Cultural Tourism and the Tourist Experience in the Digital Era

This chapter aims to reveal the growing importance of cultural tourism, reflected in the cultural heritage of cities and its concrete tourist experience in a digital age society. One of the stipulated goals was to understand the existing relationship between tourist and cultural appropriation with the mediation of the digital. The chapter focuses on a city located in the central region of Portugal and followed a quantitative and qualitative analysis methodology. The digital era has been fostering a fundamental capital in the promotion of the existing resources in cities to attract visitors and to reveal the tourist experiences developed in the visited tourist destinations. The main conclusion is the interactions that take place between heritage, tourist experience and ICT implying connections that tourists spontaneously comment through online resources. When making their comments they end up demarcating their tourist experience classifying it according to their expectations in relation to the heritage resources they visit.

Some Remarks on the History of the Introduction of Alexandre Koyré in Brazil

This article intends to briefly reconstitute the history of the introduction of Alexandre Koyré’s work in Brazil. I do not seek to make a general analysis but just to focus on two pathways by means of which his work was introduced in this country. I endeavor to reconstitute the history of the translation of his books into Portuguese and identify the main vectors and intellectual contexts responsible for his works’ acclimatation in Brazil. Those two pathways roughly correspond to two distinct geographies and intellectual cartographies; in Rio de Janeiro, interest in his work stemmed from the introduction of French epistemological thinking in the wake of philosophers’ readings Louis Althusser’s works after the 1960s; in São Paulo, it was linked to university institutionalization of the history of science, starting in the late 1950s, initially promoted by scientists. That history enables an understanding of the major lines and forms that the history of science assumed in Brazil. Furthermore, the study permits the comprehension of the logic of the international circulation of ideas and the history of the translation of human sciences books as forms of cultural appropriation.

Perceptions of authenticity towards Māori Branding: Congruence as determinator?

<p>Increasingly, both local and global organisations are implementing indigenous branding in their market offerings, regardless of whether they have ancestral connections to indigenous culture. However, numerous criticisms and claims of cultural appropriation have been raised in response to organisations’ commercialisation and commodification of indigenous culture through indigenous branding. This raises questions about the authentic and appropriate use of indigenous culture, language and iconography in commerce, particularly with regards to consumers perceptions of authenticity towards this use. As such, the purpose of this study was to understand consumers’ perceptions of authenticity in the context of indigenous (Māori) branding and organisational values. In this study, a 2x2x2 between-subjects experimental design was conducted using an online questionnaire. Subjects in the study were presented with a scenario communicating information about a brands values (either conventional or tikanga Māori), and their proposed brand concept (either orthodox or Māori branding). As the purpose of the study was to investigate both Māori and non-Māori perspectives, the sample was comprised of 570 adult Māori and non-Māori consumers currently living in New Zealand. These subjects were randomly distributed to one of the eight experimental conditions. Data from the questionnaire was analysed using a factorial ANOVA. The findings indicate that congruence among branding, organisational values and consumers’’ ethnic identification exerts the most leverage on consumers’ authenticity perceptions. Although, Māori consumers also perceived congruent (conventional) organisational values and (orthodox) branding as highly authentic. Interestingly, consumers, in general, found incongruent Māori branding and conventional values to be the least authentic, a finding attributed to issues of cultural appropriation. The results of the analyses contribute to the current understanding of perceived authenticity and indigenous brands. Moreover, this indigenous branding congruence effect extends social identity theory as it illuminates the fluidity of indigenous consumers social experiences and understandings. Managerially, marketers should be cognizant of the effects of congruence among branding, values and their target market, and make efforts to achieve congruence among these factors. If congruence cannot be achieved, then marketers should make efforts to be perceived as congruent through only communicating those factors which are congruent.</p>

Perceptions of authenticity towards Māori Branding: Congruence as determinator?

<p>Increasingly, both local and global organisations are implementing indigenous branding in their market offerings, regardless of whether they have ancestral connections to indigenous culture. However, numerous criticisms and claims of cultural appropriation have been raised in response to organisations’ commercialisation and commodification of indigenous culture through indigenous branding. This raises questions about the authentic and appropriate use of indigenous culture, language and iconography in commerce, particularly with regards to consumers perceptions of authenticity towards this use. As such, the purpose of this study was to understand consumers’ perceptions of authenticity in the context of indigenous (Māori) branding and organisational values. In this study, a 2x2x2 between-subjects experimental design was conducted using an online questionnaire. Subjects in the study were presented with a scenario communicating information about a brands values (either conventional or tikanga Māori), and their proposed brand concept (either orthodox or Māori branding). As the purpose of the study was to investigate both Māori and non-Māori perspectives, the sample was comprised of 570 adult Māori and non-Māori consumers currently living in New Zealand. These subjects were randomly distributed to one of the eight experimental conditions. Data from the questionnaire was analysed using a factorial ANOVA. The findings indicate that congruence among branding, organisational values and consumers’’ ethnic identification exerts the most leverage on consumers’ authenticity perceptions. Although, Māori consumers also perceived congruent (conventional) organisational values and (orthodox) branding as highly authentic. Interestingly, consumers, in general, found incongruent Māori branding and conventional values to be the least authentic, a finding attributed to issues of cultural appropriation. The results of the analyses contribute to the current understanding of perceived authenticity and indigenous brands. Moreover, this indigenous branding congruence effect extends social identity theory as it illuminates the fluidity of indigenous consumers social experiences and understandings. Managerially, marketers should be cognizant of the effects of congruence among branding, values and their target market, and make efforts to achieve congruence among these factors. If congruence cannot be achieved, then marketers should make efforts to be perceived as congruent through only communicating those factors which are congruent.</p>

Cultural Appropriation of Polynesian Portrayed In Moana Movie

This research aims to identify and describe cultural appropriation that were found in Moana. Cultural appropriation is one of the negative actions that can harm one culture. This action generally occurs due to a lack of understanding and appreciation of a culture. Based on Rogers[6] cultural appropriation as the use of a culture's symbols, artifacts, genres, rituals, or technologies by members of another culture, is inescapable when cultures come into contact, including virtual or representational contact. Rogers also divided cultural appropriation into four types, there are cultural exchange, cultural dominance, cultural exploitation, and transculturation. Based on Rogers theory above, cultural appropriation that were found in Moana is cultural exploitation. This research was used Qualitative descriptive method. The source data of this research are from “Moana” by Ron Clements and John Musker. This movie was released in 2016 with 113 minutes duration. This analysis shows there are four points of cultural appropriation that were found in “Moana”. Firstly, depiction figure of “Maui”, a demigod figure illustrated very different from the original form in the movie Moana. Secondly, depiction of Kakamora people. Thirdly, depiction of the cliché coconuts. Fourthly, Disney removing Maui’s family out of the tale. This leads to deviations in views towards the representatives of the population and Polynesian beliefs.

Toxic YouTubers “hated” by Doctor Who? Animating multiphrenic incarnations of Not My Doctor anti-fandom

This article considers how popular/spreadable misogyny enters into Doctor Who fans’ discourse communities via fan-cultural appropriation, mixing external political and internal fan discourses. This can oppose fannish communal norms such as “convivial evaluation” and “ante-fandom”. The theoretical perspective taken in the article combines work on toxic fandom with anti-fandom to thus understand fan toxicity as “multiphrenic”, i.e. drawing on multiple discourses and self-investments, including responding to its own anti-fans. The article goes on to examine YouTube voiceover-commentary videos from one communally-prominent Whotuber representing Not My Doctor anti-fandom, showing how they use devices such as the acousmetre and “stripped down” subjectivity to open a projective space for toxic fandom and enact a flat affect characterising what is termed “performative rationality”. Crucially, leftwing narratives of toxicity and hate are completely inverted to the extent that Doctor Who and the BBC are presumed, without evidence, to “hate” straight white male conservative fandom.

“They Look Like They’re Trying to Pull Up Nails with Their Heels”: Ricardo Güiraldes’s Response to Cultural Appropriation in Don Segundo Sombra

Cultural appropriation has often been linked to American treatment of indigenous cultures. In Playing Indian, for example, Philip J. Deloria investigates how images of Indianness, however inauthentic, stereotypical, or completely ethnocentric, work to help white Americans come to terms with their history of conquest and possession. While the term cultural appropriation has been linked to the conflict between dominant and indigenous cultures as Deloria suggests, it is used far less frequently with respect to American and Latin American cultural identities. Yet, the preponderance of movies and literary works in which Americans follow the same rubric – use Latin American culture to define American cultural identity – evoke the same sense of loss on the part of Latin Americans, in this case, Argentines. For over a century, for example, the gaucho has been examined, evaluated, and reevaluated by Argentines within gauchesque literature to make sense of modernization, notions of civilization versus barbarism, and what creates argentinidad, or what it means to be Argentine. Ricardo Güiraldes sought to respond to the cultural appropriation and misrepresentation of the gaucho, specifically that gaucho culture could be taken up by anyone and used for any purpose, no matter how benign; and that gauchos were a part of the past, eschewing modernization in forms such as industrial ranching and technology when, in fact, they embraced it. In Don Segundo Sombra, Güiraldes addresses these issues. Rather than permit cultural appropriation and ethnocentrism to remain unremarked upon, Güiraldes demonstrates that gaucho culture has remarkable qualities that cannot be imitated by novices, both foreign and native. He then examines gaucho culture, particularly the link between frontier life and economic displacement, in order to champion the gaucho and argentinidad as the models for Argentines to follow.

Cultural Tariffs: Appropriation and the Right to Cross Cultural Boundaries

Why are some acts of cultural boundary-crossing seen as legitimate whereas others are repudiated as cultural appropriation? We argue that perceptions of cultural appropriation have formed in response to the emergence of cultural omnivorousness as a dominant form of high-statusconsumption. Boundary-crossing has become a source of cultural capital. Consequently, the right to adopt a practice from a culture that is not one's own is determined on the basis of the cost one is presumed to have paid. Cultural boundary-crossing is seen as legitimate only if the actor crossing has paid a sufficient cultural tariff. We test our theory in a between-subject (preregistered) experimental design, demonstrating that those who enjoy a privileged social position, as inferred from their social identity or socioeconomic status, have less normative latitude to cross cultural boundaries. This is explained by perceptions that these actors are either devaluing or exploiting the target culture. While symbolic boundaries and cultural distinctiontheories are inconsistent with our results, we find that Americans who are disenchanted about group-based social mobility are the ones most likely to be outraged by cultural boundary crossing. The imposition of a cultural tariff, we argue, is a form of symbolic redistribution.