1、大連交通大學(xué)信息工程學(xué)院畢業(yè)設(shè)計(jì)(論文)外文翻譯學(xué)生姓名 黃福雯 專業(yè)班級(jí) 市場(chǎng)營(yíng)銷092班 指導(dǎo)教師 奚偉東 職 稱 助教 所在單位 管理工程系市場(chǎng)營(yíng)銷教研室 教研室主任 徐雯 完成日期 2013年4月19日大連交通大學(xué)信息工程學(xué)院2013屆本科生畢業(yè)設(shè)計(jì)（論文）外文翻譯 Relationship marketing and service marketing: convergence point of Culture Department of value creationABSTRACTUsing the relationship paradigm as a theoretical fr

2、amework, a management model for cultural services (relationship marketing of cultural organizations) is proposed, what is an unprecedented contribution in the marketing field. By combining two convergent perspectivesas relationship marketing and services marketing, the model is structured on the bas

3、is of two large types of relationships in the management of a cultural organization: instrumental relationships and group relationships. The paper is an in-depth study of relationships regarding performing arts audience. A theoretical/empirical approach was applied, including face to face interviews

4、 to 1005 performing arts consumers and telephone interviews to a sample of 2005 individuals in Spain.Keywords: Cultural marketing erforming arts services relationship marketing 1. INTRODUCTION: The most recent literature on marketing management is demonstrating a revolutionary change in both form an

5、d content, which, undoubtedly, will result in several research projects in the short term aimed at shedding some light on this 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 deve

6、loped so far (Lovelock and Gummesson, 2004; Vargo and Lush, 2004). In this complex context, this paper aims to make an in-depth study of the field of cultural services management by using two concurrent perspectives relationship marketing and services marketing, in order to contribute to the develop

7、ment of the new marketing domain: cultural marketing (Kotler, 2005). This is a field still in its development phase, but has 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, co

8、ntributions made to the cultural sector by the marketing discipline have been very diverse. However, although they seem to have 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 differ

9、ent (Voss and Voss, 2000; Colbert, 2001; Johnson and Garbarino, 2001; Arts Council of England, 2003; Kotler and Scheff, 1997). 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

10、 to the one other disciplines with more tradition in marketing research have. In this context, it is stated that the relationship marketing paradigm offers a suitable framework for the implementation of cultural management and this research study has focused on the performing arts services sector, a

11、s considering that it is one of the most forgotten sectors by scientific researchers of management. Furthermore, the decreasing 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 countri

12、es economic development. In view of this situation, questions as following are required: what is the reason for this loss of 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 t

13、he performing arts?, which agents are responsible for the results?, which agents are affected by the results?, what can be done to improve this? These questions are the basis for carrying out this research study. RELATIONSHIP MARKETING, SERVICES MARKETING AND CULTURAL MARKETING AS THREE CONVERGENT P

14、ERSPECTIVES: Relationship marketing has become one of the most important contributions in the development of modern marketing 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

15、been seen as a new paradigm (Gummesson, 1999; Peck et al., 1999; Webster, 1992; Sheth and Parvatiyar, 2000; Kothandaraman 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

16、 organization is understood as being necessarily determined by a multitude of agents in the market, be included in the organizations 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 org

17、anizations is one of the least cultivated areas of relationship marketing (Henning-Thurau and Hansen, 2000). Payne and Holt (2001) explicitly refer to this deficiency: “understanding long-term relationships with both customers and other stakeholder groups has been neglected in the mainstream marketi

18、ng literature; managing the organizations internal and external relationships needs to become a central activity; this central 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

19、 other words, planning relationships with individuals has evolved to planning relationships with collectives, with interaction 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,

20、they do share a value: the importance of relationships in their management. Contributions made in this area are very diverse, 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 theatr

21、e in New York to explore the transaction/relationship continuum proposed by Gronroos (1995) to conclude that the performing arts audience has different behavioural profiles depending on the relationships developed with the organization or, specifically, “in a consumer environment in which customers

22、receive highly similar services . there are systematic differences in the relationalism of different customer groups”. Rentschler et al. (2001) also considered an empirical approach to relationships with the audience of performing arts organizations in Australia: “what arts organizations need to con

23、sider is whether the expense of having high single-ticket sales is sustainable and, if not, what to do about it”.3.THE PRODUCT AND RELATIONSHIPS WITH CUSTOMERS SUGGESTIONS ON A MODEL FOR THE RELATIONSHIP MANAGEMENT OF CULTURAL SERVICES: Relationships with the audience are the central component in th

24、e configuration of the relationship marketing management model for cultural organizations. This central place is shared with the cultural product, whose general marketing model presents special characteristics that differentiate it from the classic structure of marketing, as: 1. Marketing process st

25、arts in the producer organization, and from this origin (the cultural product) a decision has to be made concerning the part 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 (instrum

26、ental and group, which we will cover below). Therefore, we are faced with a kind of market whose marketing process shows a “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 unalter

27、able (Colbert, 2001). This structure involves the development of a wide variety of relationships, which have to be included 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

28、 of social sectors. It is not for nothing that the recognition of the “need for culture” is well-known in virtually all developed 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, i

29、t is logical to assume that each and every one of these collectives has to be included in the organizations planning and a “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

30、. These relationships were formerly classified into two large categories (Quero, 2003): a. Instrumental relationships: this first category groups the marketing mix instruments and incorporates a relationship focus (i.e., product, price, distribution and communication relationships). The differentiat

31、ion factor characterizing the design of these policies is that they have to be planned taking as a reference the creation 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 relate

32、d to the identification and planning process of relationships with collectives or agents of interest, as the performing arts audience, educational centres, public organizations, competition, suppliers, non-public organizations and internal relationships. From this point of view, group relationships

33、and instrumental relationships are understood as different in nature, but they converge in strategy; in other words, whilst 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 connec

34、ted with decision-making in specific aspects, such as programme designing (product), ticket sales (distribution), show value (price) or conveying the information to the market (communication). However, the management of both groups has to converge in obtained results at the end. In other words, that

35、 is to say that every one of the collectives has to have its expectations met in these decisions. 4. CONCLUSIONS: The aim of this study was to contribute to the development and implementation of relationship marketing, services marketing and cultural marketing in a specific area: the performing arts

36、 sector. The process of selecting and planning the relationships suggested by the relationship marketing paradigm has enabled to develop a theoretical model for organizations of performing arts services, in which two types of relationship groups are identified: instrumental relationships and group r

37、elationships. Instrumental relationships include product, price, distribution and communication relationships in the model, with the particular feature of the fact that their design has to be dependent on the analysis of the effects they may have for every one of the interest groups. With regard to

38、group relationships, seven collectives have been identified: performing arts audience, educational centres, public organizations, competition, suppliers, other organizations and internal relationships. Every one of them is capable of creating and receiving value in their relationships and, therefore

39、, they have to be included in organizations planning process, in order to implement win-win strategies. In the area of relationship management with the performing arts audience, a classification of the audience has been proposed on the basis of relationship criteria, which has enabled two important

40、phases to be identified in the retention process with cultural customers, the attraction phase and the retention phase, whose primary objective is to foster relations with the customer until the highest possible level of relationship with the organization is obtained. The empirical contribution has

41、served to corroborate the theoretical contribution by implementing a study on the current performing arts audience in Spain and the general public, which demonstrates the importance of managing relations between the cultural organization and its customers and the benefits of implementing an appropri

42、ate relationship marketing strategy. This research study could be also considered as a significant contribution to the marketing discipline, due to its important theoretical implications: 1. Relationship Marketing is considered as the integrating paradigm, capable of adapting to the requirements of

43、cultural services, in general, and to performing arts services, in particular. 2. The marketing-mix paradigm is included into the management model, redefining its main instruments as product, price, distribution and communication relationships. It is also an unprecedented contribution in the field o

44、f cultural marketing, at least in Spain, offering a theoretical model for the planning and management of organizations offering performing arts services. This study paves the way for a multitude of future lines of research. For example, the study of every one of the interest groups and their role in

45、 the process of creating value, as well as the way in which instrumental relationships have to be implemented emerge as priority actions to be implemented in order to build some foundations in the area of arts marketing that are as solid as those in other sectors.Source：/p-777451890911.html關(guān)系營(yíng)銷和服務(wù)營(yíng)銷

46、：文化部門價(jià)值創(chuàng)造的會(huì)聚性觀點(diǎn)摘 要關(guān)系理論架構(gòu)模式，文化服務(wù)管理模式(關(guān)系營(yíng)銷的文化組織)，在銷售領(lǐng)域做出了前所未有的貢獻(xiàn)。通過(guò)聯(lián)合使用兩種會(huì)聚性的觀點(diǎn)關(guān)系營(yíng)銷和服務(wù)營(yíng)銷，這兩大類型的關(guān)系是：互助的關(guān)系和組織的關(guān)系。本文對(duì)有關(guān)的關(guān)系深入研究表演藝術(shù)的觀眾。理論和實(shí)證研究相結(jié)合，其中包括面對(duì)面訪談1005個(gè)表演藝術(shù)的消費(fèi)者和電話采訪在西班牙的2005個(gè)人。關(guān)鍵字：文化營(yíng)銷 關(guān)系營(yíng)銷 服務(wù)營(yíng)銷 1作品簡(jiǎn)介最近的文獻(xiàn)毫無(wú)疑問(wèn)地證明營(yíng)銷管理在這兩種形式和內(nèi)容上有了革命性的變化，將導(dǎo)致幾個(gè)研究項(xiàng)目在短期內(nèi)出現(xiàn)進(jìn)退兩難的局面。傳統(tǒng)的管理模式與范例不適合新產(chǎn)品的要求，因?yàn)檫@個(gè)模式發(fā)展至今有了越來(lái)越多的例外

47、（Lovelock and Gummesson, 2004; Vargo and Lush, 2004）。在這個(gè)復(fù)雜的背景下，本文旨在利用關(guān)系營(yíng)銷和服務(wù)營(yíng)銷這兩個(gè)并發(fā)的觀點(diǎn)對(duì)文化服務(wù)管理領(lǐng)域進(jìn)行研究，以致力于發(fā)展新的營(yíng)銷領(lǐng)域：文化營(yíng)銷（陳蕙美，2005）。這是一種很可能已經(jīng)建立但仍然處在發(fā)展階段的新模式，在合適的時(shí)機(jī)能發(fā)展壯大并成為滿足其特殊要求的管理結(jié)構(gòu)和模式。從一開(kāi)始，文化產(chǎn)業(yè)的貢獻(xiàn)對(duì)市場(chǎng)規(guī)律來(lái)說(shuō)就非常不同。然而，雖然在科學(xué)界他們對(duì)于思想文化本身的管理呈現(xiàn)出的相當(dāng)不同的特點(diǎn)似乎已經(jīng)達(dá)成了共識(shí)。（Voss and Voss, 2000; Colbert, 2001; Johnson and

48、Garbarino, 2001; Arts Council of England, 2003; Kotler and Scheff, 1997）。在市場(chǎng)調(diào)研過(guò)程中，來(lái)自營(yíng)銷管理領(lǐng)域的貢獻(xiàn)還不足以構(gòu)建一個(gè)堅(jiān)硬得足以建立類似于傳統(tǒng)市場(chǎng)的管理框架的知識(shí)基礎(chǔ)。在此背景下，更說(shuō)明關(guān)系營(yíng)銷范例為文化管理的實(shí)施和集中在表演藝術(shù)服務(wù)業(yè)的研究提供了一個(gè)合適的框架，是因?yàn)榭紤]到這是其中最被科研管理人員遺忘的行業(yè)。此外，在歐洲降低藝術(shù)形式的消費(fèi)，違背了如果考慮到把時(shí)間和金錢投資于休閑活動(dòng)，并不能停止國(guó)家的經(jīng)濟(jì)發(fā)展這一消費(fèi)趨勢(shì)。 針對(duì)這一情況，以下要求：為什么會(huì)失去競(jìng)爭(zhēng)優(yōu)勢(shì)？我們做了什么錯(cuò)誤影響了市場(chǎng)，在理論上，變得

49、越來(lái)越傾向于消費(fèi)的休閑活動(dòng)，如表演藝術(shù)？哪位代理人對(duì)結(jié)果負(fù)責(zé)？結(jié)果又影響哪個(gè)代理人？那我們?cè)撛趺醋霾拍芨纳?？這些問(wèn)題是執(zhí)行本調(diào)查研究的基礎(chǔ)。2關(guān)系營(yíng)銷、服務(wù)營(yíng)銷和文化營(yíng)銷三個(gè)會(huì)聚性的觀點(diǎn)關(guān)系營(yíng)銷已經(jīng)成為推進(jìn)現(xiàn)代科學(xué)營(yíng)銷學(xué)發(fā)展的一個(gè)最重要的貢獻(xiàn) (Payne and Holt, 2001)，并在這一科學(xué)研究領(lǐng)域引起了公認(rèn)的興趣。在許多作者的看法中,它甚至被看作是一個(gè)新的范例。（Gummesson, 1999; Peck et al., 1999; Webster, 1992; Sheth and Parvatiyar, 2000; Kothandaraman and Wilson, 2000）。

50、Gummesson（2002）的觀念是以“關(guān)系營(yíng)銷網(wǎng)絡(luò)的相互作用關(guān)系”為出發(fā)點(diǎn)，文化組織管理被理解為必須是由眾多的代理人確定在市場(chǎng)上的競(jìng)爭(zhēng)力，并納入組織計(jì)劃的過(guò)程中，在很大程度上最終產(chǎn)品的價(jià)值要依靠他們。在計(jì)劃過(guò)程中利益團(tuán)體的作用是組織關(guān)系營(yíng)銷的最小產(chǎn)區(qū)（Henning-Thurau andHansen,2000）。Payne and Holt（2001）明確提及其不足之處：“在主流營(yíng)銷市場(chǎng)上，與顧客和其他的利益相關(guān)群體長(zhǎng)期保持友好關(guān)系一直被忽略；管理組織的內(nèi)外部關(guān)系成為焦點(diǎn)活動(dòng)；是關(guān)系營(yíng)銷的中心活動(dòng)”。因此，擺在我們面前的是一種新的發(fā)展趨勢(shì)，從一對(duì)一營(yíng)銷方式轉(zhuǎn)變?yōu)槎鄬?duì)多的營(yíng)銷方式（Gummesson,2004）；換句話說(shuō)，從規(guī)劃個(gè)人發(fā)展關(guān)系轉(zhuǎn)變?yōu)榧w規(guī)劃互動(dòng)網(wǎng)絡(luò)。另一方面，在文化營(yíng)銷領(lǐng)域的規(guī)范性貢獻(xiàn)不足夠迎合團(tuán)隊(duì)或?qū)W校的潮流，他們都有一個(gè)價(jià)值觀：在他們的管理中各種人際關(guān)系的重要性。 在這個(gè)領(lǐng)域的貢獻(xiàn)是非常多樣的，在大多數(shù)案例中關(guān)注的客戶關(guān)系（表演藝術(shù)聽(tīng)眾的關(guān)系）。 Garbarino and Johnson（1999）使用在紐約劇院上演的戲劇來(lái)探討連續(xù)的交易關(guān)系，Gronroos（1995）得出了這樣的結(jié)論：根據(jù)組織關(guān)系發(fā)展起來(lái)的觀眾表演藝術(shù)有不同的行為剖面，具體地說(shuō)，“在消費(fèi)的環(huán)境中，顧客得到高度類似的服務(wù)分類出不同的客戶群體有不同的關(guān)系”。 Ren