Negotiating authenticity: Three modernities

Enhancing visit intention in heritage tourism: The role of object‐based and existential authenticity in non‐immersive virtual reality heritage experiences

“…Kim, Lee, et al (2020) successfully used the stimulus‐organism‐response (SOR) model by Mehrabian and Russell (1974) and measured authenticity to predict cultural VR experiences. However, the application of this model by Kim, Lee, et al (2020) measures authenticity as a one‐dimensional antecedent, even though authenticity is increasingly conceived as a multi‐dimensional concept that can be related to the genuineness of an object, or to the individual's subjective existence, both in real and digital experiences (Canavan & McCamley, 2021; Castéran & Roederer, 2013; Kolar & Zabkar, 2010; Sedmak & Mihalič, 2008; Steiner & Reisinger, 2006; Wang, 1999).…”

Evaluating the Authenticity of Naxi Music in Three Stages from the Perspective of Naxi Musicians: An Application of Lacan’s Mirror Stage Theory

“…Musicians not only adapt to the development of the times but also enrich the artistic charm of music. We cannot ignore that the open cultural system can provide more possible paths for the innovation of local musicians [33]. The conclusion of this study is applicable not only to Naxi music but also to the evaluation of other similar performing tourism projects.…”

“…To more adequately examine the topic of authenticity, we must consider the changes in the relationship between locals and tourists [32][33][34]. For local residents in tourist destinations, authenticity has always been a negotiation between themselves and tourists [35].…”

Tourism and Authenticity: Analyzing Retail Change in Lisbon City Center

“…For instance, the display of the original wall of the building from the time it was built, which in the case of central Lisbon could mean a couple of hundred years, or the exhibit of a sign from a 1926 store, is a pastiche to what is seen as authentic from the area. Despite these elements and others, such as the recurrent use of furniture from old businesses that used to operate in the same commercial space, they do not have a formal recognition by a given authority of their originality, which would bring them closer to objective authenticity as understood by Zhan et al [56] and Canavan & McCamley [57]; however, they do approach the museumified conception analyzed by Wang [55]. Under this understanding, those elements are displayed as if they were in a museum, thus, endowing them with an objective authenticity.…”

“…Objective: In this perspective, certain objects possess an authenticity that is somehow immutable and intrinsic [54], or as mentioned by Zhang et al [56], "Objective authenticity refers to the authenticity of originals or that which is recognized by authority". This evaluation of an objective authentic place, product, craft, or other can be legitimized by an external entity, such as local authorities or other institutions [57].…”