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While the emergence of peer-to-peer (P2P) platforms has revolutionized the way people exchange goods, these platforms face the need to provide appealing products offered by independent providers. However, those providers have to deal with anonymous buyers, potentially hindering their perception of control over the exchange and their subsequent willingness to use the platform. Our research addresses this issue of providers’ control. Because prior research uses either environment-centric or individual-centric measures of control, no accurate measure of perceived control exists. This research aims to contribute by providing a scale that—in line with control theories—differentiates among the perceptions of control that derive from individual (i.e., skills-related) and those that emerge from the environment (i.e., security-related, autonomy-related). The results of four empirical studies performed in the second-hand market provide strong empirical support for the validity of our control scale, and its ability to explain the provider’s experience on the P2P platform.

Academics and practitioners increasingly focus on the concept of proximity, but the growing literature features a confusing diversity of approaches. This article offers a macro-analytical and conceptually unified vision of proximity. Based on an in-depth analysis of literature, this integrative synthesis offers a fourfold contribution: characterize and classify approaches to proximity, understand the place occupied by proximity in theoretical models in marketing, consider the managerial interest of proximity, and develop propositions for continued research into proximity topics.

Depuis quelques années le monde académique comme les praticiens montrent un intérêt grandissant pour le concept de proximité. Face à une littérature croissante mais confuse en raison de la diversité des approches mobilisées, cet article propose une synthèse intégrative et macro-analytique autour du concept de proximité. L’article poursuit quatre objectifs : caractériser et définir la proximité, comprendre la place occupée par ce concept dans les modèles théoriques en marketing, envisager l’intérêt managérial de la proximité, et, enfin, proposer des voies de recherche afin d’approfondir la compréhension du concept de proximité dans le champ du marketing.

International audience; The academic literature generally asserts that omnichannel strategies create value throughout the customer journey based on the principle of synergy between channels. However, such strategies may appear complex to customers, notably when they face myriad e-channels that constitute all means of accessing the offer. Specifically, for digital information products, such as those of the press, digitalized content is now consumed through multiple e-channels. Our study aims to investigate the impact of e-channel combinations on the perceived value of a digital information product during the usage phase. We hypothesize that the similarity between the e-channels used by customers has a negative impact on the perceived value model. To test the research hypotheses, we conducted a longitudinal study of the readers of a digital version of an international newspaper. The results demonstrate that the similarity of echannels impedes value creation. Our findings reintroduce a more ambivalent vision of the omnichannel strategy in a digital environment and provide insights into how managers should support customers by clarifying the usefulness of each e-channel proposed.

Purpose The purpose of this paper is to propose both a retrospective and a prospective look at one of the most powerful concepts in marketing research: consumption experience. Design/methodology/approach A historical review of the development of the concept of consumption experience is conducted from its introduction 35 years ago by Holbrook and Hirschman’s (1982) seminal paper to the most recent advances, including the articles selected for this special issue. Findings First, the authors show that the introduction of the concept of consumer experience was a major (r)evolution on the theoretical, methodological and managerial levels. Second, the authors examine the theoretical risks associated with a biased conceptualization of the consumption experience. Third, the authors highlight future avenues for research on the consumption experience from both macro- (“zoom-out”) and micro-analytic (“zoom-in”) perspectives. Originality/value This paper offers a comprehensive view on one of the most disruptive concepts in marketing theory.

International audience; Recent academic studies have reexamined the link between satisfaction and loyalty by introducing actual loyalty behavior. Results of these rare studies are still inconclusive and point out the weakness of the link between satisfaction and behavioral loyalty. This work extends these previous studies by investigating the links between perceived value, satisfaction, attitudinal loyalty and behavorial loyalty. It highlights that perceived value is a better predictor of attitudinal loyalty and behavorial loyalty (number of visits and total sales) than satisfaction. Individual moderating influences are also discussed.

International audience; The literature dedicated to heritage experience and brand heritage defends the idea that it is a source of significant value creation for consumers and brands. By contrast, the aim of this article is to propose a more complete view of the consequences of the heritage strategy for brands and consumers by exploring how consumers perceive a brand heritage experience and by identifying potential resistances that may emerge during their visits. In consequence, this research examines the features of a brand heritage experience through extended case studies in two brand museums with narratives of 47 visitors. By unpacking a brand heritage experience, the study highlights its acceptance by a majority of visitors as a real heritage experience since they give scientific, authentic and aesthetic values to the industrial and commercial features of the brand. However, some visitors do not accept – partially or totally – the brand as part of the heritage corpus insofar as they exhibit scepticism or even reject the experience.

Purpose This paper aims to investigate the consequences of the heritage experience in brand museums on the consumer–brand relationship. By highlighting its heritage within a museum, the brand proposes a specific experience that deserves attention because it is based on memory and communal identity, thus creating or strengthening a relationship with consumers. Design/methodology/approach Ethnographic case studies were conducted through direct observation and extensive interviews with 72 visitors at two brand museums, the Fallot Mustard Mill and the House of the Laughing Cow. Findings The results highlight the emergence/strengthening of the relationship between consumers and the brand through the development of intimacy with the brand and the emergence of supportive behaviors toward the brand in the form of commercial support, ambassadorship and volunteering. Research limitations/implications By characterizing and articulating the different relational consequences of visiting a brand museum, this research contributes to the literature dedicated to heritage experiences in consumption contexts and to the literature dedicated to consumer–brand relationships in servicescapes. Practical implications The study shows the necessity of grounding “heritage” in the physical setting of the brand museum to create a meaningful experience for visitors and, in turn, a deep relationship. Managers should treat brand museums as a relational tool in the marketing strategy of the brand and approach them from the perspective of long-term profitability. Originality/value While the literature has examined the spectacular and esthetic experiences brand museums offer, this study is the first to characterize the heritage experience and to document its consequences in terms of the consumer–brand relationship.

International audience; While the literature has mainly considered brand museums as communication tools or complex retail environments, this article analyses them through a heritage framework and suggests that brands can use heritage technologies of the arts for their own purposes. The case study of the brand museum of the Laughing Cow highlights the heritage technologies the brand uses to endorse two heritage roles: an inter-generational memory role based on the transmission of the brand's history and a community representation role through spaces and objects. As a consequence, this research sheds light on how brands can come to be accepted as heritage objects. By using heritage technologies within a museum, brands can capture heritage functions, and thus no longer fully rests in a market logic: the brand becomes a sacred and inalienable common good.

This research questions the effectiveness of enrichment strategies on experiential offers. A model accounting for the various effects of these strategies on consumer – primary positive emotions, delight, satisfaction, consumption value, and behavioral intentions – is proposed. A study in the field of tourism empirically validates the model but does not indicate an impact of the different experiential contexts considered.

The participation of the customer in a self-service technologies context. An approach by the perceived value Firms develop many technological devices allowing consumers to produce services (Self-Service Technologies - SST). However, by substituting themselves for employees, the participation of buyers in the servuction process can affect their consumer experience. Having stressed the potential contributions of the notion of perceived value, a qualitative study is carried out and allows identifying the sources of creation and destruction of value of an SST. These have both similarities and specificities with the perceived value of traditional services., Les entreprises développent massivement les dispositifs technologiques permettant aux consommateurs de produire des offres de services (Self-Service Technologies – SST). Cependant, en se substituant aux employés de l’organisation, la participation active de l’acheteur dans le processus de servuction n’est pas sans effet sur son expérience de consommation. Après avoir mis en avant les apports potentiels d’une approche par la valeur perçue, une étude qualitative identifie les sources de création et de destruction de valeur des SST. Ces dernières présentent à la fois des similarités et des spécificités par rapport aux éléments de valorisation des services traditionnels.

International audience; La valeur perçue par les consommateurs occupe une place significative dans les réflexions actuelles des praticiens et des chercheurs en marketing. Cependant, la diversité des recherches et l'absence d'un cadre théorique unifié nécessitent un travail de clarification. Cet article propose ainsi d'identifier, à partir des définitions et approches de la valeur, des critères de classification et de caractérisation de cette notion. Puis, la comparaison avec d'autres concepts proches amène à resituer la valeur perçue au sein d'un réseau de relations. Enfin, les implications managériales, liées à l'analyse de la valeur perçue, sont soulignées.

Perceived value by consumers takes on particular importance in the current thinking of managers and marketing researchers. However, the variety of research and the absence of a unified theoretical framework call for further clarification. This paper therefore sets out to identify, on the basis of definitions of and approaches to value, criteria for categorizing and characterizing the notion of perceived value. A comparison with other similar concepts then allows it to be considered within a nomological network. Finally, the managerial implications of perceived value are discussed.

PurposeThe purpose of this paper is to identify the structural dimensions of a new museal offer, museoparks, which use edutainment and more generally re‐enchantment strategies.Design/methodology/approachTo bring out the symbolic dimensions specific to these cultural sites, the methodology used is based on the analysis of photographic media.FindingsThe analysis reveals four main symbolic dimensions structuring these hybrid cultural offers: spectacularization, immersive character, ritualized character, and very intense merchandizing of the experience.Research limitations/implicationsThis analysis allows us to update a hybrid, complex and re‐sized form of cultural experience that goes beyond the classic combination identified in the analysis of edutainment strategies (educational and fun dimensions).Practical implicationsFrom a managerial action perspective, this research provides keys to understanding the strategies proposed by the hybrid offers of museoparks; strategies that might inspire many museum managers eager to imitate them.Originality/valueThis research provides keys for understanding the logic underlying the structuring of the experience offered by cultural institutions.

Les concepteurs et managers de parcs a theme cherchent avant tout a favoriser l’immersion du visiteur au cœur d’une experience extraordinaire. Pourtant, l’acces a ce type d’experience n’est pas systematique et l’immersion du visi- teur ne semble pas permanente. L’objectif de cet article est d’approfondir la comprehension de l’experience vecue dans ces parcs. L’analyse de 41 journaux de bord de visiteurs de parcs a theme permet de mettre a jour des etats d’immersion mais egalement d’autres etats ressentis (submersion, emer- sion, rejet). Sur le plan managerial, cette demarche offre des cles de comprehension aux managers de ces parcs et plus globalement de sites touristiques proposant des offres d’experiences extraordinaires.

Des techniques de communication alternatives s'appuyant sur des contenus generes pas les utilisateurs se developpent de plus en plus. Or la communication 2.0 pourrait ne pas se reveler etre cette nouvelle panacee manageriale tant esperee. Si ces outils permettent de s'engager dans un dialogue avec le consommateur, ce dialogue va se faire sous certaines conditions dont les entreprises doivent avoir pleinement conscience.

This article proposes to reconsider the concept of lived experience by the consumer which is the object of a normative vision in marketing. Thanks to the concept of value, we seek to improve the conceptualization of the experience by defining it as a place-object interaction. We conduct an empirical analysis on the field of live shows to compare rival modelings of lived experience. The results show the importance of the place of consumption as the framework of lived experience and confirm an indirect influence of the place on total perceived value. Finally, they allow a validation of different tools used in this model.

International audience; Comme de nombreux secteurs, la presse écrite est touchée par l’apparition de canaux numériques. Cela a favorisé l’émergence de nouvelles manières d’accéder à l’information et a contribué au développement de nouveaux contenus. Les dernières réflexions académiques et managériales conduisent à supposer l’existence d’un effet de complémentarité entre les contenus comme entre les canaux. Cette recherche se propose de vérifier cette hypothèse à partir d’une enquête menée auprès de 1 028 lecteurs du journal Le Monde. Les résultats mettent seulement à jour un effet de complémentarité entre les canaux, et uniquement sous certaines conditions.

International audience; Cette recherche questionne l’efficacité des stratégies d’enrichissement des offres d’expérience. Un modèle intégrant différents effets de ces stratégies sur le consommateur : émotions positives élémentaires – enchantement – satisfaction – valeur de consommation – intentions comportementales est proposé. Une étude dans le secteur touristique valide empiriquement le modèle mais conduit à rejeter l’hypothèse d’un effet des contextes expérientiels différenciés sur ce modèle.

International audience; Perceived value is of primary concern for researchers and practitioners in the business-to-business (B2B) and business-to-consumer (B2C) spheres. However, the scientific community's excitement over perceived value, associated with approaches developed in parallel in B2B and B2C, has engendered theoretical confusion about perceived value. To solve these conceptual problems, many researchers developed a unified theoretical framework of value (zoom out approach) at a macro-analytical level. By contrast with this currently mainstream perspective in marketing theory, this article adopts a micro-analytical approach to perceived value (zoom in approach). A comparative approach of literature on value in B2B and B2C leads to cross-fertilization between the two areas, while each retains its own features. This zoom-in approach leads to the proposition of a research agenda and allows us to clarify and to enhance the idea of perceived value in B2B and B2C.

WEB 2.0AND MUSEUMS: THE NEW EACES OF THE VISITOR The increasing integration of techniques from Web 2.0 by the museums illustrates the profound changes that these structures have realized in building their relationship with the audience. The use of these devices, based on a logic of participation, leads to involve the visitor, traditionally rather kept at a distance, on all stages of the implemeritation of the mUseum offered on Internet. Through a careful examinât icin of sites arid features offered by the museal structures, different roles now devolved to the public have been identified. The emergence of these new "faces" of the visitor comes to question, in the longer-term, about the identity and the legitimacy of the museums themselves., L'intégration croissante des techniques issiies du Web 2.0 par les musées illustre les profondes modifications que ces structures ont engagées dans la construction de leur relation avec le public. Le recours à ces dispositifs, basés sur une logique de participation, conduit à impliquer le visiteur, traditionnellement tenu à distance, dans toutes les étapes de la mise en oeuvre de l'offre museale sur Internet. Grâce à un examen attentif des sites et des outils proposés par leÉ structures niuséales, différents rôles désormais dévolus au public ont pu être identifiés. L'émergence de ces nouvelles figures du visiteur vient interroger à plus long terme l'identité et la légitimité des musées eux-mêmes.

Rompant avec une longue tradition de financement public, certaines grandes institutions muséales européennes voient la part de leur financement privé augmenter considérablement. Cette évolution s’accompagne de la possibilité d’investir cet argent sur les marchés financiers à travers des endowment funds. L’objectif de cet article est de proposer un éclairage sur ce nouveau moyen offert aux musées de gérer leur capital financier. Pour se faire, nous examinerons le système muséal américain où les endowments sont la règle. Cette analyse nous permettra de comprendre ce que recouvre cette notion, d’appréhender ses modalités de mise en oeuvre et de saisir les bénéfices et les risques auxquels les musées européens s’exposent., Breaking with a long tradition of public financing, European museum institutions experience a drastic increase of the part of their revenues coming from private sector. At the same time, they can invest this money on financial markets through endowment funds. This article proposes to highlight this new way museums have to manage their revenues. In this way, we analyze American museum system where endowment is the rule. This analysis allows us to understand the endowment concept, to grasp their modalities of implementation and financial management and to discuss benefits, but also risks to which European museums expose themselves., Rompiendo con una larga tradición de los fondos públicos, parte de la financiación privada de algunos de los museos mas importantes de Europa se encuentra actualmente en alza. Esa tendencia viene unida con la posibilidad de inversión en los mercados financieros a través del endowment funds.El objetivo del presente estudio, es poder mostrar este nuevo medio del que disponen dichos museos, para administrar su capital financiero, tomando como ejemplo el sistema de financiación de los museos americanos, en los cuales la vía de dotaciones es la norma general.Este estudio nos permitirá entender el significado de este concepto, como se pone en práctica y cuales son los beneficios y riesgos a los que enfrentan los museos en Europa.

Many companies now use the Internet as part of a click & mortar strategy. This strategy is also used in the museum field, but its consequences have not been evaluated yet. A quantitative study carried out on a sample of 388 visitors, at the Bibracte Museum (France), indicates that the quality of an internet website, as well as the satisfaction and trust experienced by Internet users when browsing, have direct positive influence on word-of mouth and the actual museum visit. It seems therefore appropriate to integrate the internet website to the whole management of cultural and artistic activities, without forgetting to take into account the specificities of this particular field., De nombreuses entreprises utilisent Internet dans le cadre d'une stratégie click and mortar. Cette même stratégie est également utilisée dans le champ muséal, mais ses conséquences n'ont pas été évaluées. Une étude quantitative menée sur un échantillon de 388 visiteurs, effectuée au musée de Bibracte (France), indique que la qualité d'un site Internet ainsi que la satisfaction et la confiance éprouvées lors de la navigation par les internautes ont une influence directe sur un bouche à oreille positif et la visite effective du musée. Dès lors, il paraît intéressant d'intégrer le site Internet au management des activités culturelles et artistiques, tout en respectant les spécificités de ce domaine d'activité.

The museum offer undergoes at present profound transformations. Beyond the traditional structures which do not any more hesitate to use innovative museographies and to slide in the sphere of the leisure activities, it seems to develop a new sector, halfway between museums and amusement parks called museopark. The aim of this article is to analyze an example of this hybrid offer, the City of Arts and Science in Valencia (Spain), fitting very well with the edutainment logic and to understand the structuring elements and the borrowings made in of the amusement parks. After the presentation of theoretical foundations underlying the definition of experiential museums, we expose our case study, by defining the methodology, presenting all the dimensions structuring the museum experience offer and by identifying managerial implications., L'offre muséale subit actuellement de profondes transformations. Au-delà des structures traditionnelles, qui n'hésitent plus à recourir à des muséographies innovantes et à glisser dans la sphère des loisirs, semble se développer un nouveau secteur, à mi-chemin entre musées et parcs d'attraction. L'objectif de cet article est d'analyser un exemple de cette offre hybride de type muséo-parc, la Cité des Arts et des Sciences de Valencia (Espagne), s'inscrivant dans une logique ludo-éducative, afin d'en comprendre les éléments structurants. Après avoir présenté les fondements conceptuels sous-tendant la redéfinition expérientielle des musées, nous exposerons notre étude de cas, en définissant d'abord la méthodologie utilisée puis en présentant l'ensemble des dimensions structurant cette offre d'expérience, avant d'énoncer les implications managériales de cette réflexion. +

PurposeOne conclusion is widely shared by professionals in the cultural sector: consumer motivations have changed and in particular their relations with cultural products and services. This paper seeks to analyze different trends applied to museums in order to improve the understanding of this “new” cultural audience.Design/methodology/approachFor this trend marketing analysis, seven consumer orientations have been identified (without claiming they are at all exhaustive) after an extended review over the shape of contemporary consumer habits. Besides, the authors wanted to know the opinion of the cultural managers. Each consumer orientation has been evaluated by taking a sample of French practitioners from different areas of the museum sector.FindingsThe paper is interesting in that it highlights the gap between actual management practices and practitioners' judgments.Research limitations/implicationsThe first limitation that should be borne in mind relates to the exploratory character of this paper. In an extremely shifting environment, it is difficult to claim to have successfully identified all of the consumer trends that may criss‐cross the cultural sector. The second limitation of the research is the cultural contingency of the empirical validation. This was done in a French context.Practical implicationsThe environment (especially the competitive environment) in which cultural institutions find themselves should urge them to take account of changes in modes of cultural consumption in order to reach individuals through an attractive and coherent discourse. Museums have to continue to open up to their audiences. It is not, of course, a question of forcing a change or complexification of the core cultural offer (exhibition), but rather a contemplation of what can be done around that core.Originality/valueThe paper offers insights into the evolution of the relation between museums and visitors by analyzing seven consumer orientations. The authors illustrate how museums stray from their original image as a high cultural place. They then show that museums are also revitalizing themselves by redefining the role played by the visitor: from a passive individual to an actor fully interacting in the museum's offer.

Stimulate the audience sensoriality seems to be a new spearhead for a lot of cultural institutions. In this way, it is important to understand how the stimulation of the five senses of the audience could be interesting for managers in the cultural field. We wish, within this article, to improve this analysis. Accordingly, we will try, in a first part, to define this "sensory" trend of consumption and to clarify its stakes in comparison with the work completed in other marketing's fields. In a second part, we will appreciate the consequences of this tendency in terms of managerial practices for the professionals of the cultural sector. In a third and last part, we will present the principal results of an investigation carried out near 122 professionals in order to evaluate their opinion concerning this tendency., Mettre en jeu la sensorialité du public apparaît comme un nouveau fer de lance pour certaines institutions culturelles. Il importe donc de comprendre en quoi le fait de stimuler les sens du public pourrait s'avérer déterminant pour les professionnels de ce secteur. Nous souhaitons, dans le cadre de cet article, contribuer à faire avancer cette analyse. Dans cette optique, nous tenterons, dans une première partie, de définir cette tendance « sensorielle » de la consommation et de mettre en lumière ses enjeux au regard des travaux réalisés dans d'autres domaines de consommation. Dans une deuxième partie, nous apprécierons les conséquences de cette tendance en termes de pratiques managériales pour les professionnels du secteur culturel. Enfin, dans une troisième et dernière partie, nous présenterons les principaux résultats d'une investigation réalisée auprès de 122 professionnels afin d'évaluer leur opinion concernant cette tendance.

L'expérience vécue par le consommateur fait l'objet de conceptualisations réductrices et normatives en marketing. Cet article défend une conceptualisation plus étoffée de l'expérience vécue fondée sur une interaction lieu-objet et s'appuyant sur le concept de valeur. Une analyse empirique dans le domaine du spectacle vivant est menée en vue de comparer des modélisations concurrentes de l'expérience vécue. Les résultats mettent en avant l'importance du rôle joué par le lieu de consommation comme cadre de l'expérience vécue et confirment son influence indirecte sur la valeur globale perçue. Enfin, ils permettent une validation des différents outils destinés à opérationnaliser ce modèle.

National audience; Cet article pose la question du positionnement stratégique des institutions culturelles. Si cette interrogation n'est pas nouvelle, elle mérite d'être à nouveau posée au regard des modifications que subit le secteur culturel à la fois du côté de l'offre et du côté de la demande. Dans cette optique nous envisagerons de nouvelles sources de différenciation possibles pour les institutions culturelles en mobilisant le concept de valeur. Une relecture des travaux autour de cette notion nous conduira à en proposer des extensions qui constitueront autant de voies de positionnement. Nous justifierons chacune de ces extensions et nous verrons quelles implications managériales cela induit.

National audience

National audience