外文翻譯--關(guān)系營銷和服務(wù)營銷文化部門價值創(chuàng)造的會聚性觀點

1、<p>　　Relationship marketing and service marketing: convergence point of Culture Department of value creation</p><p><b>　　ABSTRACT</b></p><p>　　Using the relationship paradigm a

2、s a theoretical framework, 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 convergen

3、t perspectives–as relationship marketing and services marketing–, the model is structured on the basis of two large types of relationships in the management of a cultural organization: instrumental relationships and grou

4、p relationships. The paper </p><p>　　Keywords: Cultural marketing erforming arts services relationship marketing </p><p>　　1. INTRODUCTION: </p><p>　　The most rece

5、nt literature on marketing management is demonstrating a revolutionary change in both form and content, which, undoubtedly, will result in several research projects in the short term aimed at shedding some light on this

6、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 developed so far (Lovelock and Gummesson, 2004; Var

7、go and Lush, 2004). In this complex context, th</p><p>　　From the very beginning, contributions made to the cultural sector by the marketing discipline have been very diverse. However, although they seem to

8、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 different (Voss and Voss, 2000; Colbert, 2001; Jo

9、hnson and Garbarino, 2001; Arts Council of England, 2003; Kotler and Scheff, 1997). Contributions from the marketing management ar</p><p>　　In this context, it is stated that the relationship marketing parad

10、igm offers a suitable framework for the implementation of cultural management and this research study has focused on the performing arts services sector, as considering that it is one of the most forgotten sectors by sci

11、entific 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 stoppe</p&

12、gt;<p>　　RELATIONSHIP MARKETING, SERVICES MARKETING AND CULTURAL MARKETING AS THREE CONVERGENT PERSPECTIVES: </p><p>　　Relationship marketing has become one of the most important contributions in the

13、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 been seen as a

14、 new paradigm (Gummesson, 1999; Peck et al., 1999; Webster, 1992; Sheth and Parvatiyar, 2000; Kothandaraman and Wilson, 2000). </p><p>　　With the concept by Gummesson (2002) on “relationship marketing is int

15、eractions in networks of relationships” as a starting point, the management of a cultural organization is understood as being necessarily determined by a multitude of agents in the market, be included in the organization

16、’s 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 organizations is one of the least cultivate</p>

17、<p>　　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, they do share a value: the importance of rel

18、ationships 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

19、 the stage of an off-Broadway theatre in New York to explore the transact</p><p>　　3.THE PRODUCT AND RELATIONSHIPS WITH CUSTOMER’S SUGGESTIONS ON A MODEL FOR THE RELATIONSHIP MANAGEMENT OF CULTURAL SERVICES:

20、</p><p>　　Relationships with the audience are the central component in the configuration of the relationship marketing management model for cultural organizations. This central place is shared with the cultu

21、ral product, whose general marketing model presents special characteristics that differentiate it from the classic structure of marketing, as: </p><p>　　1. Marketing process starts in the producer organizati

22、on, 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. </p><p>　　2. Once potential consumers have been identified,

23、 the company will decide on the remaining relationship policies (instrumental and group, which we will cover below). </p><p>　　Therefore, we are faced with a kind of market whose marketing process shows a “p

24、roduct-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 unalterable (Colbert, 2001). </p><p>　　

25、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 regio

26、n or a district is a source of benefits for a large number 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 Europe

27、an Union, 2004), and public organizations, as well as privat</p><p>　　Performing arts organizations will have to manage a multitude of relationships to achieve their objectives. These relationships were form

28、erly classified into two large categories (Quero, 2003): </p><p>　　a. Instrumental relationships: this first category groups the marketing mix instruments and incorporates a relationship focus (i.e., product

29、, price, distribution and communication relationships). </p><p>　　The differentiation factor characterizing the design of these policies is that they have to be planned taking as a reference the creation of

30、value for customers and for every one of the agents involved in the production process of the cultural services. </p><p>　　b. Group relationships: the second of the categories is related to the identificatio

31、n 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 re

32、lationships. </p><p>　　From this point of view, group relationships and instrumental relationships are understood as different in nature, but they converge in strategy; in other words, whilst some of them re

33、quire skills connected with the management of relationships with collectives, others require a different kind of skills, more visible for the customer and connected with decision-making in specific aspects, such as

34、 programme designing (product), ticket sales (distribution), show value (price) or conveying th</p><p>　　However, the management of both groups has to converge in obtained results at the end. In other words

35、, that is to say that every one of the collectives has to have its expectations met in these decisions. </p><p>　　4. CONCLUSIONS: </p><p>　　The aim of this study was to contribute to the develop

36、ment and implementation of relationship marketing, services marketing and cultural marketing in a specific area: the performing arts sector. </p><p>　　The process of selecting and planning the relationships

37、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 relationsh

38、ips and group relationships. 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

39、the </p><p>　　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 importa

40、nt 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

41、 of relationship with the organization is obtained. </p><p>　　The empirical contribution has served to corroborate the theoretical contribution by implementing a study on the current performing arts audience

42、 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 appropriate relationship marketing strateg

43、y. </p><p>　　This research study could be also considered as a significant contribution to the marketing discipline, due to its important theoretical implications: </p><p>　　1. Relationship Mark

44、eting is considered as the integrating paradigm, capable of adapting to the requirements of cultural services, in general, and to performing arts services, in particular. </p><p>　　2. The marketing-mix parad

45、igm is included into the management model, redefining its main instruments as product, price, distribution and communication relationships. </p><p>　　It is also an unprecedented contribution in the field of

46、cultural marketing, at least in Spain, offering a theoretical model for the planning and management of organizations offering performing arts services. </p><p>　　This study paves the way for a multitude of f

47、uture lines of research. For example, the study of every one of the interest groups and their role in the process of creating value, as well as the way in which instrumental relationships have to be implemented emerge as

48、 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.</p><p>　　Source：http://www.doc88.com/p-777451890911.html</

49、p><p>　　關(guān)系營銷和服務(wù)營銷：文化部門價值創(chuàng)造的會聚性觀點</p><p><b>　　摘 要</b></p><p>　　關(guān)系理論架構(gòu)模式，文化服務(wù)管理模式(關(guān)系營銷的文化組織)，在銷售領(lǐng)域做出了前所未有的貢獻。通過聯(lián)合使用兩種會聚性的觀點——關(guān)系營銷和服務(wù)營銷，這兩大類型的關(guān)系是：互助的關(guān)系和組織的關(guān)系。本文對有關(guān)的關(guān)系深入研究表演藝術(shù)

50、的觀眾。理論和實證研究相結(jié)合，其中包括面對面訪談1005個表演藝術(shù)的消費者和電話采訪在西班牙的2005個人。</p><p>　　關(guān)鍵字：文化營銷 關(guān)系營銷 服務(wù)營銷 </p><p><b>　　1．作品簡介</b></p><p>　　最近的文獻毫無疑問地證明營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)致幾個研究項目在短期內(nèi)出現(xiàn)

51、進退兩難的局面。傳統(tǒng)的管理模式與范例不適合新產(chǎn)品的要求，因為這個模式發(fā)展至今有了越來越多的例外（Lovelock and Gummesson, 2004; Vargo and Lush, 2004）。在這個復(fù)雜的背景下，本文旨在利用關(guān)系營銷和服務(wù)營銷這兩個并發(fā)的觀點對文化服務(wù)管理領(lǐng)域進行研究，以致力于發(fā)展新的營銷領(lǐng)域：文化營銷（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，在合適的時機能發(fā)展壯大并成為滿足其特殊要

52、求的管理結(jié)構(gòu)和模式。</p><p>　　從一開始，文化產(chǎn)業(yè)的貢獻對市場規(guī)律來說就非常不同。然而，雖然在科學(xué)界他們對于思想文化本身的管理呈現(xiàn)出的相當(dāng)不同的特點似乎已經(jīng)達成了共識。（Voss and Voss, 2000; Colbert, 2001; Johnson and Garbarino, 2001; Arts Council of England, 2003; Kotler and Scheff, 199

53、7）。在市場調(diào)研過程中，來自營銷管理領(lǐng)域的貢獻還不足以構(gòu)建一個堅硬得足以建立類似于傳統(tǒng)市場的管理框架的知識基礎(chǔ)。</p><p>　　在此背景下，更說明關(guān)系營銷范例為文化管理的實施和集中在表演藝術(shù)服務(wù)業(yè)的研究提供了一個合適的框架，是因為考慮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，違背了如果考慮到把時間和金錢投資于休閑活動，并不能停止國家的經(jīng)濟發(fā)展這一消費趨勢。 針對這一情況，以下要求

54、：為什么會失去競爭優(yōu)勢？我們做了什么錯誤影響了市場，在理論上，變得越來越傾向于消費的休閑活動，如表演藝術(shù)？哪位代理人對結(jié)果負責(zé)？結(jié)果又影響哪個代理人？那我們該怎么做才能改善？這些問題是執(zhí)行本調(diào)查研究的基礎(chǔ)。</p><p>　　2．關(guān)系營銷、服務(wù)營銷和文化營銷三個會聚性的觀點</p><p>　　關(guān)系營銷已經(jīng)成為推進現(xiàn)代科學(xué)營銷學(xué)發(fā)展的一個最重要的貢獻 (Payne and Holt, 2

55、001)，并在這一科學(xué)研究領(lǐng)域引起了公認的興趣。在許多作者的看法中,它甚至被看作是一個新的范例。（Gummesson, 1999; Peck et al., 1999; Webster, 1992; Sheth and Parvatiyar, 2000; Kothandaraman and Wilson, 2000）。</p><p>　　Gummesson（2002）的觀念是以“關(guān)系營銷網(wǎng)絡(luò)的相互作用關(guān)系”為出

56、發(fā)點，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上的競爭力，并納入組織計劃的過程中，在很大程度上最終產(chǎn)品的價值要依靠他們。在計劃過程中利益團體的作用是組織關(guān)系營銷的最小產(chǎn)區(qū)（Henning-Thurau andHansen,2000）。Payne and Holt（2001）明確提及其不足之處：“在主流營銷市場上，與顧客和其他的利益相關(guān)群體長期保持友好關(guān)系一直被忽略；管理組織的內(nèi)外部關(guān)系成為焦點活動；是關(guān)系營銷的中心活動”。因此

57、，擺在我們面前的是一種新的發(fā)展趨勢，從一對一營銷方式轉(zhuǎn)變?yōu)槎鄬Χ嗟臓I銷方式（Gummesson,2004）；換句話說，從規(guī)劃個人發(fā)展關(guān)系轉(zhuǎn)變?yōu)榧w規(guī)劃互動網(wǎng)絡(luò)。</p><p>　　另一方面，在文化營銷領(lǐng)域的規(guī)范性貢獻不足夠迎合團隊或?qū)W校的潮流，他們都有一個價值觀：在他們的管理中各種人際關(guān)系的重要性。 在這個領(lǐng)域的貢獻是非常多樣的，在大多數(shù)案例中關(guān)注的客戶關(guān)系（表演藝術(shù)聽眾的關(guān)系）。 Garbarino a

58、nd Johnson（1999）使用在紐約劇院上演的戲劇來探討連續(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)展起來的觀眾表演藝術(shù)有不同的行為剖面，具體地說，“在消費的環(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”。 Rentschler et al.（2001）并且在澳大利亞被認為是對表演藝術(shù)組織的觀眾關(guān)系研究的實證方法：“什么藝術(shù)組織需要考慮是否銷售較高費用的單程票就可以支撐，以及

59、如果不是的話，怎么做”。</p><p>　　3．對文化服務(wù)管理模型中的產(chǎn)品和客戶關(guān)系的建議</p><p>　　客戶關(guān)系是文化組織關(guān)系營銷管理模型的主要組成部分。這個中心共享文化產(chǎn)品，其總體市場開發(fā)模型劃分出有特色的經(jīng)典銷售，比如：營銷過程開始于生產(chǎn)者組織，從這個起源（文化產(chǎn)品）關(guān)于這部分可能有興趣被吃掉的市場份額必須做一個決定。潛在消費者一旦被確認之后，公司將決定剩余的關(guān)系政策（有幫助

60、的和團體，將會包括如下）。</p><p>　　因此，我們正面臨著一種市場營銷過程中顯示的“產(chǎn)品面向顧客” 式結(jié)構(gòu)。 非典型結(jié)構(gòu)改造與文化政策的關(guān)系，因為它認為客戶產(chǎn)品的核心是不變的（Colbert,2001）。</p><p>　　這個結(jié)構(gòu)包括了各種各樣的發(fā)展關(guān)系，而這被包括在價值創(chuàng)造過程中市場形成的文化產(chǎn)品中。一個國家或地區(qū)的文化祭，為大量的社會部門帶來一個利益的來源。在幾乎所有發(fā)達國

61、家并不是沒有“文化需要識別”這是眾所周知的。 （Council of the European Union, 2004），還有公共組織以及私人實體，都參與滿足這一需求。 在此基礎(chǔ)上，這是合乎邏輯的猜想，每一個這樣的集體都已納入組織計劃和結(jié)合實施“共贏”的需求。</p><p>　　表演藝術(shù)組織需要管理大量的關(guān)系來達到他們的目的。這些關(guān)系分為兩大的類別（Quero, 2003）：a.互助的關(guān)系：這第一類營銷組合關(guān)系

62、包含一種關(guān)系焦點（如：產(chǎn)品、價格、分配和交流關(guān)系）。這個分化因子具有被計劃作為為廣大客戶服務(wù)創(chuàng)造參考價值的政策設(shè)計的特征，并且讓每一個代理商參與到產(chǎn)品生產(chǎn)過程的文化服務(wù)中；b.組織的關(guān)系：第二類是有關(guān)規(guī)劃過程中識別和確定集體人員和代理商的利益。如：表演藝術(shù)的觀眾，教育中心、社會團體、競爭、供應(yīng)商、非公有制組織和內(nèi)部的關(guān)系。</p><p>　　從這一觀點看，組織的關(guān)系和互助的關(guān)系被理解為具有不同的本質(zhì)，但是他們聚

63、合在戰(zhàn)略里。換句話說，他們中的一些人需要與管理集體關(guān)系之間的連接技巧，其他人每天需要不同的技巧，在具體問題上可以更容易看到客戶以及他們的決策。如計劃設(shè)計（產(chǎn)品）、車票銷售（分配），價值展示（價格）或是為市場傳遞信息（交流）。</p><p>　　不過，在最后這兩組管理必須聚合在結(jié)果上。 換句話說，也就是集體的每一個人都必須擁有這個決定的預(yù)期。</p><p><b>　　4．結(jié)論

64、</b></p><p>　　本研究的目的是致力于在一個特定的區(qū)域：表演藝術(shù)領(lǐng)域，發(fā)展和實施關(guān)系營銷、服務(wù)營銷和文化營銷。</p><p>　　選擇和計劃的過程中為企業(yè)發(fā)展表演藝術(shù)服務(wù)所建議的關(guān)系營銷范例的理論模型的發(fā)展，兩種類型的關(guān)系被確定為：互助的關(guān)系和組織的關(guān)系?；ブP(guān)系包括產(chǎn)品、價格、分布和交流模型之間的關(guān)系，特定的事實是，他們的設(shè)計必須依賴于分析對他們有影響的每一個群

65、體。關(guān)于組織關(guān)系，已經(jīng)發(fā)現(xiàn)了七點：表演藝術(shù)的觀眾，教育中心、社會團體、競爭、供應(yīng)商、其他組織和內(nèi)部的關(guān)系。他們每個人都能創(chuàng)造和接收價值，因此，為了實現(xiàn)雙贏的戰(zhàn)略，他們必須被包括在組織計劃的過程中。</p><p>　　在該地區(qū)表演藝術(shù)的觀眾的關(guān)系管理，一類觀眾在此基礎(chǔ)上提出了關(guān)系標(biāo)準(zhǔn)，是在兩個重要階段吸引階段和保留階段里，吸引客戶在不同的文化中停留的過程，其主要目的是培養(yǎng)與客戶的組織關(guān)系，直到達到世界最高水平。&

66、lt;/p><p>　　實證貢獻結(jié)合理論貢獻，通過對當(dāng)前在西班牙的表演藝術(shù)觀眾和普通大眾實施的研究，顯示出實施適當(dāng)?shù)年P(guān)系營銷策略，對文化組織和客戶利益的關(guān)系管理具有重要意義。</p><p>　　該研究同樣被認為是對營銷秩序的一項重要貢獻，其重要的理論意義有：a．關(guān)系營銷的綜合范式被認為是，能夠適應(yīng)文化服務(wù)的要求，一般來說是指表演藝術(shù)服務(wù)；b．混合營銷范例的管理模式，包括給它的主要設(shè)備產(chǎn)品、價

67、格、分布和交流關(guān)系重新定義。</p><p>　　至少在西班牙的文化營銷領(lǐng)域，這也是一個前所未有的貢獻，其為表演藝術(shù)服務(wù)提供了規(guī)劃和組織管理的理論模型。</p><p>　　本研究為未來多種不同的研究方向開辟了道路。例如，研究每個利益集團和他們在價值創(chuàng)造過程中的作用，為了在該地區(qū)的固體和其它領(lǐng)域的藝術(shù)市場上建立一些基礎(chǔ)，實現(xiàn)互助關(guān)系都必須實施優(yōu)先行動。</p><p&g