential (providing sensory pleasure, variety, and cognitive stimulation).

CET can strengthen the bond between consumers and brands by providing a visual presentation of the brand, its operation, production process, history, and historical significance. Such a bond may be viewed as an increased levelof personal involvement with the brand and(assumedly)translates into greater brand loyalty. Cognitive involvement reflects a consumer's interest in thinking(or learning more)about a product.. CET may increase the consumer's level of cognitive involvement by stimulating thinking about the brand and its production processes. Further, the positive word-of-mouth communication stimulated by satisfied visitors may be deemed more credible than other paid forms of promotion.

Lack of existing direct research attention

To date,CET has received little attention in the marketing literature. Mitchell and Mitchell have evaluated the content of such tourism sites. Further, these same authors have evaluated the phenomenon in the food and beverage industries(Mitchell and Mitchell,2000),the nonprofit sector(Mitchell and Mitchell,2001b),and the overall economy(Mitchell et al.,2001).Mitchell and Mitchell(2002)have proposed a format for academics to evaluate local interest in such facilities in their local service areas. The topic is often included briefly in discussions of integrated marketing communications but has received limited direct research attention.

Diversity of consumer experience tourism

Consumer experience tourism represents a diverse group of tourist attractions. Axelrod and Brumberg profile over 288 factories throughout the USA that welcome visitors. Similarly, Berger and Berger(1997)provide background information for about 1,000 free industrial tours(in more than 300 industries)that are open to the public. Product categories represented include: processed foods, distilled spirits, clothing, automobiles, television programming and movies, coins, paper products, electronics,

furniture, motor homes, toys, sauces and spices, pottery and glassware, financial markets, tires and rubber, golf clubs, baseball bats, and teddy bears.(The American Automobile Association(AAA)includes the category ``industrial tours'' in its Guidebooks.)Producers of consumer staples, such as food and beverages, provide a disproportionate number of tours. Of the 288 plant tours covered in Axelrodand Brumberg(1997),104(or 36 percent)are food and beverage producers. These non-durable goods are purchased frequently and challenge marketers to create long-term relationships with buyers to ensure market position. Tour providers recognize the possible improvements in buyer loyalty created when a consumer has an enjoyable experience witnessing the production process(Mitchell and Mitchell,2000).Arany and Hobson(1998)provide information on smaller, lesser-known museums that are considered part of CET given their focus on a product category or specific brand. Their book depicts available museums including the Mustard Museum, Barbie Hall of Fame, Goodyear World of Rubber collections, Juke Box Museum, and the Liquid Paper Museum. Currently, there are over 1,500 wineries in the USA, most of which provide wine tasting and tours for consumers. This is an additional part of CET for they showcase a winery, its offerings, and its production process. Further, the recent explosion in the number of smaller breweries and brew pubs seeks to capitalize on the consumer's interest in the manufacturing process and the “chic-nes” of consuming on-the-spot made beverages. There are currently over 1,000 places offering the customer a beer made on the premises.Both wine and beer producers provide experiences applicable to consumers of varying levels of product involvement. Krispy Kreme Doughnuts produces more than three million doughnuts a day in its 149 stores in 27 states. Each full-service store is specially designed with a glass viewing area to showcase the production process and to provide “a multi-sensory experience for consumers.”

Underlying interest in consumer experience tourism

Many people think of manufacturing plant tours, company museums, and company visitor centers as low-cost entertainment(and educational)options for parents with children because such tours are typically free or require only a nominal fee(Lukas,1998).While this is a key target market and a benefit the consumer may seek, the root cause of this fascination runs much deeper. Harris(1989)and Prentice(1993)point out that factories and mines have historically employed a large percentage of the US work force. The shift to a service economy takes individuals out of the factories. This removes people spatially and culturally from the manufacturing sector, providing less contact and little first-hand knowledge of industrial work. The plant tour creates a novel and nostalgic view of industrial work, which in turn feeds tourist interest in manufacturing processes. Harris and Prentice further note that many younger workers'lack of factory work experience progresses naturally toward an increasing curiosity about the topic. Older employees may relish the experience of ``returning to their roots. ''Rudd and Davis(1998)identify the industrial revolution as a defining event in US history with company plant tours providing users a look at our collective past. Richards(1996)notes the industrial revolution created an era where the transition from modern to obsolete occurs more rapidly. As such, products of older technology are considered cultural and historical artifacts creating feelings of nostalgia among society. Company museums or visitor centers capitalize on these emotions by providing a sentimental, bonding experience between buyer and brand.

Target consumers for consumer experience tourism

A manufacturer can use its physical facilities to establish(or strengthen)the bond with a variety of parties. The target consumers for CET can be divided into three categories:

(1)current and potential consumers; (2)business partners;

(3)community stakeholders.

Translate from:

MarkA.Mitchell,RobertA.Orwig.Consumer Experience Tourism And Brand Bonding[J].Journal Of Product & Brand Management,2002(1).

译文(二)

欢迎进入体验经济

派恩.约瑟夫 詹姆斯.吉尔摩

没有公司愿意使用其商品或服务这个词。只是提到商品化中降下的管理人员和企业家。分化的消失，利润跳楼式下降，顾客完全依据价格购买。

但是，仔细考虑下，一个真正的商品：咖啡豆。收割咖啡，或者在未来市场上交易它的公司，在写这篇文章时，略多于1美元每磅，也可以说成一两分钱一杯。当制造商进行研磨，把相同豆类放在杂货店销售，把它们变成一种商品，对消费者的价格跳跃到5至25美分一杯。咖啡豆经过酿造后，角落里的咖啡厅或酒窖现在的售价为每杯50美分至一美元。

所以这取决于一家企业做什么样的生意，咖啡可以代表三个经济，即产品，商品和服务，对于消费者来说有三个不同的价值范围。但是：在五星级餐厅或咖啡吧进行同样的服务，那里的订货，创造和杯子的消费氛围，体现了高度的戏剧感，或相同的咖啡，消费者乐于支付任何地方从2元每杯到5元。登上至这第四的层价值的商店建立一种包封对咖啡的购买的有特色的经验，增加了两个以上数量级的商品价值。

还有，随即在意大利威尼斯，一个朋友问了酒店礼宾部，他和他的妻子可以去享受本市最好的。他们毫不犹豫地直接在圣马可咖啡厅的弗洛里氏广场到达。两人很快就坐在了在清爽的露天茶座，喝了杯热气腾腾的咖啡，深深沉静在了旧世界城市的景观和声音之中。一个多小时后，我们的朋友接到了帐单，发现体验的价值已经远远超过了15元一杯的咖啡的价值。这咖啡值这价值吗，我们问？“值得！”他回答。

新的价值源泉

体验是第四个经济提供，服务有别于商品，体验有别于服务，而直到现在基本上没有得到很深的认识。体验一直伴随着我们，但消费者，企业和经济学家把体验归结到服务领域来获得他们各自的利益。但是，当他够买体验的时候，他为花时间享受难忘的一系列事件而支付，如一家公司以个人的方式在戏院中进行表演。

体验一直是娱乐的中心，从戏剧和音乐会到电影和电视节目。在过去的几十年，然而，许多的娱乐节目中大大增加了体验。我们开始追寻这方面的体验，从一名男子到他创立的公司：沃尔特迪斯尼。通过不同层次分层的体验影响卡通来标识它的名字后，在1995年通过开放加利福尼亚州身临其境的卡通世界，迪斯尼开始了他的职业生涯。在1966年他去世之前，迪斯尼还设想沃尔特迪斯尼世界，而在佛罗里达州这个兴建于1971年。迪斯尼创造了世界上第一个主题公园，

而不是建立一个游乐园，不仅让游客娱乐，还让他们参与故事。对于每一位客人，演员都有着完整的体验专业知识，从迪斯尼学院到迪斯尼研究所俱乐部，从百老汇表演到迪斯尼游轮，拥有自己完整的加勒比岛国。

迪斯尼曾经是唯一的主题公园的东主，但现在的每一个业务线都面临着传统的和试验性的竞争对手。新技术鼓励全新风格的体验，如互动游戏，万维网站，“基于运动的景点”，3-D电影，以及虚拟现实。电脑行业对于商品和服务的体验需求越来越强烈。在1996年11月电脑展会的讲话中，英特尔公司主席安德鲁格鲁夫宣布：“我们需要看看我们的业务，不是简单的创造和销售的个人电脑。我们的业务是提供信息和逼真的互动体验。”没错。

许多传统的服务行业，现在与这些新的体验进行同样的竞争，使自己也变得更加体验化。在主题餐厅，如硬石餐厅，好莱坞星球，和阿甘虾公司，在饮食界因为“娱乐”体验的功能而有名。如粮农组织施瓦茨，约旦的家具店和耐克通过有趣的活动和宣传活动吸引消费者。

但是，这并不意味着体验完全依赖于娱乐，娱乐只是体验的一个方面。相反，公司现阶段的体验是通过以个人的有纪念意义的方式连接顾客，吸引顾客。许多餐饮体验与娱乐主题或财政支持者关系不大，而是把用餐与喜剧，艺术，建筑，历史，或自然结合起来。就像关于鸭的主题餐厅环境下发生的。赛普拉斯俱乐部，中世纪时代，和热带雨林咖啡厅极具代表性。在每个地方，食品服务提供了一个不同层次的感觉盛宴令消费者折服。

“商品思维方式，”根据英国航空公司前董事长科林马歇尔爵士，就是错误地思考“对我们来说企业只是执行一个功能，以尽可能低的价格及时地从A运输到B。”这是英国航空公司做的，他继续说，“将超越功能并在提供了体验的基础上竞争。”公司把其基本的服务来作为独特的体验的提供舞台，使人们从旅行中不可避免的压力中缓解过来。

即使是最普通的交易也可以成为最令人难忘的经历。芝加哥标准局对奥黑尔机场的每个停车场播放一首签字歌，在一层楼的墙上用硬币装饰成本地的体育图标，在另一面和背面墙上则用公牛队的白袜装饰。正如一位芝加哥的居民告诉我们，“你永远不会忘记你停车！”去杂货店的旅行往往成为家庭的负担，诸如在南加州的布里斯托尔农场和美食特色食品市场的地方是令人激动的事件。这种高档连锁经营的店面，“操作起来好像是在剧院，”根据商店杂志，主题为“音乐，现场表演，异国风光，免费茶点，视频设备圆形剧场，著名艺人和观众的充分参与。”西点市场业主罗素弗农在俄亥俄州阿克伦城的走廊装饰了鲜花卫生间功能的原始艺术品，过道上下充溢古典音乐，把他的商店描述为“一个为我们所销售产品的舞台。我们的天花板高度，照明和色彩营造戏剧性的购物环境。”

原文(二)

WELCOME TO THE EXPERIENCE ECONOMY

Pine . B. Joseph James H. Gilmore

No company wants that word applied to its goods or services. Merely mentioning commoditization sends shivers down the spines of executives and entrepreneurs alike.Differentiation disappears, margins fall through the floor, and customers buy solely on the basis of price, price, price.

Consider,however,a true commodity: the coffee bean. Companies that harvest coffee or trade it on the futures market receive-at the time of this writing-a little more than $1 per pound,which translates into one or two cents a cup.When a manufacturer grinds, and sells those same beans in a grocery store, turning them into a good, the price to a consumer jumps to between 5 and 25 cents a cup. Brew the ground beans into a run-of-the-mill dinner, corner coffee shop, or bodega and that service now sells for 50 cents to a dollar per cup.

So depending on what a business does with it,coffee can be any of three economic offerings-commodity, good, or service-with three distinct ranges of value customer attach to the offering.But wait: Serve that same coffee in a five-star restaurant or espresso bar, where the ordering, creation, and consumption of the cup embodies a heightened ambience or sense of theatre, and consumers gladly pay anywhere from $2 to $5 for each cup. Businesses that ascend to this fourth level of value establish a distinctive experience that envelops the purchase of coffee, increasing its value by two orders of magnitude over the original commodity.

Or more. Immediately upon arriving in Venice, Italy, a friend asked a hotel concierge where he and his wife could go to enjoy the city’s best. Without hesitation they were directed to the Café Florian in St.Mark’s Square. The two of them were soon at the café in the crisp morning air, sipping cups of steaming coffee, fully immersed in the sights and sounds of the most remarkable of Old World cities. More than an hour later, our friend received the bill and discovered the experience had cost more than $15 a cup .Was the coffee worth it, we asked? “Assolutamente!” he replied.

A NEW SOURCE OF VALUE

Experiences are a fourth economic offering, as distinct from services as services are from goods, but one that has until now gone largely unrecognized. Experiences have always been around, but consumers, businesses, and economists lumped them into the service sector along with such uneventful activities carried out on his behalf. But when he buys an experience, he pays to spend time enjoying a series of memorable events that a company stages-as in a theatrical play-to engage him in a personal way.

Experiences have always been at the heart of entertainment, from plays and concerts to movies and TV shows. Over the past few decades, however, the number of entertainment options has exploded to encompass many, many new experiences. We trace the beginnings of this experience expansion to one man and the company he founded: Walt Disney. After marking his name by continually layering new levels of experiential effects onto cartoons, Disney capped his career in 1995 by opening Disneyland-a living, immersive cartoon world-in California. Before his death in 1966, Disney had also envisioned Walt Disney World, which opened in Florida in 1971. Rather than creating another amusement park, Disney created the world’s first theme parks, which immerse guests in rides that not only entertain but involve them in an unfolding story. For every guest, cast members stage a complete with its experiential expertise, from the Disney Institute to Club Disney play centers, and from Broadway shows to the

Disney Cruise Line, complete with its own Carribean island.

Where Disney used to be the only theme park proprietor, it now faces scores of competitors in every line of business, both traditional and experimental. New technologies encourage whole new genres of experience, such as interactive games, World Wide Web sites, “motion-based attractions,” 3-D movies, and virtual reality. Desire for ever-greater processing power to render ever-more immersive experiences now drives demand for the goods and services of the computer industry. In a speech at the November 1996 Comdex computer show, Intel Chairman Andrew Grove declared, “We need to look at our business as more than simply the building and selling of personal computers. Our business is the delivery of information and lifelike interactive experiences.” Exactly.

Many traditional service industries, now competing for the same dollar with these new experiences, are becoming more experiential themselves. At theme restaurants such as the Hard Rock Café, Planet Hollywood, and the Bubba Gump Shrimp Co, the food functions as a prop for what’s known in the industry as an “entertainment” experience. And stores such as FAO Schwarz, Jordan’s Furniture, and Niketown draw consumers through fun activities and promotional events.

But this doesn’t mean that experiences rely exclusively on entertainment; entertainment is only one aspect of an experience. Rather, companies stage an experience whenever they engage customers, connecting with them in a personal, memorable way. Many dining experiences have less to do with the entertainment motif or celebrity of the financial backers than with the merging of dining with comedy, art, architecture, history, or nature, as happens at such restaurants as Pomp Duck and Circumstance. Iridium, the Cypress Club, Medieval Times, and the Rainforest Café, respectively. In each place, the food services provides a stage for layering on a larger feast of sensations that enchants consumers.

The “commodity mind-set,” according to former British Airways chairman Sir Colin Marshall, means mistakenly thinking “that a business is merely performing a function-in our case, transporting people from point A to point B on time and at the lowest possible price.” What British airways does, he continued, “is to go beyond the function and compete on the basis of providing an experience.” The company uses its base service as a stage for a distinctive en route experience, one that gives the traveler a respite from the inevitable stress and strain of a long trip.

Even the most mundane transactions can be turned into memorable experiences. Standard Parking of Chicago plays a signature song on each level of its parking garage at O’Hare Airport and decorates walls with icons of a local sports franchise-the Bulls on one floor, the White Sox on another, and so forth. As one Chicago resident told us, “Your never forget where you parked!” Trips to the grocery store, so often a burden for families, become exciting events at places such as Bristol Farms Gourmet Specialty Foods Markets in Southern California. This upscale chain “operates its stores as if they were theatres,” according to Stores magazine, featuring “music, live entertainment, exotic scenery, free refreshments, a video-equipped amphitheater, famous-name guest stars and full audience participation.” Russell Vernon, owner of West Point Market in Akron, Ohio-where fresh flowers decorate the aisles, restrooms feature original artwork, and classical music wafts down the aisles-describes his store as “a stage for the products we sell. Our ceiling heights, lighting and color create a theatrical shopping environment.”

Translate from:

Pine.B.Joseph, James.H.Gilimore.The Experience Economy [M].NewYork:Harvard Business School Press,1999.