Journals / Advances in Hospitality and Tourism Research (AHTR) / 2020 / Cilt: 8 - Sayı: 1

CAPTURING MUSEUM EXPERIENCE WITH EMOTIONAL TRANSFER THEORY

Pages
100–124
Publication Date
2022-10-11
DOI
—
🏛️Bibliographic metadata and full text access for this article are provided via DergiPark.
DergiPark Record ↗
✨

AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

The overallfinding is that museums can provide emotional transference apartfrom anti-mimicry and religious feelings.

📌 3 Key Takeaways

🎯
Objective & Hypothesis:In contemporary museology, visitor relations have becomeincreasingly important.
📊
Key Findings & Data:Semi-structured interviews were carried out with127 participants who visited the chosen museums.
💡
Conclusion & Impact:The overallfinding is that museums can provide emotional transference apartfrom anti-mimicry and religious feelings.
🔬Design:Research Article
📍Scope:Comprehensive Sample
⚙️Variables:Domain Parameters

Abstract

In contemporary museology, visitor relations have becomeincreasingly important. This has led museums to adopt a visitororiented approach. Although many aspects of visitor experiencesare investigated in the literature, it is observed that emotionalexperiences are not explained in a comprehensive way. This studyaims to discover the emotions that the artefacts in museumslocated in Eskisehir, Turkey arouse at the visitors. Initially, themuseum websites were scanned and information about museumswas obtained. Then, nine museums, which included artefacts intheir collection that can transfer emotions with a specific theme,were chosen. Semi-structured interviews were carried out with127 participants who visited the chosen museums. The interviewsevaluated the participants’ emotional status based on L. N.Tolstoy’s Theory of Emotional Transference. The themes of antimimicry, romanticism, expressionism, transference intensity andthe emotions’ nature are derived from this theory. The overallfinding is that museums can provide emotional transference apartfrom anti-mimicry and religious feelings. In addition, the resultsare important in terms of demonstrating the effect of the museumthemes and the emotional statements of the artefacts on visitors.

🔖

Cite This Article

KOZAK, M. A., SELCUK, O. (2022). CAPTURING MUSEUM EXPERIENCE WITH EMOTIONAL TRANSFER THEORY. Advances in Hospitality and Tourism Research (AHTR), Cilt: 8 - Sayı: 1, 100–124. https://ajindex.com/articles/429439

📄 Full Text PDF Viewer

📄

PDF görüntüleyici hazırlanıyor...

References (14)

  1. Ağca, V., & Ertan, H. (2008). Duygusal bağlılık içsel motivasyon ilişkisi: Antalya’da beş yıldızlı otellerde bir inceleme [Emotional commitment -intrinsic motivation relationship: A review of five-star hotels in Antalya]. Afyon Kocatepe Üniversitesi İ.İ.B.F. Dergisi, 2, 135-156.
  2. Alelis, G., Bobrowicz, A., & Ang, C. S. (2013). Exhibiting emotion: Capturing visitors’ emotional responses to museum artefacts. In International Conference of Design, User Experience, and Usability (pp. 429-438).
  3. Springer, Berlin, Heidelberg. Allan, M., & Altal, Y. (2016). Museums and tourism: Visitors motivations and emotional involvement. Mediterranean Archaeology and Archaeometry, 16(3), 43-50.
  4. Barrett, T. (2008). Why Is That Art? Aesthetic and Criticism of Contemporary Art. New York: Oxford University Press.
  5. Benitez, E. (2012). Tolstoy and the importance of aesthetic feeling. Literature and Aesthetics, 15(2), 167-176.
  6. Brida, J. G., Disegna, M., & Scuderi, R. (2013). The behaviour of repeat visitors to museums: Review and empirical findings. Quality and Quantity, 48, 2817–2840.
  7. Carnicelli-Filho, S. (2013). The emotional life of adventure guides. Annals of Tourism Research, 43, 192-209.
  8. Casey, E. S. (1971). Expression and communication in art. The Journal of Aesthetics and Art Criticism, 30(2), 197-207.
  9. Chan, J. K. L., & Yeoh, E. (2010). The experiential dimensions of museum experiences: The Visitors’ perspectives. International Journal of Business and Accountancy, 1(1), 20-31.
  10. Çetinsöz, C. (2017). Karanlık (dark) Alanları ziyaret eden yerli turistleri motive eden etmenler: Ankara Ulucanlar Cezaevi Müzesine yönelik bir içerik analizi. [Factors motivating native tourists visiting dark areas: A content analysis for Ankara Ulucanlar Prison Museum], Alanya II. Uluslararası Sosyal Bilimler Sempozyumu, 18- 20 May 2017.
  11. Daniels, C. B. (1974). Tolstoy and Corrupt Art. Journal of Aesthetic Education, 8(4), 41-49.
  12. Demir, Z. S. (2013). Halk bilimi müzeciliğinde deneysel yaklaşımlar: Yaşayan müze [Experimental approaches in folklore museology: Living museum]. Turkish Studies -International Periodical for the Languages, Literature and History of Turkish or Turkic, 8(9), 1111-1125.
  13. Demiral Gökalp, Z. (2015). Müze Türleri, [Museum Types]. In E. Altınsapan & N. Küçükhasköylü (Eds.), Müzecilik ve Sergileme (pp.73-83). Ankara: Anadolu Üniversitesi Yayınları.
  14. Dierking, L. D., & Falk, J. H. (1992). Redefining the museum experience: the interactive experience model. Visitor Studies, 4(1), 173-176. D