Dr Georgia Stavraki

Purpose – Recognising the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research generates a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience. Design/methodology/approach –This research employs a single case study design of Miró’s blockbuster exhibition and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records. Findings – An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and of personal versus communal interpretations – amongst other features - in distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital. Research limitations/implications – The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences. Practical implications – The empirical investigation of the understudied connection between visitors’ cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences. Originality/value – The research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers’ cultural capital with the appropriation process and interpretive responses to an aesthetic experience.

Purpose - This paper focuses on the relationships that consumers develop with experiential objects in the context of the Biennale of Contemporary Art Exhibition, viewed from a dialogical and intersubjective approach. The purpose of this paper is to elaborate on the interpersonal relationships that visitors of the Biennale establish with contemporary artworks and to understand the characteristics of these relationships as well as their role in shaping Biennale visitors' identity narratives. Design/methodology/approach - This research employs an instrumental case study that draws on multiple data sources and examines consumers' relationships with contemporary artworks. Findings - The case study evidence introduces the relationships that emerged from Biennale visitors' interactions with contemporary artworks and the identity narratives evolving from these relationships. The findings suggest that Biennale visitors' relationships with the contemporary artworks take the form of I-thou and I-it relationships. These two modes of interpersonal relationships by entailing different characteristics led investigated visitors to live different types of experiences of contemporary art consumption. Research limitations/implications - The first limitation of this research is that it focuses on the establishment of interpersonal relationships at the microgenetic level. Further research can provide additional insights by conducting a longitudinal case study. The second limitation is that it provides limited insights into the relationships that are revealed by consumers' experiences with possessive objects. Future research may examine interpersonal relationships in terms of consumers' relationships with their brands. Practical implications - The understanding of visitors' interactions and relationships with contemporary artworks provides insights into curatorial and marketing practices for such art institutions. Originality/value - The findings of the current research provide new theoretical insights into the interpersonal relationships that consumers develop with experiential objects and into the distinctive identity narratives that evolve from the establishment of different types of interpersonal relationships.

Purpose - The purpose of this paper is to contribute to the emerging literature stream of family business (FB) internationalisation. Its purpose is twofold: first, to provide empirical evidence on the motives, facilitators and obstacles and second, to understand different pathways and entry modes of FB internationalisation. Design/methodology/approach - The authors employ a multiple case study design that draws on various sources of data and examines eight Greek companies in the apiculture sector. Findings - The case study evidence brings to the fore the existence of various motives, facilitators and obstacles to FB internationalisation in Greece. Moreover, it fleshes out the "e-born global" FB that employs a digital entry mode and heavily relies on new technologies in order to identify international opportunities and reduce information asymmetries in foreign markets. Such an entry mode allowed the investigated firms to achieve a speedy entry to foreign countries and compete in geographically distant markets. Practical implications - Understanding FB internationalisation may assist governments in adopting policies for stimulating outward activities of domestic firms. Originality/value - The results provide important insights into how FBs enter foreign markets and use technology in their internationalisation efforts.

Purpose This study aims to address research calls to investigate how (visual) consumption experiences carry and convey meanings to individuals. Applying McCracken’s meaning transfer model to a photographic exhibition, the authors expand this model into the realm of aesthetic experiences to explore how the meaning of such an (visual) experience emerges and flows to (novice and expert) consumers. Design/methodology/approach This research uses an interpretive case study of the photographic exhibition “Facing Mirrors” hosted as part of the Biennale of Contemporary Art, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records. Findings The evidence highlights the moveable nature of meaning within an aesthetic context and illustrates the critical role of semiotics and of the different ritualistic behaviors enacted by novice and expert visitors as a means of unfolding and creating the meaning of such an experience. Research limitations/implications The findings provide implications in terms of (co-)creating authentic, immersive and meaningful (brand) experiences in the fields of visual consumption and customer experience management. Practical implications Practical implications to arts organizations are also provided in terms of curatorial practices that emphasize the material, emotional and dialogic nature of photographs as a visual art form. Originality/value The study provides new insights into (visual) consumption experiences by bringing the meaning transfer model together with a semiotic approach, thus illustrating different performances and sense-making activities through which (expert and novice) visitors (co-)create and appropriate the value of their aesthetic experiences.

This paper addresses research calls to explore the theory and practice of arts-based methods in business and management education to better understand the learning processes and the ways of knowing that these methods generate. By focusing on photo-elicitation as a pedagogical tool, we problematize an insufficient focus of current discourses on its arts-based origins and revisit photo-elicitation from an arts-based perspective. Based on a reflective account emerging from our teaching experience with photo-elicitation as an assessment strategy we provide a conceptualization of photo-elicitation as an (experiential) learning and teaching tool. This conceptualization teases out under-theorized elements (i.e. doing, power, multiple framing of meaning, audience) of the method and surfaces overlapping stages of a photo-elicitation learning process. We also offer novel insights into students’ encounters with the photo-elicitation method, thus illustrating the role of the method’s arts-based elements in understanding how learning occurs in such a context. Implications are also provided contributing to an understanding of the value of arts-based methods to the theory and practice of management education.