Chapter 1 Performative Authenticity in Tourism and Spatial Experience: Rethinking the Relations Between Travel, Place and Emotion

Knudsen, Britta Timm; Waade, Anne Marit

doi:10.21832/9781845411299-004

Cited by 24 publications

(20 citation statements)

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“…Understanding how authenticity is derived from re-enactments of historical epochs is important as it elucidates the interplay between real and imaginary elements in the negotiation of authenticity. This study contributes to the emerging research on performative aspects of authentication (Knudsen and Waade, 2010;Zhu, 2012;Cohen and Cohen, 2012;Harwood and El-Manstrly, 2012). The aim is to elucidate what brands and other practitioners can do to project authenticity drawing on both real and imaginary cues.…”

Section: Introductionmentioning

confidence: 73%

“…As such, it illustrates how context-specific performances of authentication are shaped by wider socio-cultural structures. As noted by Knudsen and Waade (2010), films and television series play an important role in the performative approach to authenticity. To understand and analyse how different epochs were re-enacted required interviewing costume designers who have brought reimagined epochs into being.…”

Section: Methodsmentioning

confidence: 99%

“…As such, there is room for imagination and boundaries can be pushed as far as possible as long as audiences still manage to make this connection. Through the theoretical lens of performativity, Knudsen and Waade (2010) suggest that the search for authenticity is neither a thing nor a mental state but, as Zhu (2012Zhu ( , p. 1496 points out, an "instrumental embodiment aroused through the dynamic interaction between individual agency and the external world". Cohen and Cohen (2012) further advocate the…”

Section: Introductionmentioning

confidence: 99%

“…As such, jargons and collective imagination could be seen as ideological formations that link social structures to acts of "hot" authentication, Also, the data collection has relied perhaps too heavily on expert interview in the realm of illocutionary effect and "cool" authentication, and could thus be supplemented by data concerning performances of "hot" authentication. Despite these limitations, this paper contributes to the literature on performative aspects of authentication (Cohen and Cohen, 2012;Knudsen and Waade, 2010;Zhu, 2012) as well as the rich literature on brand authenticity (Beverland et al, 2008;Grayson and Martinec, 2004).…”

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confidence: 99%

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From aura to jargon: the social life of authentication

Södergren

2019

AAM

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Purpose Authenticity has emerged as a prevailing purchase criterion that seems to include both real and stylised versions of the truth. The purpose of this paper is to address the negotiation of authenticity by examining the means by which costume designers draw on cues such as historical correctness and imagination to authenticate re-enactments of historical epochs in cinematic artwork. Design/methodology/approach To understand and analyse how different epochs were re-enacted required interviewing costume designers who have brought reimagined epochs into being. The questions were aimed towards acknowledging the socio-cultural circulation of images that practitioners draw from in order to project authenticity. This study was conducted during a seven-week internship at a costume store called Independent Costume in Stockholm as part of a doctoral course in cultural production. Findings Authenticity could be found in citations that neither had nor resembled something with an indexical link to the original referent as long as the audience could make a connection to the historical epoch sought to re-enact. As such, it would seem that imagination and historical correctness interplay in impressions of authenticity. Findings suggest that performances of authentication are influenced by socially instituted discursive practices (i.e. jargons) and collective imagination. Originality/value This paper contributes to the literature on social and performative aspects of authentication as well as its implications for brands in the arts and culture sector.

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Section: Introductionmentioning

confidence: 73%

Section: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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confidence: 99%

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From aura to jargon: the social life of authentication

Södergren

2019

AAM

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“…This involves experience and a sense of self projection that is true to the self (Steiner and Reisinger, 2006). It is the integration of personal memories, meanings and physical settings (Belhassen et al , 2008; Knudsen and Waade, 2010). It is also a view that emphasizes the dynamics of becoming authentic through embodied practices and involves “the dialogue between practice and individual engagement and understanding (Zhu, 2012, p. 1510).…”

Section: The Diskerymentioning

confidence: 99%

Consuming material authenticity in the age of digital reproduction

Goulding

Derbaix

2019

European Journal of Marketing

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Purpose This paper aims to examine how and why an “old” technology and mode of consumption – vinyl records, which should have become obsolete – has managed not only to survive but also revive in the face of supposedly cheaper and superior digital formats. Design/methodology/approach The authors used constructivist grounded theory (CGT), a methodology rooted in pragmatism. The authors acknowledge the primacy of relational, conversational and social practices as the source of individual and social life, and that all knowledge is local and the product of negotiation between people within a given context and time frame. In terms of data, the authors draw on the extensive use of memos and participatory observation at the oldest vinyl record store in the UK. The authors also draw on interviews with the store owner and workers and in-depth interviews with vinyl enthusiasts. Findings The authors argue that authenticity is not a fixed and static concept but has fluid and porous boundaries that can be experienced by individuals in different situations. The findings center around three experiences of authenticity – staged authenticity, interpersonal authenticity and intrapersonal/existential authenticity. Research limitations/implications This research is limited to a specific market, typical of old or second-hand vinyl consumption. Future research would benefit from broadening the sample to include new consumers and female enthusiasts of both old and new vinyl. Practical implications The paper has implications for consumer service and personal selling relationships. Originality/value Originality lies in theoretically positioning the phenomenon within a conceptual framework of authenticity. In particular, the authors shed light on the role that authenticity plays in the experiences of vinyl music consumption amongst buyers and sellers in a store that has a long established heritage. The authors find that vinyl in the age of digital reproduction retains and maintains a number of qualities that are missing from allegedly superior forms of musical reproduction. The authors further maintain that as it has aged, original vinyl has taken on greater power and meaning, and now that it is out of the realm of mass production/consumption, it has opened up a deeper more authentic interaction between human beings and technology. This deeper interaction goes beyond the immediate experience with the object itself and extends to the sensorial, the social and the personal.

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