Une stratégie de recherche constructiviste appliquée aux services culturels: l'exemple du Musée olympique, de son concept et de ses profils types de visiteurs

Abstract

showcase of the Olympic spirit. However, the Olympic Museum is also a "cultural object" defined by visitors according to their own history and experience. This paper presents the results of a qualitative constructivist study during which visitors were interviewed. The analysis of their answers made it possible to induce a model of the "Olympic Museum" service. This model is articulated around three dimensions: "a space to appropriate", "a reappropriated memory" and "an experiential production". A second comprehensive analysis identified six symbolic representations typical of specific visitor profiles. Recognition of these symbolic profiles leads to a new approach to cultural service marketing.

Craftsmen of Art, and Their Craft: The Experience of Authenticity and Its Materialization in the Places Where Craftspeople and Enlightened Clients Meet

“…The past decade has witnessed the exploration of different areas within our discipline, all of which are particularly relevant to the marketing of experience. In the cultural domain, examples include television (Boulaire and Montiglio, 2003), cinema (Holbrook and Grayson, 1986;Cooper-Martin, 1991), museum art (Aurier and Passebois, 2002;Passebois, 2003), theater (Bergadaà and Nyeck, 1995;Bourgeon and Filser, 1995), museums (Bourgeon et al, 2006;Bergadaà, 2006), sports (Arnould and Price, 1993;Celsi, Rose and Leigh, 1993;Holt, 1995;Ladwein, 2004); tourism (Belk and Costa, 1998;Prentice, 2001;Ladwein, 2002;Yüksel, 2004); and fashion (Marion, 2003b). In these sectors, the consumer is an actor producing an experience of culture, emotion, dream, and escape (Bourgeon and Filser, 1995).…”

L'artisanat d'un métier d'art: l'expérience de l'authenticité et sa réalisation dans les lieux de rencontre entre artisan et amateur éclairé

“…Depuis une dizaine d'années, divers domaines de notre champ disciplinaire ont été explorés, tous se prêtant particulièrement au marketing de l'expérience. Citons, à titre indicatif, les domaines culturels, tels que la télévision (Boulaire et Montiglio, 2003), le cinéma (Holbrook et Grayson, 1986 ;Cooper-Martin, 1991), l'art muséal (Aurier et Passebois, 2002 ;Passebois, 2003), le théâtre (Bergadaà et Nyeck, 1995 ;Bourgeon et Filser, 1995), les musées (Bourgeon et alii, 2006 ;Bergadaà, 2006), le domaine sportif (Arnould et Price, 1993 ;Celsi, Rose et Leigh, 1993 ;Holt, 1995 ;Ladwein, 2004) ; le tourisme (Belk et Costa, 1998 ;Prentice, 2001 ;Ladwein, 2002 ;Yüksel, 2004) ; la mode (Marion, 2003b). Dans ces secteurs, le consommateur est un acteur producteur d'une expérience de culture, émotion, rêve et évasion (Bourgeon et Filser, 1995).…”

Concern for the Environment in Terms of Waste Sorting Behavior

“…In this analysis, we opted for an interpretive paradigm to draw a conclusion about the particular reasons proposed by the subjects. According to Bergadaà (2006), this type of perspective is particularly adapted to study of a social action oriented toward others, and these other people can take on a variety of characteristics mirroring society itself, groups, or family, an abstract person or another concrete example.…”

“…In this analysis, we opted for an interpretive paradigm to draw a conclusion about the particular reasons proposed by the subjects. According to Bergadaà (2006), this type of perspective is particularly adapted to study of a social action oriented toward others, and these other people can take on a variety of characteristics mirroring society itself, groups, or family, an abstract person or another concrete example.As a starting point, we used the manner in which consumers tend to take action (whether they dispose of their waste or not) and the reasons behind their actions. Processing each interview, we were able to apprehend the rationale behind their personal actions.…”

“…Their content is then processed using the Sphinx Lexica software for verbatim production for the first two probes and lexical analysis for the third probe. Analysis-wise, we opted for Bergadaà's approach (Bergadaà, 2006) to identify the concept of the Olympic museum and the profiles of its visitors. …”