Literary Places Tourism A Study of Visitors Motivations at the Daphne Du Maurier Festival of Arts...

If only there could be an invention that bottled up a memory, like

scent. And it never faded, and it never got stale. And then, when

one wanted it, the bottle could be uncorked, and it would be like

living the moment all over again.

- Daphne du Maurier, “Rebecca” (1938)

LITERARY PLACES &

TOURISM

A STUDY OF VISITORS’ MOTIVATIONS AT THE

DAPHNE DU MAURIER FESTIVAL OF ARTS & LITERATURE

A DISSERTATION SUBMITTED BY

ANNE HOPPEN

IN PARTIAL COMPLETION OF THE AWARD OF

MSC TOURISM MANAGEMENT AND MARKETING

I hereby declare that the dissertation submitted is wholly the work of Anne Hoppen. Any other

contributors or sources have either been referenced in the prescribed manner or are listed in

the acknowledgements together with the nature and scope of their contribution.

School of Tourism

Bournemouth University

(2011/2012)

Dissertation Declaration

I agree that, should the University wish to retain it for reference purposes, a copy of my

dissertation may be held by Bournemouth University normally for a period of three academic

years. I understand that once the retention period has expired my dissertation will be

destroyed.

Confidentiality

I confirm that this dissertation does not contain information of a commercial or confidential

nature or include personal information other than that which would normally be in the public

domain unless the relevant permissions have been obtained. In particular, any information which identifies a particular individual’s religious or political beliefs, information relating to their health, ethnicity, criminal history or gender, has been made anonymous, unless permission

has been granted for its publication from the person to whom it relates.

Ethical and Health & Safety issues

I confirm that any ethical considerations associated with the proposed research dissertation

were discussed with my Supervisor and an appropriate research strategy was developed, which

would take them into account. I also confirm that any potential health & safety risks were

discussed with my Supervisor and, where necessary, appropriate precautions were documented,

including an appropriate risk analysis and the submission to my Supervisor of an ethics checklist

form.

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The copyright for this dissertation remains with me.

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I agree that this dissertation may be made available as the result of a request for information

under the Freedom of Information Act.

Signed: _______________________________

Name: Anne Hoppen

Date: 31 December 2011

Programme: MSc Tourism Management and Marketing

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ABSTRACT Literary tourism has grown into a commercially significant phenomenon, which is evident

despite the lack of statistical evidence. However, it remains under-researched, even though places’ connections to authors or literature are frequently being used to promote destinations. With literary tourism, a significant intangible element is involved: the two major themes linked

to this are sense of a place and authenticity. Therefore, in order to market literary sites successfully, it is vital to understand visitors’ needs and expectations. Based on this, and using

the Daphne du Maurier Festival of Arts and Literature as a case study, the underlying research explored peoples’ motivations to visit literary sites and also looked at motivations to attend the festival. )t was found that both Fowey’s/Cornwall’s connection with the author Daphne du

Maurier as well as the fact that the place was featured in her novels were motivations for peoples’ visit, although the author-connection prevailed. Furthermore, all four of Butler’s forms of literary tourism were identified as motivations. With regards to the festival, ╉Cultural

Exploration╊, ╉Novelty╊, ╉Event Attractions╉ as well as ╉Socialisation (meeting like-minded

people) were found to be the main motivations amongst respondents, of whom 85% were classified as ╉arts-core-tourists╊. The study also found that respondents matched visitor characteristics of general arts tourists (age, socioeconomic group, education), as well as

characteristics of literary tourists (literature awareness, visits to other literary sites). The

hypothesis that participants with a higher level of education or income were more likely to have

visited other places related to authors/literature in order to manifest the occurrence of the ╉literary pilgrim╊ could not be confirmed.

Word Count: 21.837

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ACKNOWLEDGEMENTS First of all, I would like to express my gratitude to my supervisor, Professor Alan Fyall, for his

advice and encouragement.

I would like to thank Paul and Viv Burt, who opened the door to their beautiful home to me and who will always be considered my ╉English parents╊, for everything they did – I had a terrific

and memorable year.

Special thanks go to Stefanie Kilmey for her friendship, advice and support during our year at

Bournemouth University.

Furthermore, I would like to express my deepest gratitude to my family for their endless

support.

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TABLE OF CONTENTS

ABSTRACT .............................................................................................................. I

ACKNOWLEDGEMENTS ........................................................................................II

LIST OF TABLES .................................................................................................. VI

LIST OF FIGURES ................................................................................................ VII

I. CHAPTER ......................................................................................................... 1

INTRODUCTION .................................................................................................... 1

1.1 Background ........................................................................................................................... 3

1.2 Rationale for Choosing the Topic ..................................................................................... 4

1.1.1 Academic .......................................................................................................................................... 4

1.1.2 Professional ...................................................................................................................................... 4

1.1.3 Personal ............................................................................................................................................ 5

1.3 Research Aim and Objectives ........................................................................................... 5

1.4 Structure of the dissertation .............................................................................................. 6

II. CHAPTER ......................................................................................................... 8

LITERATURE REVIEW ............................................................................................ 8

2.1 Introduction .......................................................................................................................... 8

2.2 Relevance .............................................................................................................................. 8

2.2.1 Literary Tourism within the Academic World ........................................................................... 9

2.2.2 Literary Guides ................................................................................................................................ 9

2.2.3 Related Products ............................................................................................................................. 9

2.2.4 Literary Places in the Media ........................................................................................................ 10

2.3 Placing Literary Tourism .................................................................................................. 12

2.4 Types of Literary Tourism ............................................................................................... 14

2.4.1 Author-Related Literary Tourism ............................................................................................... 14

2.4.1.1 Writers’ Gravesites ............................................................................................................... 14

2.4.1.2 Writers’ Birthplaces .............................................................................................................. 14

2.4.1.3 Writers’ Homes ..................................................................................................................... 15

2.4.2 Fiction-Related Literary Tourism ................................................................................................ 15

2.4.3 Literary Festivals ........................................................................................................................... 16

2.4.4 Bookshop tourism ......................................................................................................................... 16

2.4.5 Butler’s and Busby and Klug’s Forms of Literary Tourism .................................................... 17

2.5 Daphne du Maurier’s Literary Connections with Cornwall ..................................... 20

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2.6 Literary Tourism and the Tourist Experience .............................................................. 27

2.6.1 The Concept of Place .................................................................................................................... 27

2.6.2 Authenticity ................................................................................................................................... 28

2.7 Literary Destinations and Their Promotion ................................................................. 30

2.7.1 Exceptional and General Qualities of Literary Places .............................................................. 30

2.7.2 Marketing Implications ................................................................................................................ 31

2.8 Cultural Festivals............................................................................................................... 33

2.9 Conclusion .......................................................................................................................... 35

III. CHAPTER ...................................................................................................... 36

METHODOLOGY ................................................................................................. 36

3.1 Introduction ........................................................................................................................ 36

3.2 Research Defined .............................................................................................................. 36

3.3 Aim and Objectives .......................................................................................................... 37

3.4 Secondary Research .......................................................................................................... 38

3.5 Primary Research ............................................................................................................... 39

3.5.1 Research Philosophies .................................................................................................................. 39

3.5.1.1 Positivism .............................................................................................................................. 39

3.5.1.2 Interpretivism ....................................................................................................................... 40

3.5.1.3 Rationale ................................................................................................................................ 40

3.5.2 Research Approaches ................................................................................................................... 41

3.5.2.1 Deduction .............................................................................................................................. 41

3.5.2.2 Induction ............................................................................................................................... 42

3.5.2.3 Rationale ................................................................................................................................ 42

3.5.3 Research Method .......................................................................................................................... 43

3.5.3.1 Qualitative Research ............................................................................................................ 43

3.5.3.2 Quantitative Research ......................................................................................................... 43

3.5.3.3 Mixed Methods .................................................................................................................... 44

3.5.3.4 Rationale ................................................................................................................................ 45

3.6 Research Design ................................................................................................................ 46

3.6.1 Quantitative & Qualitative Data Collection Techniques ......................................................... 46

3.6.1.1 Social Survey ........................................................................................................................ 46

3.6.1.2 Questionnaire Design .......................................................................................................... 47

3.6.1.3 The Questionnaire ................................................................................................................ 47

3.6.2 Data Sources .................................................................................................................................. 48

3.6.3 Population and Sampling ............................................................................................................ 49

3.6.4 Pilot test .......................................................................................................................................... 50

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3.7 Ethical considerations ....................................................................................................... 50

3.8 Analysis ............................................................................................................................... 50

3.9 Limitations .......................................................................................................................... 51

3.10 Conclusion ...................................................................................................................... 52

IV. CHAPTER ....................................................................................................... 53

FINDINGS AND DISCUSSION ............................................................................. 53

4.1 Introduction ........................................................................................................................ 53

4.2 Literature Awareness ........................................................................................................ 53

4.3 Motivations For Visiting the Literary Place ................................................................. 57

4.4 Types of Literary Tourism ............................................................................................... 57

4.5 Motivations to Attend the Festival ................................................................................. 62

4.6 Visitor Characteristics ....................................................................................................... 67

4.7 Conclusion .......................................................................................................................... 71

V. CHAPTER ....................................................................................................... 72

CONCLUSION & RECOMMENDATIONS ............................................................. 72

Reflective Statement ..................................................................................................................... 74

REFERENCES ...................................................................................................... VIII

APPENDIX ........................................................................................................... XV

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LIST OF TABLES Table 1: Literary Destinations Worldwide .............................................................................................................. 2

Table 2: Forms of literary Tourism ......................................................................................................................... 19

Table 3: Novels by Daphne du Maurier ................................................................................................................. 20 Table ね: Film Adaptations of Daphne Du Maurier’s work. ............................................................................. 26

Table 5: Classification of Arts Tourists. ................................................................................................................. 34

Table 6: Research Objectives and Corresponding Philosophies ................................................................. 40

Table 7: Research Objectives and Corresponding Philosophy and Approach ....................................... 43

Table 8: Research Objectives and Corresponding Philosophy, Approach and Method ..................... 45

Table 9: Approaches to Research Based on Methodology Used .................................................................. 46

Table 10: Classification of Arts Tourists. .............................................................................................................. 48

Table 11: Motivations Identified and Corresponding Types of Literary Tourism ............................... 60

Table 12: Classification of Arts Tourists ............................................................................................................... 63

Table 13: Relevance of Motivations to Attend Festivals in the Underlying Study ............................... 67

Table 14: Chi-Square Test Results for the Variables ╉visits to other places related to authors or literature and education╊............................................................................................................................................. 70

Table 15: Chi-Square Test Results for the Variables ╉visits to other places related to authors or literature and socioeconomic group╊ ..................................................................................................................... 70

Table 16: Research Objectives and Corresponding Findings ....................................................................... 71

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LIST OF FIGURES Figure な: Writers’ Map of the West Country Placing Literary Tourism .................................................... 11

Figure 2: Classification of Literary Tourism within the Field of Cultural and Heritage Tourism .. 13

Figure 3: Daphne du Maurier in Cornwall - Postcard....................................................................................... 22

Figure 4: The Official Guide to Daphne du Maurier in Cornwall .................................................................. 23

Figure 5: Bookends of Fowey Promotional Postcard ....................................................................................... 25

Figure 6: Bookends of Fowey (left) and Daphne du Maurier Literary Centre (right) ........................ 25

Figure 7: Exceptional and General Qualities of Literary Sites ...................................................................... 31 Figure ぱ: Respondents’ Literary Awareness of Daphne Du Maurier’s Work ......................................... 53

Figure 9: Daphne du Maurier Books Read – by Gender .................................................................................. 54

Figure 10: Most Read Novels by Daphne Du Maurier ...................................................................................... 54

Figure 11: Visits to Other Places Related to Authors or Literature ............................................................ 55

Figure 12: Other Places Related to Authors or Literature.............................................................................. 56

Figure 13: Reasons for Visiting Fowey/Cornwall .............................................................................................. 57

Figure 14: Main Themes for Motivations to Visit the Literary Place ......................................................... 58

Figure 15: Main Purpose in Travelling to Fowey/Cornwall .......................................................................... 62

Figure 16: Decision Time to Attend the Daphne Du Maurier Festival....................................................... 62

Figure 17: Arts-Core and Arts-Peripheral Tourists .......................................................................................... 63

Figure 18: Cultural Exploration ................................................................................................................................ 64

Figure 19: Family Togetherness................................................................................................................................ 64

Figure 20: Novelty ........................................................................................................................................................... 65

Figure 21: Escape ............................................................................................................................................................ 65

Figure 22: Event Attractions ....................................................................................................................................... 66

Figure 23: Socialization ................................................................................................................................................ 66

Figure 24: Gender Distribution ................................................................................................................................. 67

Figure 25: Age Groups ................................................................................................................................................... 67

Figure 26: Region (Country) of Origin .................................................................................................................... 68

Figure 27: Highest Level of Education .................................................................................................................... 69

Figure 28: Socio-Economic Groups .......................................................................................................................... 69

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I. CHAPTER

INTRODUCTION ╉THER E I S A F AS CI NAT I O N AB OUT P LAC E S A SS O C IAT ED WIT H WR IT ER S T HAT HA S

OFT EN PR O MPT ED R EAD E R S TO B EC OM E P IL GR I M S: TO V IS IT A B IR T HP LAC E AND

CONT E MP LAT E T HE SUR R OUND IN GS OF AN AUT HO R ╆S CH IL DH OOD , TO SE E W IT H

FR E S H E YE S P LA CE S T H AT IN SP IR ED PO E M S OR BOO KS , T O PA Y H OM AG E AT A

GR AV ES ID E OR PU BL IC ME M OR IA L╊

( E A G L E A N D C A R N E L L 1 9 77 C I T E D I N H E R B E R T 2 00 1 , P . 3 12)

iterary tourism, i.e. tourism associated with ╉places celebrated for literary depictions and/or

connections with literary figures╊ (Squire 1996, p. 119), forms part of the landscape of

heritage tourism (Herbert 2001). It goes back several centuries, at least to the roman empire

(Andersen and Robinson 2002), but only started to become more popular in Great Britain in the

eighteenth century, when more travellers acquired a taste for places of literary interest (Watson

2006).

In modern Britain, literary places are no longer just those ones connected with the authors of

classical literature (Herbert 2001), although Shakespeare’s Stratford might first spring to one’s mind when confronted with the term literary tourism – after all, it can be considered as one of

the oldest and probably best-known literary destinations in England, having been established as

such in 1769, a year which first put Stratford on the literary map of Great Britain through the first celebration of Shakespeare’s ゅにどどth) birthday (Watson 2006). One might also think of the Brontës’ (aworth, Austen’s Chawton, Dickenson’s London, Wordsworth’s Lake District, or

Hardy’s Wessex, to name only some of the better known literary destinations. However, modern

writers have extended the literary itinerary by such locations as 221b Baker Street in London,

fictional home of the no less fictional Sherlock Holmes between 1881 and 1904 in Sir Arthur

Conan Doyle’s popular detective stories (Herbert 2001) - an address which, in the authors’ time,

did not actually exist, but today hosts a Sherlock Holmes Museum (Watson 2006). More recent

literature has also extended the list of literary destinations further, such as J. K. Rowling’s (arry Potter books, whose success has even contributed to the provision of a sign reading ╉Platform ひ ¾╊ above one half of a luggage trolley which seems to disappear into a solid wall at London’s King’s Cross Station (Watson 2006). Literary tourists in Edinburgh used to be drawn there by

great literary figures such as Robert Burns, Sir Walter Scott or Sir Arthur Conan Doyle, but a new

generation of modern writers are now competing with those classical ones. Leading the way is

Ian Rankin, the UK's number one bestselling crime author and creator of the Inspector Rebus

novels, which are mostly set in Edinburgh, as ╉people want to see the places mentioned in the

books such as the Oxford Bar, Rebus's favourite drinking hole╊ (Kelbie 2007).

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Literary tourism, however, is not restricted to Great Britain, even though earlier remarks

suggest its popularity in the UK. In fact, there is a large number of destinations worldwide with

literary connections, of which the most well-known and popular ones are summarized in Table

1.

TABLE 1: LITERARY DESTINATIONS WORLDWIDE

DESTINATION LITERARY FIGURE/AUTHOR

AFRICA

Kenya Karen von Blixen-Finecke

ASIA

Japan Yukio Mishima

AUSTRALASIA

New Zealand Katherine Mansfield

EUROPE

England Jane Austen, Geoffrey Chaucer, Charles Dickens, John Dunne,

John Keats, John Milton, JK Rowling, William Shakespeare

France Albert Camus, Julia Child, Alexandre Dumas, André Gide, Victor

Hugo, Peter Mayle, Jean-Paul Sartre, Voltaire

Germany (Berlin) Bertold Brecht, Hermann Hesse, Thomas Mann

Greece Nikos Kazantzakis, Plato, Vassilis Vassilokos

Ireland (Dublin) Brendan Behan, Sean O'Casey, Roddy Doyle, James Joyce,

George Bernard Shaw, Oscar Wilde, WB Yeats

Italy Frances Mayes

Russia Anton Chekhov, Fyodor Dostoevsky, Alexander Pushkin, Leo Tolstoy

Scotland (Edinburgh) James Boswell, Sir Arthur Conan Doyle, JK Rowling, Ian Rankin, Sir

Walter Scott

SOUTH AMERICA

Argentina Jorge Luis Borges, José Hernandéz

Chile Pablo Neruda

US & CANADA

Concord

(Massachusetts)

Louisa May Alcott, Ralph Waldo Emerson, Nathaniel Hawthorn,

Henry David Thoreau

Key West (Florida) Ernest Hemingway, Tennessee Williams

New York Norman Mailer, Arthur Miller

San Francisco Allen Ginsberg, Jack London, John Steinbeck, Amy Tan

Quebec Neil Bissoondath, Leonard Cohen, Mordecai Richler

(Source: adapted from Mintel 2011)

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With regards to the rising popularity of literary tourism, Watson (2006, p. 5) notes that it has

become so ╉naturalised as a cultural phenomenon in the British )sles that one sees literary sites

detailed in guidebooks and marked on the road map, and expects (and feels expected) to visit the

museum shop and to buy the soap, the postcard and the bookmark╊. This brings rise to the

question why it is so popular, as Booth (2004, p.2) puts it: ╉What incites the reader to become the

uninvited, posthumous guest, to wish to sit in the author╆s chair or meditate upon the views out the

poet╆s window?╊

1.1 BACKGROUND

ourism arises when authors or their literature become so popular that people are drawn to

either those locations that the author was associated with (e.g. birthplace, home, graveside)

or those that were featured within the writings of that particular author (Busby and Klug 2001).

Watson (2006, p. 3) notes that you ╉may set eyes upon the very table on which Austen╆s Emma was

written at Chawton╊, or ╉may see the stone by the waterfall upon which Charlotte Brontë is said to

have composed Jane Eyre, and on the same walk explore the path up the moorland valley to the

place said to be the setting for her sister╆s Wuthering (eights╊. Visiting those places allows literary

enthusiasts to interact with the authors they admire insofar as they can see or touch objects or

memorabilia associated with the authors, an experience which is enhanced by the settings

(Busby and Klug 2001).

Literary places attract both general heritage visitors as well as a niche segment of genuine

literary pilgrims (Smith 2003), who Herbert (2001, p. 313) characterised as well-educated

tourists, ╉versed in the classics and with the cultural capital to appreciate and understand this

form of heritage╊. Those pilgrims seek ╉an exterior destiny to the interior being╊ (Bacheloard

1994 cited in Robertson and Radford 2009, p. 206), or in other words, a physical body to enable

their senses to connect with objects read (Robertson and Radford 2009, p. 206).

Literary tourism remains under-researched and there is little academic theory on the topic.

Butler (1986 cited in Busby and Hambly 2000), however, has identified four types of literary

tourism: (1) Homage to an actual location, (2) Places of significance within the work of fiction, (3)

Areas are appealing because of their appeal to literary figures and (4) Work of the writer becomes

so popular that an area becomes a tourist location per se. In addition to those four types of

literary tourism, Busby and Klug (2001) have proposed a fifth one, (5) ╉Travel Writing╊, where

places and people have been reinterpreted and communicated to wider audiences and ╉film-

induced literary tourism╊.

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1.2 RATIONALE FOR CHOOSING THE TOPIC

1.1.1 ACADEMIC

he multidimensional relationships between literature, in that case, fiction and travel

writing, and place, have been investigated by various researchers towards the end of the

twentieth century (Robinson and Andersen 2002). Their focus, however, was on the significance

of literature and place in the field of cultural geography, while the tourism context has been

largely left out (ibid). Some research has been carried out with regards to literary tourism

within the last three decades, such as by Squire (1994 and 1996), Herbert (2001), Busby and

(Hambly 2000), Busby and Klug (2001), Busby and George (2004), Busby (2004) and very

frequently cited earlier authors such as Pocock (1982) and Butler (1986, cited in Herbert 2001).

Yet, as Smith (2003) notes, literary tourism remains under-researched. However, since literary

tourism has grown into a commercially significant phenomenon (Watson 2006) and as a result

of this, places connected to literature are nowadays frequently being used to promote

destinations, such as ╉Catherine Cookson County╊ in Northumberland (Herbert 2001),

╉Shakespeare╆s Stratford╊, ╉the Brontës╆ Yorkshire╊, ╉(ardy╆s Wessex╊ (Squire 1994),

╉Wordsworth╆s Lake District╊, ╉Scott-land╊ or ╉Dickinson╆s London╊ (Watson 2006), more research

needs to be carried out regarding the visitors’ motivations to visit those locations. The rationale

for this is based on the fact that in the tourism industry, it is particularly important to

understand needs of visitors, as ╉visitors purchase expectations╊ and it is whether the latter ones

are met or even exceeded that satisfies or even delights the visitor (Jewell and Crotts 2001). It

can be argued that for cultural and heritage tourism it is even more important to understand

these needs, as there is an important intangible element involved with this type of niche tourism,

which is about the authentic travel-experience (Mintel 2010).

1.1.2 PROFESSIONAL losely linked to understanding visitors’ needs is the understanding of what literary places

mean to visitors - ╉all tourist experiences involve meaning and, similarly, form part of wider

processes of cultural production and consumption╊ (Busby and Klug 2001, p. 322). But when

destinations take up new images or identities in order to stimulate economic development, like

the examples above show, it is of major importance to understand ╉how these meanings may be

constructed, communicated, and interpreted╊ (Squire 1994, p. 104). Brito (2004, p.1) argues that

there already is a strong connection between tourism and literature, which can easily be

exploited further, as ╉both literature and tourism create impressionist and fictional images of

reality╊, but ╉literature converts space and time into art, whereas tourism turns them into a

consumption product╊. In order for this ╉consumption product╊ to meet visitors’ expectations, a vital first step is to understand these expectations, i.e. the meaning of literary places in peoples’ minds. From a marketing perspective, the underlying research is therefore going to be beneficial

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for literary tourism destinations in general, but particularly the town of Fowey and its

surroundings as well as the organisers of the yearly Daphne Du Maurier Festival, insofar as it

will look into the motivations for people to visit this literary place and therefore is going to

establish the literary place’s meaning for its visitors. This information can then help the

destination, especially for the forthcoming festivals, to improve their offering according to their visitors’ expectations and to enhance visitors’ literary experience.

1.1.3 PERSONAL

he idea for this research project originated from personal interest in the work of Daphne

Du Maurier. This, linked with prior knowledge that the setting for the authors’ novels were

partly based on real locations in Cornwall, awakened the desire to explore those real settings, to

see with one’s own eyes what inspired the author for her stories, especially since the researcher

was conveniently located within a reasonable driving distance from Cornwall. Some internet

research into this matter brought the forthcoming Daphne Du Maurier Festival to the researcher’s attention - this appeared to be an ideal opportunity to carry out some research into

the topic, which otherwise would have proven more difficult, and subsequently gave birth to this

research topic.

1.3 RESEARCH AIM AND OBJECTIVES

╉MOR E I S K NO WN AB OU T T H E ╅WH O , WH EN AND WHER E ╆ O F T OUR I S M T HAN AB OU T

THE ╅WH Y ╆╊ (CRO MPTO N 1979 C ITED IN HERBERT 2001, P . 325) .

ith heritage or cultural tourism in particular, it is difficult to determine what this type of

tourism experience means to visitors and why it is valued by them (Squire 1994).

Therefore, the aim of this research is going to be the determination of the ╉why╊, i.e. the visitors’ motivations to attend the Daphne Du Maurier Festival. This information can then be used to

identify which, if any, of the proposed six types of literary tourism are present at the festival.

Furthermore, based on findings of other studies on literary places which indicated close linkages between visitors’ socioeconomic status and their participation in cultural attractions

(Hyounggon et al. 2006), it is intended to assess this relationship at the festival. As data is going

to be collected at the Daphne Du Maurier Festival of Arts and Literature due to reasons of

practicality, the context of a festival, which is by definition not natural or spontaneous, but an

╉authored landscape where dominant individuals and groups lay out dictates transforming and

stimulating the contestation of space╊ ゅCronin and O’Connor にどどぬ, p. 63) needs to be considered,

which a previous study on the Daphne Du Maurier Festival by Busby and Hambly (2000), carried

out over a decade ago, failed to do. This study found criticism by its own authors (Busby and

Hambly 2000), as it was arguably not representative and failed to identify the types of literary

tourism present at the festival. It can be argued that this is linked to the fact the authors treated

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the Daphne Du Maurier Festival like any other literary tourism location, such as for example

Herbert’s (2001) study which looked at Jane Austen’s (ouse in Chawton, which is, however, a museum. Thus, the context of a festival, which is likely to attract other visitors than literary ones,

has been ignored. For this reason, this research proposes to look into both reasons to visit the

place Fowey as a literary place connected to Daphne Du Maurier (if applicable), as well as

reasons to attend the overall festival, which is apart from its name not necessarily connected to

the author in every aspect, as it is a festival of literature and arts.

Based on this, the research objectives for the underlying project can be summarized as follows:

1. Determine literature awareness of the author╆s work

2. Determine motivations to visit this literary place linked to Daphne Du Maurier╆s life and work

3. Based on the former two: To identify which of the six types of literary tourism are present at the

festival (if any)

4. Determine motivations to attend the Daphne Du Maurier Festival (focus on the context of a

festival of literature and arts)

5. Examine the proposed relationship between visitors╆ socio-economic characteristics and their

participation in cultural attractions.

1.4 STRUCTURE OF THE DISSERTATION

fter having set the scene in this chapter, the following literature review is going to discuss

all the relevant literature from the field of literary tourism, beginning with the

establishment of the topic’s relevance as well as placing literary tourism within the field of

cultural and heritage tourism, followed by a detailed discussion of the types of literary tourism that have been identified by the literature. )t is then going to look at Daphne Du Maurier’s connections with Cornwall - which, in a way, serve as the basis for the underlying research - in

order to distinguish which of those types of literary tourism as discussed in previous sections

could possibly be applicable in the underlying research project. Furthermore, the preconditions

for developing literary sites for tourism and their relevance for the promotion of such places will

be looked at, a section which also discusses reasons why people are drawn to literary places. The

last section in the literature review will be dedicated to cultural festivals and reasons that

motivate people to engage in them, as the festival context is considered important for this

research.

Following the review of the relevant literature, the methodology chapter is dedicated to

discussing and justifying in detail the research philosophy, approach and method utilized in the

underlying research, as well as explaining the research design, research ethics, limitations of the

research, and lastly, the means of data analysis.

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In line with the research objectives, chapter four will then combine the analysis and discussion

of the findings, as well as linking and comparing them, if possible, to findings from the literature

review. The fifth chapter is lastly going to draw conclusions and recommendations from the

previous chapters.

8

II. CHAPTER

LITERATURE REVIEW

2.1 INTRODUCTION

owadays, it is possible to visit an astounding range of literary tourism sites, ranging from places where ╉your favourite author was born, grew up, courted, lived or died╊ over those

where ╉your favourite books were written╊, to those places ╉where they are set╊ - and of course,

one can buy the matching postcard, too (Watson 2006, p. 3).

This citation already implies some important elements of literary tourism, on which the

following review of the literature will be based on. The review will begin with the relevance of

literary tourism within the tourism industry and then place literary tourism within the field of

cultural and heritage tourism. The types of literary tourism as recognized by the literature will

then be discussed, before moving on to their relevance with regards to the author Daphne du

Maurier and associated places with her, which served as a case study for this research. This will

be followed by a section looking at the promotion of literary places, such as the preconditions

that need to me met in order to develop a literary site for tourism and the resulting implications

for marketing the place. Lastly, there is a section dedicated to literary/cultural festivals and why

people engage in them.

2.2 RELEVANCE

espite literary tourism being considered a niche, it is of growing relevance within the field

of cultural and heritage tourism. Unfortunately, there is no statistical data available on the

scale or market size of literary tourism, whether UK-wide or on a global basis. The demand for

cultural holidays has, however, increased by 17% between 1997 and 2007 (Atlas, cited in Mintel

2010) and the OECD and UNWTO (cited in Mintel 2010) have reported that cultural tourism

accounted for 40% of all international tourism in 2007. This increased demand for cultural and

heritage tourism can be explained by a more sophisticated travel taste and a desire for more

authentic experiences, a concept that will be discussed later with regards to literary tourism in

particular. According to the OECD (cited in Mintel 2010), there has been

╉A SHI FT FR O M ╅S I GHT SE E IN G ╆ TO ╅L I F E SE EI N G ╆ AS TH E SO PH IS TI CAT E D CULTUR AL

TR AV E LL ER S ╆ M IND S ET FOC US E S B EY O ND TR AD ITI ONA L EL E ME NT S L IK E MU S EU M S

AND G AL L ER I E S TO WAR D S EX PER IE NC E AND EN G A G EM EN T WI TH A LO C AL

CULTUR E╊.

N

D

9

Despite the lack of statistics to undermine the relevance of the topic, its importance in

contemporary tourism - at least in Great Britain - can be illustrated by the apparent growing

academic interest, the vast availability of literary guide books and other products related to

literary places, as well as the coverage on the topic in the everyday media. It must, however, be

pointed out that the following sections have the purpose of merely giving examples regarding

the relevance of the topic and make no claims of drawing a complete picture.

2.2.1 LITERARY TOURISM WITHIN THE ACADEMIC WORLD

Even though there is not a large amount of academic literature and despite the lack of any

statistical data on the topic of literary tourism, it has found increasing academic interest within

the last two decades. In that period, the first two relevant books on the topic emerged:

╉Literature and Tourism – Reading and Writing Tourism Texts╊ (Anderson and Robinson 2002)

and ╉The Literary Tourist╊ (Watson 2006). In addition, academic research into the topic has

been carried out by frequently cited authors such as Squire (1994 and 1996), Herbert (1995 and

2001), Busby and Hambly (2000), Busby and Klug (2001), Busby and George (2004) and Busby

(2004), Furthermore, the Centre for Tourism and Cultural Change’s にどどね international research conference was themed ╉Tourism & Literature: Travel, )magination & Myth╊ and had the aim to

critically discuss the interrelationships between tourism, tourists and literature (Robinson and

Picard 2004). In addition, the market research company Mintel (2011) have recently

(September 2011) published their first ever report on Literary Tourism.

2.2.2 LITERARY GUIDES

One indicator of the popularity of literary tourism in Great Britain and Ireland are the

guidebooks on the topic, such as for example ╉Blue Guide to Literary Britain and )reland╊ (Ousby

1999), ╉Literary Britain and )reland: a guide to the places that inspired poets, playwrights and

novelists╊ (Struthers and Coe 2005), and ╉The Oxford Guide to Literary Britain and )reland╊ (Hahn

and Robins 2008), which has been published in its third edition since 1977 and is probably the

most popular and extensive guide of its kind. In addition to those guides, the British Tourist

Authority and regional tourist boards market places connected to literature through maps,

pamphlets and other publicity material (Squire 1996).

2.2.3 RELATED PRODUCTS

There appears to be a thriving industry for products related to literary places other than

guidebooks, such as postcards, other souvenirs, calendars, etc. , which can often be purchased in

a literary destination. Numerous online shops have also emerged, such as ╉TheLiteraryGiftCompany.com╊, ╉WritersGifts.co.uk╊ or ╉BookishEngland.co.uk╊ - selling all sorts

of things like T-Shirts, handbags, soaps etc. related to authors and literature, to name only a few

examples.

10

2.2.4 LITERARY PLACES IN THE MEDIA

A recent example of an author promoting ╉his own╊ literary destination is )an Rankin, who talked about the links to real incidents as well as the real Edinburgh within his fiction in an

interview about his new book on BBC Breakfast (2011). After making up fictional names for real

places in his books earlier in his career - which his readers ultimately linked to the actual places

- he now uses the names of real places, e.g. real bars, buildings etc. within his books. According to

him, it was ╉more fun to use a real setting╊ which visitors can then go to either on their own or

with a special walking tour. Another recent example of literary tourism in the media was BBC Radio に’s ゅにどななょ Jeremy Vine show on a ban on taking photos at ╉Dracula’s Cemetery╊ in Whitby, based on visitors’ inappropriate photo-posing. The place is said to have inspired Bram Stoker for his classic novel

(Henderson 2011) and hosts the Whitby Gothic Weekender event. Even though the discussion

was more about the ban than about the literary place, it still drew attention to the connection of the place with the author, as well as demonstrating the place’s importance within the genre. Furthermore, a recent issue of ╉Country Life╊ ゅにどななょ featured an article on literary places in the West Country, ╉Where Writers Find Their Souls╊. One feature of the article was the two-sided

literary map of the region (see Figure 1). Lastly, there are numerous websites dedicated to the topic, such as ╉LiteraryPlaces.com╊, ╉LiteraryTraveler.com╊ amongst many others, as well as a vast number of blogs.

11

FIGURE 1: WRITERS╆ MAP OF THE WEST COUNTRY PLACING LITERARY TOURISM

12

2.3 PLACING LITERARY TOURISM

ndersen and Robinson (2002, p. xiii) categorize literary tourism as cultural tourism in the

anthropological sense, ╉in that it involves tourists and visitors identifying with, discovering,

and creating signifiers of cultural values with those people who have become part of the cultural

mythologies of places╊, but also in the aesthetic sense, as it is based on creative art.

Squire (1994 and 1996) and Herbert (2001), on the other side, categorize literary tourism as

heritage tourism, which raises the question what differentiates cultural and heritage tourism.

According to the National Trust for Historic Preservation (2011), the two cannot be defined as

two entirely different forms of tourism, as they partly overlap. The main difference, however, is

that heritage tourism is more ╉place-based╊ in that it creates a ╉sense of place rooted in the local

landscape, architecture, people, artefacts, traditions and stories that make a particular place

unique╊, while cultural tourism is broadly concerned with the same types of experiences as

heritage tourism, but at the same time less concerned with place. Therefore,

╉V IEW IN G T HE WOR K O F A GR EA T MA S TER AR T IS T IN HI S H O ME A ND S T UDI O I S A

HER ITA G E TOUR I SM E X P ER IEN CE , W HI L E V I EW IN G TH O SE V ER Y SA M E PI EC ES OF

AR T IN A TR AV E LL IN G E XH IB ITI ON IS A CUL T UR AL TO UR I S M E XP ER I E N C E . T HE

CONT EN T I S TH E SA ME WHI L E TH E C ONT E XT I S DIF F ER E NT╊

(NA T I O N A L TR U S T F O R H I S T O R I C PR E S E R V A T I O N 2011).

Based on the above given definitions by the National Trust for Historic Preservation (2011), it

would appear reasonable to take sides with Squire and Herbert and classify literary tourism as

heritage tourism, as the concept of place seems to play a particularly important role in literary

tourism, as will be discussed in more detail later. However, bearing in mind Andersen and Robinson’s ゅにどどにょ earlier remarks about visitors who identify themselves with those who have

become part of the cultural mythologies of places, which is also a vital part of literary tourism,

cultural tourism cannot be dismissed as a main category.

Therefore, and based on the fact that there seem to be as many different definitions of cultural

tourism as there are cultural tourists (McKercher and Du Cros 2002, cited in Williams 2010), it is

proposed to combine the two terms cultural and heritage tourism, as elements of both types of

tourism seem relevant for literary tourism and since the heritage visitor and the cultural visitor

are likely to be similar (National Trust for Historic Preservation 2011). Furthermore, according

to VisitBritain (2010) it is just as difficult for consumers to separate culture and heritage themselves, which supports the proposition to categorize it as ╉Cultural and (eritage Tourism╊. Different authors have regarded literary tourism differently – Busby and Klug (2001, p. 316), for

example, consider literary tourism to be part of media-related tourism, which they define as

tourism involving ╉visits to places celebrated for associations with books, authors, television

programmes and films╊. However, with the term creative tourism, which is defined as tourism

A

13

that ╉embraces the creative arts, such as design, architecture, music, film, media, music and

literature╊ (Mintel 2011), another, more recent category for literary tourism has emerged, which

is also applicable to literary tourism.

Therefore, literary tourism can be considered a niche within a niche in the wider field of cultural

and heritage tourism, as illustrated in Figure 2.

FIGURE 2: CLASSIFICATION OF LITERARY TOURISM WITHIN THE FIELD OF CULTURAL AND HERITAGE TOURISM

Cultural and Heritage Tourism

Heritage Tourism: sense of place rooted in the

local landscape, architecture,

people, artefacts,

traditions and stories

Cultural Tourism: visitors identifying with, discovering,

and creating signifiers of

cultural values with those

people who have become

part of the cultural

mythologies of places

Creative Tourism

Tourism Embracing

Creative Arts:

design, architecture, music, film,

media, music and literature

Media-Related Tourism

Literary Tourism

Visits to places celebrated for associations with books

& authors

Film Tourism

Visits to places celebrated for television programmes &

films

14

2.4 TYPES OF LITERARY TOURISM

he literature (e.g. Squire 1996, Herbert 2001, Andersen and Robinson 2002, Watson 2006)

identifies two broad types of literary places: real-life places associated with the lives of

writers (e.g. birthplaces, chosen domiciles, gravesides), and imagined places, associated with

written works .In addition to those two types, Mintel (2011) put forward two other shapes that

literary tourism can take in their recent market research report, namely literary festivals and

bookshop tourism.

2.4.1 AUTHOR-RELATED LITERARY TOURISM

2.4.1.1 WRITERS’ GRAVESITES Visiting poets’ graves is a practice dating from classical antiquity which gained increased

interest in the mid-eighteenth century along with growing interest in ╉necro-tourism╊, i.e. the

practice of visiting graves/graveyards in general (Watson 2006). Watson (2006, p. 33) argues

that this literary pilgrimage is premised on religious pilgrimage, a practice that has declined

along with decreasing religious sensibility to a certain extent, thus, that ╉the saint and his or her

holy and healing places╊ were replaced by ╉the author and his or her native haunts╊ .

In this context, it can however be argued that the desire to visit the mortal remains of a saint and

those of a writer are likely to be different, as Dávidházi (1998, cited in Watson 2006) puts it:

╉What miracle, after all, were the mortal remains of a writer supposed to perform that their living

books had not?╊. Nonetheless, writers’ graves and memorials can be considered as tangible signatures of a writer’s presence and sometimes allow literary pilgrims to come as close to an

admired author as they would ever get (Andersen and Robinson 2002).

2.4.1.2 WRITERS’ BIRTHPLACES Writers’ birthplaces are of course in one sense the houses of writers – they are, however, rarely

the houses in which the written works have been created, with few exceptions such as Thomas (ardy’s cottage in Upper Bockhampton ゅWatson にどどはょ. Furthermore, according to Watson ゅにどどはょ, it is one thing to pay one’s respects to the human remains of a poet or writer, but

another thing to actually make a pilgrimage to the place where the poet or author was born. She explains the difference between the two through the author’s physical existence, proof of which -- outside of the written works - is provided by the grave. However, in order to turn a birthplace into a similar memorial requires much more effort of one’s imagination, which is why the extension of emotional investment from an author’s grave to his or her birthplace only manifests itself for relatively few authors, such as for example Shakespeare, whose birthplace has been

transformed into a visitor attraction (Watson 2006).

T

15

2.4.1.3 WRITERS ’ HOMES

According to Herbert (2001), people may be drawn to former homes of writers due to a sense of

nostalgia:

╉IN TH E SE P LA CE S , A V I SI TOR C AN S TI L L WA LK OUT O F A H OU SE A ND IN TO

LAND SC AP E S WH IC H HA V E BAR E L Y CH AN GE D S I N CE T H E WR I TER DR EW

BR EAT H FR O M TH E M AN D BR EAT HE D L IT ER ATU R E IN TO T HE M . . . WE W ALK

IN OUR WR IT ER S ╆ F OOT ST EP S AND S EE TH R OUG H TH EIR EY E S W HE N W E

ENT ER TH E S E S PAC E S╊

( MAR SH 1 99 3 , C IT ED I N HER B ER T 2 00 1 , P . 3 1 4)

The preserved home of the dead writer offers the promise of him or her to re-enter the home at

any point (Andersen and Robinson 2002), thus, viewing the house of the author can be

considered as an imaginative act to bring the dead author back to life once more (Watson 2006). One’s creative imagination contributes to the illusion of the creative, but dead, author being just as present as are his or her books (Andersen and Robinson 2002).

Furthermore, Anderson and Robinson ゅにどどにょ note that a writer’s home is probably one of the most powerful tourism resources as it provides tangible connections between the ╉created╊ and

the ╉creator╊, which allows visitors to engage in diverse emotional experiences. It furthermore

offers a real sense of ╉behind the scenes╊, as it is an intimate and authentic experience to be able to be where the author’s pen physically touched the paper ゅibidょ. Not only is the writer’s home the place where he or she lived, but the ╉creative space╊ where the writer’s works were conceived and realised (Smith 2004).

Moreover, the place that an author chooses to live in, other than a birthplace, can be interpreted

as a reflection of his/her interests and desires and of a way to express himself/herself (Smith

2003).

2.4.2 FICTION-RELATED LITERARY TOURISM

Herbert (2001) notes that real characters and places as well as fictional characters and places

are sometimes linked insofar that places can acquire meanings from imaginative worlds, which,

however, are real to the beholder in that they evoke emotions and involvement.

According to Eco (1986, cited in Jones 2004), tourists seek - what he calls - ╉hyperreal╊

destinations, where there exists a link between fictional or mythical characters and their

supposed actions in real locations, such as Robin Hood and the Sherwood Forest. The ╉reality╊ of

real locations within the works of fiction can, of course, be questioned, and Andersen and

Robinson (2002) rightly ask whether it is sensible to visit a real location merely for the reason

that it was featured within a narrative plot. Herbert (2001), however, argues that places like

that, where the real and the imagined merge, possess special meaning to visitors. Pocock (1987,

cited in Busby and Hambly 2000, p. 204) noted that ╉the thought that (eathcliff might appear╊

16

evoked more excitement in visitors to Haworth than being able to tread in the footsteps of the

Brontë sisters. In our apparent willingness to take fictional characters seriously, some of those

characters - despite being narrative – are even considered ╉influential╊ (Andersen and Robinson

2002). There is even a list of the 100 most influential fictional characters in world literature, with Shakespeare’s (amlet at the top of that chart, Arthur Conan Doyle’s Sherlock Holmes in ninths place and Jane Austen’s Emma in seventieth place ゅPollard-Gott 1998, cited in Andersen

and Robinson 2002).

Furthermore, locations featured in the literature can ignite ╉an appreciation and understanding

of literature as means of reflection and self-reflection╊ (Andersen and Robinson 2002, p. 2), and at

the same time serve as portals to infinite realities: ╉we read, and by sharing the author╆s insight

and understanding of the real world, our insight and understanding is also broadened╊.

2.4.3 LITERARY FESTIVALS

There is a vast number of yearly literary festivals of different scales taking place in every corner

of the UK. Those festivals normally allow attendees some personal interaction with authors,

entertainers and/or celebrities as well as giving writers the chance to promote their readings

(Mintel 2011). In that context, Anderson and Robinson (2002, p. 9) note that ╉we now expect

them [authors] to appear in person, to present and explain their work, to allow us to hear the voice

and see the person behind the work╊.

According to Mintel (2011), the emphasis at literary festival was once on ╉serious╊ literature, but

has widened considerably and nowadays includes other related events - usually from the wider

field of arts - such as films, TV documentaries, audiobooks etc., as those are part of

contemporary culture.

In this context, Seaton (1996, cited in Andersen and Robinson 2002) notes the important role of

what he calls ╉book towns╊ in rural tourism, referring to the example of Hay on Wye, which is

acknowledged as centre for bookshops and hosts the yearly ╉(ay Festival of Literature and the

Arts╊.

2.4.4 BOOKSHOP TOURISM

Mintel (2011) defines bookshop tourists as ╉people who, when they travel, trail around local

bookshops to seek out titles related to the destination they are visiting (guide books, literary maps,

literary tours etc.ょ or to search for books written by local authors╊.

Bookshop tourism tends to be the domain of independent, often small book retailers, which

might specialise in certain literature genres. According to Nigel Beale, who publishes the website ╉LiteraryTourist.com╊, the demand for such small speciality book shops offering quality literary publications, rare or antiquarian books, is increasing. This indicates the status of books as a

17

collector’s item with a ╉life well beyond the one they enjoy when they are new in the market╊

(Andersen and Robinson 2002, p.14). Andersen and Robinson note that the physical form of

literary works, that is books (mainly), has remarkable power, as today, permanent or temporary

possession of literature which forms the basis of literary culture is considered a well-established

practice across western democracies.

╉THE TR AV EL L ER S WH O FR E QUE NT I NDE PE ND E NT BO OK ST OR E S D O S O BECAU S E

THE Y LI KE T O TA KE T H EIR T I ME T O E X PL OR E A ND TO C HAT T O TH E O W NER , WH O

CAN O FT EN B E AN INV A LUAB LE S OUR C E O F IN F OR MA TI ON . WH EN YOU ╆R E

TR AV E LL IN G A WAY FR O M H OM E , ON E O F T HE T HR I LL S O F BR OW SI N G I N A BOO K

SH OP IS HUNT IN G F O R A N ELU S IV E V OLU M E . Y O U ALWA Y S H OP E TH AT Y OU ╆L L CO M E

ACR O S S S O ME TR EA SUR E THA T Y OU ╆V E B E EN T R YIN G T O F I ND FOR Y EA R S╊

( BEA LE , C IT ED I N M IN T EL 2 01 1) .

2.4.5 BUTLER’S AND BUSBY AND KLUG’S FORMS OF

LITERARY TOURISM Butler’s ゅなひぱは, cited in Busby にどどねょ forms of literary tourism were discussed briefly in the

introduction as the only framework related to the underlying topic, which is why it forms the basis for this project’s primary research. )t is therefore considered appropriate to discuss the framework in some more detail at this point. Butler’s four forms of literary tourism and the additional two forms added by Busby and Klug (2001) are illustrated in Table 2. According to Busby and (ambly ゅにどどど, p. にどどょ, the first of Butler’s forms of literary tourism considers the ╉aspect of homage to an actual location╊ in order to see ╉the background against

which a work was produced╊ and ╉to gain new insights into the work and the author╊ (Butler 1986,

cited in Busby 2004). Busby and Hambly (2000) give the example of Daphne du Maurier’s ╉Jamaica )nn╊ for this form - an over four centuries old coaching house on Bodmin Moor that

inspired Du Maurier for the homonymous novel (Jamaica Inn 2011), set in the worlds of

smugglers and wreckers in 19th century Cornwall (Creative Media Publishing 2011). According

to Butler (1986, cited in Busby 2004), this form of literary tourism tends to occur on a higher

intellectual level, but a key criterion is considered to be the actual popularity of the author in

question. This form reflects a mixture of both fiction-related literary tourism as discussed under

1.4.2 and author-related literary tourism as discussed under 1.4.1, as, even though it refers to

╉an actual location╊, it is also about the author’s connection to that particular location. Butler’s ゅなひぱは, cited in Busby にどどねょ second form of literary tourism refers to fiction-related

literary tourism, as, other than with the first form, it is concerned merely with ╉places of

significance within the work of fiction╊ (Busby 2004) and thus less focused on the author. An example for this is North Devon and its description in (enry Williamson’s novel ╉Tarka╊, on the

background of which a 180 mile long walking route emerged as a visitor attraction (ibid).

18

The third form of literary tourism is concerned with ╉the appeal of areas because they were

appealing to literary ゅand otherょ figures╊ (Butler 1986, cited in Busby and Hambly 2000).

According to Busby (2004), it is a more specialist form of literary tourism, which, however,

nonetheless is widely used by the private and public sector to promote areas in order to gain

economic benefits (Busby and Klug 2001). He notes that some writers such as Romney Marsh or

Bird & Modlock actively promote areas of southern England, but also includes guidebooks such

as Margaret Drabble’s ゅなひぱねょ ╉A Writer╆s Britain: Landscape and Literature╊ or Malcolm Bradbury’s ゅなひひはょ ╉The Atlas of Literature╊ in this category. Again, as with the first form, it can

be argued with this form that it is a mixture of author- and fiction related literary tourism

The last form as put forward by Butler (1986, cited in Busby 2004) applies when an area

becomes a tourist destination in its own right based on the popularity of an author. Busby

(2004) here names the example of ╉Westward (o!╊ in North Devon, a sea-side town which was developed and named after Charles Kingsley’s novel of the same title. The author furthermore argues that this fourth form of literary tourism also applies to when an area becomes a

╉country╊, such as ╉(ardy Country╊, ╉Catherine Cookson Country╊ or ╉Agatha Christie Country╊.

This form of literary tourism can be considered as purely author-related literary tourism.

The fifth and sixth form of literary tourism as put forward by Busby and Klug (2001) are ╉travel

writing╊ and ╉film-induced literary tourism╊. Travel writing, in those cases where it is an

influential factor in tourism decision making, is considered a channel through which both places

as well as people have been re-interpreted and communicated to wider audiences – an example

here would be the works of Bill Bryson.

╉Film-induced literary tourism╊ is based on film-induced tourism, whereby a tourist has read an author’s work after having viewed the film based on the work. Even though many films and television dramas are in actual fact based on literature, in this particular case of literary tourism

the book is ╉only a souvenir, providing a permanent reminder of having seen the film╊ (Busby

2004, p. 4). It can be argued that this would be a case of fiction-related literary tourism, even

though it could be questioned whether a movie-induced tourist has quite the same motivations

to visit a location featured on TV as one solely motivated by literature. The experiences may well

be equally powerful, but the tourist solely motivated by works of fiction is likely to have a

different, deeper appreciation and understanding of the actual literature than the one who only

watched a film-adaptation of a book.

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TABLE 2: FORMS OF LITERARY TOURISM

FORM DESCRIPTION

BUTLER’S ORIGINAL FORMS OF LITERARY TOURISM

1.Aspects of homage to an actual

location

To see the background against which a work

was produced to gain new insights into the

work and the author. This form involves the

emergence of the literary pilgrim (Butler, 1986)

2.Places of significance in the

work of fiction

The novel ‘Tarka the Otter’ by Henry Williamson brought tourists to the rural part of

North Devon, where it was set (Wreyford 1996).

3.Appeal of areas because they

were appealing to literary and

other figures

The form of tourism which is connected with

literary figures (Squire 1996). Widely used by

the private and public sector to promote

areas and to gain economic benefit.

4.

The literature gains popularity in

a sense that the area becomes

a tourist destination in its own

right

This form is illustrated by Charles Kingsley’s Westward Ho! which resulted in the creation of

the eponymously-named seaside resort in

North Devon (Busby and Hambly 2000).

BUSBY AND KLUG’S ADDED FORMS

5. Travel writing

A vehicle through which places and people

have been re-interpreted and communicated

to wider audiences illustrated by the work of

Bill Bryson.

6. Film-induced literary tourism

Tourism resulting from enhanced interest, in a

destination, secured through reading the

literature after viewing the screenplay.

(Source: adapted from Busby 2004, p. 5 and Busby and Klug 2001 p. 321)

20

2.5 DAPHNE DU MAURIER’S LITERARY CONNECTIONS

WITH CORNWALL

s noted above, two broad types of literary tourism are distinguished: real-life places

associated with the lives of writers and imagined places, associated with written works.

Daphne du Maurier herself has noted a link between her real life and the fictional worlds from

her books:

╉I HAD D ET ER M IN ED T O WR IT E A L I GHT R O MAN CE . BUT I GO FOR A WA LK O N TH E

MO OR , A ND SE E A T WI S TED TR E E AND A P I LE O F GR A NI TE ST ON E S BE S I DE A D EE P ,

DAR K P OO L AND JA MAI CA INN I S BOR N╊

( DU MAUR IER C IT ED IN HER B ER T 2 00 1 , P . 3 1 8 ) )n this spirit, Watson ゅにどどはょ notes that the literary tourists’ experience is likely to be most powerfully compounded when both the place of composition and that of the fictional setting

coincide. With the work of Du Maurier, this is the case, at least for a number of her novels, which

are listed in Table 3. Fowey ゅCornwallょ is connected with the author in several ways: first of all, it was her family’s holiday residence where she wrote her first novel ╉The Loving Spirit╊ in 1931, which has ╉romanticized╊ Fowey and its surrounding and created ╉what was to become a life-long

association with the county in her fiction╊ (Busby 2004).

TABLE 3: NOVELS BY DAPHNE DU MAURIER

Novel Publication

Year

Connection with

Cornwall

The Loving Spirit 1931 Yes

I’ll Never Be Young Again 1932

Julius 1933

Jamaica Inn 1936 Yes

Rebecca 1938 Yes

Frenchman’s Creek 1941 Yes

Hungry Hill 1943

The King’s General 1946 Yes

The Parasites 1949

My Cousin Rachel 1951 Yes

The Scapegoat 1957

Castle Dor (with Sir Arthur Quiller-Couch) 1962 Yes

The Flight of the Falcon 1965

The House on the Strand 1969 Yes

Rule Britannia 1972

(Source: adapted from Busby 2004)

A

21

Furthermore, the author decided to move to Fowey permanently in 1943, where she lived until

her death in 1989 (VisitCornwall 2011). The area inspired her for many of her books, and the

house she lived in for many years, ╉Menabilly╊, served as an inspiration for ╉Manderlay╊, the

fictional plot of her bestselling novel ╉Rebecca╊ (Beauman 2002 cited in Du Maurier 2010),

which was also adapted into an Academy Award-winning Hollywood film in 1940 by director

Alfred Hitchcock (Robey 2009).

Figure 3 shows a postcard which illustrates Daphne du Maurier’s literary connections in the Fowey/Polruan area. Furthermore, there is a ╉Daphne du Maurier in Cornwall╊- guide (see

Figure 4) for sale in the tourist information centre/Daphne du Maurier Literary Centre, claiming

to ╉include everything you need to know about du Maurier while visiting Cornwall╊ and ╉to take

you to the heart of du Maurier╆s world╊ (Creative Media Publishing 2011), which features maps

and background information on the author and places connected with her and/or her books.

Whilst other authors have used Cornish locations in their plots as well, du Maurier is considered

the first one to gain substantial popularity in doing so (Busby 2004) – Payton (1996, cited in

Busby 2004, p. 8) puts it like that:

╉ IT I S E AS Y T O CH AR AC TER I S E DAP HN E DU MA UR IER A S T HE FIR ST O F THE B I G-

HOU SE-W ITH-W IND SW E PT-W O MAN-ON-A-C LI F F-TOP G ENR E O F R O MAN TI C N OV E L

WR IT ER S , HER WOR K S T HE FOR ER U NN ER O F T H E MU LT IP LI CI TY OF ╅CO R NI SH

FI CTI ON ╆ B OO KS T HAT WER E TO A PP EAR A FT E R THE SEC OND WOR LD WAR╊.

Busby and Hambly (2000, p. 200) argue that her popularity could be linked to the fact that her

novels were written at a time when ╉conversion to the big screen became a serious possibility╊.

Du Maurier, even though frequently cited as a regional writer, was no ╉home-grown╊ Cornish

writer, but made a deliberate decision to ╉strike into a new space that she believed she could

make, imaginatively, her own╊ by moving to Cornwall (Horner and Zlosnik 1998, p. 65). Cornwall

is characterized as a county distinct from the rest of Britain in that it has its own, recognisable

cultural identity (e.g. Andrew 1997, Harvey 2000, Cornwall County Council 2000, and Meethan

2002, cited in Busby 2004), which, along with its rich landscapes, provided fertile soil for writers

of fiction over the last century (Busby 2004). In fact, Du Maurier’s sense of identification with Cornish culture may be seen as stemming from her fascination in just this ╉strangeness, the

╅otherness╆ of a landscape permeated by relics of the past and hints of beliefs alien to the seemingly

rational world of the twentieth century╊ (Horner and Zlosnik 1998, p. 68). Busby (2004) argues

that this ╉sense of place╊ in her Cornish novels adds an element of ╉hyperreality╊ (as discussed in

section 1.4.2) to the region, which benefits the development and marketing of ╉Daphne du

Maurier Country╊ (in Fowey and surrounding villages) and the annual ╉Daphne du Maurier

Festival of Arts and Literature╊.

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FIGURE 3: DAPHNE DU MAURIER IN CORNWALL - POSTCARD

(Source: Reynard Cards)

23

FIGURE 4: THE OFFICIAL GUIDE TO DAPHNE DU MAURIER IN CORNWALL

(Source: Creative Media Publishing 2011)

Regarding this touristic exploitation, Busby (2004) remarks that were she alive today, Daphne

du Maurier would probably ╉be horrified at the level of commodification of her work for tourism

purposes╊, which, however, does not seem to bother neither Cornwall Council, who use her to

promote the region and who also organize the annual festival, nor the visitors who come to the

region for her or her novels.

One other type of literary tourism is arguably present in Fowey, namely the above discussed

bookshop tourism. The Mintel (2011) report on literary tourism argued that bookshop tourism

was the domain of small, independent bookshops which often specialise in certain genres and

tend to have an online-presence in order to compete with large book chains. Fowey is home of

╉Bookends╊, which seems to be just that, a small, or indeed very small bookshop, crammed with

24

antiquarian and second-hand books, specialising in Daphne du Maurier and other local authors

as well as Cornwall and Cornish history (Bookends 2009). The shop claims to be ╉leading

specialists on the works of Daphne du Maurier and related subject matter╊. See Figure 5 for a

promotional postcard by the bookshop, which they give away with each book purchased in the

shop. According to Mintel,

╉THE ATTR ACT ION OF BOO KS HO P S HA S A LWA Y S B E EN THA T TH EY O FF ER M OR E

THAN T HE IR UT IL ITAR I AN FUN CT ION : T H E J OY OF BR OW SI N G L OV IN G L Y S TAC KED

SH E LV E S , UNE X P E CTE D R EAD IN G TI P S A ND C HA NCE ENC OUNT ER S MAK E FOR A

TACT IL E AN D INT E LL EC TUAL EX PER I ENC E I N I T S O WN R I G HT…╊ This appears to be just the case with Fowey’s Bookends – there is no empirical evidence for this, however. Quite contrarily, it is merely based on the researcher’s observations in the bookshop on two occasions, but fits into the category of bookshop tourism too well not to be mentioned at

this point. The shop seemed well frequented during the research phase at the festival, and many

festival visitors carried Bookends bags around – proof that they had been there and bought

something, despite the fact that there was a Waterstones’ book stall more conveniently located within the festival village, selling new books (mainly by or on Daphne du Maurier, but also

related to speakers at the festival). On one other occasion in early July, when Fowey was

buzzing with even more visitors than had been the case at the festival in May, the picture was

similar. In the bookshop, which is conveniently located opposite the Du Maurier Literary Centre ゅwhich is at the same time Fowey’s tourist information office, see Figure 6), several visitors

enquired about particular antiquarian books by Daphne du Maurier and went away having

bought one or several books.

Therefore, all types of literary tourism as discussed under 1.4.1 to 1.4.4 are present in Fowey,

that is, author- and fiction related literary tourism, in addition to which there are the annual

literary festival and the independent bookshop, both benefiting from those connections with the

author and her fiction. With regards to Butler’s types of tourism, Busby and (ambly ゅにどどど) considered the visitors to

the Daphne du Maurier Festival most likely to subscribe to the first and second forms as well as

possibly to the third. The third form of literary tourism may well be present as well, as it was

argued earlier that Du Maurier had a sense of identification with Cornish culture and chose to

live there for most of her life. It can be argued that Fowey and the surrounding villages are likely

to gain economic benefits from the fact that the place appealed to the literary figure of Daphne du Maurier and the resulting promotion as such. Furthermore, it is believed that Butler’s fourth form of literary tourism could also possibly be applicable, as Busby (2004) argued that it applied when an area becomes a ╉country╊, such as ╉Catherine Cookson Country╊ - Fowey and the surrounding villages are nowadays promoted as ╉Daphne du Maurier Country╊ ゅBusby にどどねょ.

25

FIGURE 5: BOOKENDS OF FOWEY PROMOTIONAL POSTCARD

(Source: Bookends of Fowey)

FIGURE 6: BOOKENDS OF FOWEY (LEFT) AND DAPHNE DU MAURIER LITERARY CENTRE (RIGHT)

26

The fourth and fifth form of literary tourism as proposed by Busby and Klug (2001) could also be

applicable to the case of Daphne du Maurier. The author, apart from her novels and short stories,

wrote two books about Cornwall, ╉Vanishing Cornwall╊ (Du Maurier 1967) and ╉Enchanted

Cornwall╊ (Du Maurier 1989), which were not pure travel literature but also had

autobiographical elements about her relationship with the county. Therefore, the fifth form of

literary tourism, ╉Travel Writing╊, which is considered a channel through which both places as

well as people can be re-interpreted and communicated to wider audiences (Busby and Klug

2001), could be relevant.

Lastly, there is also a possibility for ╉Film-Induced Literary Tourism╊, considering that several of Du Maurier’s novels and short stories were adapted as films, three of which for (ollywood by no one less that Alfred Hitchcock (see Table 4).

TABLE 4: FILM ADAPTATIONS OF DAPHNE DU MAURIER╆S WORK .

Novel/Short Story & Film Title Year of Film Release Director

Rebecca 1940

1997

Alfred Hitchcock

Jim O'Brien

Jamaica Inn 1939 Alfred Hitchcock

My Cousin Rachel 1952 Henry Koster

The Scapegoat 1959 Robert Hamer

The Birds 1963 Alfred Hitchcock

Don't Look Now 1973 Nicolas Roeg

(Source: adapted from DuMaurier.org 2011)

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2.6 LITERARY TOURISM AND THE TOURIST EXPERIENCE

ccording to Quinlan and Carmichael (2010), the tourist experience is a complicated

psychological process consisting of a vast variety of elements. It is considered relevant in

the context of the underlying research as motivation, which is a focus in this research, is one

important element in the tourist experience as it contributes strongly to the decision making

process about which experiences are sought by different individuals (ibid).

One of many definitions is offered by Li (2000, cited in Quinlan and Carmichael 2010, p. 4) who

defines the tourist experience as ╉a contrived and created act of consumption, a response to

problems with ╅ordinary life╆, a search for authenticity and a multifaceted leisure activity╊. Three

essential characteristics of the tourist experience are considered to be ╉intimacy/relationships╊,

╉authenticity╊ and the ╉notion of place╊ (Hayllar and Griffin 2005 cited in Quinlan and Carmichael

2010, p. 7), a definition which seems most appropriate for the context of literary tourism, as will

become evident subsequently.

2.6.1 THE CONCEPT OF PLACE

It ought to be clear to the reader at this stage that ╉place╊ plays an important role for literary

tourism, in particular for fiction-related literary tourism. Writers can ╉define and redefine spaces

through their works╊ (Moretti 1998, cited in Andersen and Robinson 2002) and literature has the

ability to reflect real space and its use (Andersen and Robinson 2002).

Andersen and Robinson (2002), however, point out that the relationship between experiences in

real time and place and created places is multifaceted. One reason for this can be considered the fact that the author’s use of real places within his or her fiction is usually laden with sets of interpretations from both the author as well as the reader ゅRobinson にどどにょ. To some authors’ work, ╉place╊ is central in that they set out to represent the latter, to capture the spirit of place or even to create myths about places ゅBarke にどどにょ. Furthermore, an author’s own experience of place/places is the most obvious foundation for the development of creative writing (Robinson

2002). Therefore, Tetley and Bramwell (2002) argue that it is the authors who form what they

refer to as ╉place myths╊, which convert into symbolic imageries and meanings shared by many

readers. Watson and Saunders (2004), conversely, argue that it is the reader who interprets the author’s written words into their own vision of reality, and therefore it is also the reader who actually produces the place, not the writer. It can be argued that both arguments bear truth, as

creative fiction cannot exist in isolation from the real world (Robinson 2002). It may be the

writers who have transformed their vision and the context of their visions into words (Watson

and Saunders 2004), but it is the reader’s own culture and knowledge which enhances their understanding of place (ibid), and it is readers who are ╉allowed to cruise the real world within

their imagination and to fuel their imagination through glimpses, representations and deliberate

distortions of realities╊ (Andersen and Robinson 2002).

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As the reader develops a relationship with the context of the characters during the course of

reading, his or her sense of place becomes more real (Watson and Saunders 2004). Yet

Robinson (2002, p. 40) probes:

╉WHAT IS TH E TOUR I ST A BL E TO EX TR AC T FR O M TH E T E XT I TS E LF? WHAT I S

THER E C ONTA IN ED B ET W E EN T HE C OV ER S OF A BOOK THA T CAN INDU C E , IN SP IR E ,

MO TIV A TE A ND TR AN S F O R M R EAD ER S IN TO T O UR IS T S?╊

According to Watson and Saunders (2004), the reader, who is an outsider whilst reading, yearns

to capture the non-existent by travelling to the real place featured within fictional works. This

hazy boundary between fiction and reality, this imprecise zone in-between, ╉neither true nor

false╊ and ╉suspended between belief and disbelief╊ (McHale 1987, cited in Andersen and

Robinson 2002), is fundamental to the decision-making of visiting a destination represented

within fiction (Andersen and Robinson 2002). The reader has expectations that can only be

satisfied by the sense and quality of place and tourists who visit fiction-related literary places do

so to enlighten and/or to either confirm or change this ╉sense of place╊ (Watson and Saunders

2004).

╉THE BO OK I S BOR D ER L ES S BU T TH E R E AL IT Y C O NF IN E S╊ ( WAT SON AND SAUND ER S 2 0 0 4, P . 5) .

There is a sense of nostalgia for places that never really existed in the first place, but by visiting

them, the unreal can become tangible and gives the visitor another level of insight into the works

of the author, at least on the surface. But in reality, ╉fiction will always be set at a specific point in

time, in a place that only existed in the mind of the author╊ (Watson and Saunders 2004, p.4).

2.6.2 AUTHENTICITY

╉IF TH E MO NA L I SA IS I N TH E LOUV R E , W HER E THE N I S HA M L ET?╊

( BATE S ON 19 6 1 , CI TED IN H OLD ER N E S S 2 0 0 4)

This citation brings up an important issue regarding authenticity in literary tourism as opposed

to other fields of cultural and/or heritage tourism. Tourists wanting to experience the authentic

Mona Lisa can travel to Paris and buy a ticket to the Louvre, but where can tourists go to

experience the real Hamlet? One way would be to visit libraries containing early copies of

Hamlet or to visit the Globe Theatre in London (Holderness 2004). But would this be in the same

way authentic as the experience with the Mona Lisa, which is a unique, concrete embodiment of the vision of the artist, which inhabits its own local space? After all, Shakespeare’s drama must be considered a poet’s vision embodied in a multiplicity of ╉aery nothings╊ (Holderness 2004, p.

1).

When tourists see places linked to literature, they do so in a comprehensive way in their search

for cultural and literary authenticity, that is, they ╉want the reality of the place to be the same as

the reality in their mind╊ (Watson and Saunders 2004). Authenticity, which incorporates

29

elements of traditional culture and origin as well as a sense of the genuine (Chhabra et al. 2003),

is relevant with regards to both kinds of visitor experience, that is, author-related and fiction-

related literary tourism, but is more critical with regards to the latter form (Herbert 1995), as

the Shakespeare example above has demonstrated. Questions of authenticity - that is, are the

places genuine and do they faithfully represent reality? - are commonly asked with regards to

literary places (Herbert 2001). MacCannell (1973, cited in Fawcett and McCormack 2001, p. はぱぱょ explains this through the tourists’ need for experiences more profound than those associated with the ╉shallowness of their lives╊.

According to Herbert (1995, p. 34), one issue regarding authenticity in literary tourism is linked

to the fact that ╉lines blur as imagined worlds vie with real-life experiences╊. Furthermore,

authenticity is considered to be socially constructed (Herbert 2001), that is, it has been

produced by various entrepreneurs, marketing agents, interpretative guides, animators, or

institutional mediators (Hughes 1995). This brings rise to the question whether there is such a

thing as real authenticity in literary tourism at all – Fawcett and McCormack (2001) argue there

is not, as ╉authenticity can no longer exist in the sense of the ╅real╆ or ╅original╆ thing standing

outside of cultural interpretation╊, and conclude that ╉mass-produced images of touristic objects

and experiences always pre-exist the ╅real╆╊. But do the tourists mind? According to Hughes (1995,

cited in Fawcett and McCormack 2001), tourists do not necessarily seek out the ╉real╊ in the

sense of original or irreproducible. Furthermore, Herbert (2001) argues that authenticity

becomes a subjective experience in the case of developing a literary place for tourism purposes in that it is a combination of the developers’ intentions and the consumers’ interpretations of the latter.

Selwyn (1996 cited in Jones 2004) distinguishes two types of authenticity: cool and hot

authenticity. Hot authenticity applies to aspects concerning the imagined world of tourist make-

believe and produces emotions, while cool authenticity refers to buildings or sites where notable

deeds have been performed, which can be empirically demonstrated to have occurred (Jones

2004). Therefore, hot authenticity is more attributable to fiction-related literary tourism while

cool authenticity relates more to author-related literary tourism, even though the lines of the

two types of literary tourism often blur, as discussed earlier.

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2.7 LITERARY DESTINATIONS AND THEIR PROMOTION

s noted earlier, places connected to literature are nowadays frequently being used to

promote destinations, like the earlier given example of Daphne du Maurier in and around

Fowey has demonstrated. The following sections are going to look at the qualities that literary

places can possess as put forward by Herbert (2000) as well as discussing the marketing

implications arising from what has been termed ╉the tourist experience╊ above, which are

considered to form the preconditions for touristic exploitation of literary places.

2.7.1 EXCEPTIONAL AND GENERAL QUALITIES OF LITERARY

PLACES

Herbert (2001) proposed a distinction between exceptional and general qualities of literary

places, based on the reasons why people are drawn to those places. A literary place has

exceptional qualities when:

1. Tourists are drawn to places with connections with the lives of writers

2. Tourists are drawn to literary places that form the settings for novels

3. Tourists are drawn to literary places for some broader and deeper emotion than the

specific writer or the story (e.g. nostalgia) or for reasons less concerned with the literature than with some dramatic event in the writer’s life ゅ(erbert にどどなょ

In addition to those exceptional qualities, literary places can have more general qualities which

can be used to promote their attractiveness. Those apply when literary places

1. are located in attractive settings, such as scenic environments, views,

2. offer a range of facilities (afternoon teas, souvenirs)

3. become stopping points along a more general tourism itinerary because of their

geographically convenient location (e.g. locations that fit into a route along cathedrals,

churches, country houses and gardens)

These exceptional and general qualities are summarized in Figure 7.

It can be argued that the more of these qualities a literary place possesses, the easier it is to

develop and exploit it for tourism purposes. As noted earlier, when the place of composition and that of the fictional setting coincide, the literary tourists’ experience is more powerfully compounded (Watson 2006), therefore it is likely that this is also the case when other qualities

apply to the place, such as the setting or its facilities. The question of authenticity, however,

ought to be kept in mind by those developing a site for tourism.

A

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FIGURE 7: EXCEPTIONAL AND GENERAL QUALITIES OF LITERARY SITES

(Source: adapted from Herbert 2001, p. 315)

2.7.2 MARKETING IMPLICATIONS

The previous sections demonstrated the importance of authenticity, linked to sense of place, for literary places. )n conjunction with a literary place’s existing exceptional and general qualities as put forward by Herbert (2001), those can arguably form the basis of the particular place’s image, which can be exploited for marketing purposes – as Brito (2004) put it:

╉LIT ER ATUR E C ONV ER T S SPAC E AN D TI M E IN TO AR T , W HER EA S T OUR I S M TUR N S

THE M INT O A CO N SUM P T IO N PR OD UCT╊ . Even though literature as means of marketing is mostly an unintentional function with the

disadvantage of not being measurable, it can nonetheless present the reader with ╉implicit and

explicit representations of places as potential destinations╊ (Robinson 2004, p. 40) and therefore

takes direct and indirect influence on tourists’ destination choice. Literary places can then take advantage of this unintentional marketing for the destination - their managers are likely to aim

╉to portray a particular set of images╊ with regards to the literary destination, based on both

physical attributes of the site as well as a variety of interpretive techniques (Herbert 2001). An

increasing number of private and public sector agencies have realized the potential of literary

tourism and are promoting specific images of those places (Herbert 1995). Examples of

successful literary place marketing include such places as ╉Shakespeare╆s Stratford╊, ╉the Brontës╆

Yorkshire╊, ╉(ardy╆s Wessex╊ (Squire 1994), ╉Wordsworth╆s Lake District╊ or ╉Dickinson╆s London╊

(Watson 2006). However, as opposed to this unintentional marketing of places, more purposeful

EXCEPTIONAL QUALITIES OF THE SITE

GENERAL QUALITIES OF THE SITE

32

place marketing may also be possible – Hudson and Ritchie (2006) have proposed to market

destinations through ╉product placement╊ in films and television shows, where the destination

represents the product. According to the authors, this is considered an attractive marketing

vehicle which ╉increases awareness, enhances destination image, and results in significant

increases in tourism numbers, succeeding where traditional marketing efforts cannot╊ (Hudson

and Ritchie 2006, p. 395). Even though film-induced tourism differs from literary tourism, this

proposed marketing vehicle could possibly be adapted to literary tourism, where authors may

actively promote a particular destination through their fiction. This way, a particular destination

could be favourably differentiated from competing destinations as well as being ╉positively

positioned╊ in the minds of consumers, which could influence tourist behaviour (Pike and Ryan

2004, Echtner and Ritchie 1991, Joppe et al. 2001, cited in Hudson and Ritchie 2006).

As argued earlier, in order to develop a literary site for tourism, it is even more important to understand visitors’ needs than with other types of tourism, as literary tourism involves a

significant intangible element as discussed above with regards to sense of place and

authenticity. Research in the field suggests that literary tourists are more purposeful and

specific with regards to their reasons for visiting a literary site (Herbert 1995) - reasons that

arguably ought to be looked into in more detail in order to deliver a tourist product accordingly. But even when visitors’ need are known to the developer of the literary place, there is still no guarantee that messages are read and interpreted in the intended way by visitors, as literary

places are socially constructed (Herbert 2001). Literary tourism is to a great extend about the

interaction of ╉real and imagined╊ worlds and as such is a mixture of ╉fact and fiction╊, the ╉real

and the metaphorical╊ (Herbert 1995). The fundamental question in this context remains:

╉WHAT IS TH ER E CON T AIN ED B ETW E EN T HE C OV ER S O F A BO OK THA T CAN IN DUC E ,

IN SP IR E , M OT IV AT E AN D TR AN SF O R M R EAD ER S INTO TOUR IS T S?╊

( R OBIN S ON 20 0 4 , P . 4 0) The broader reasons for visiting literary sites have been discussed earlier, and Butler’s ゅなひぱは, cited in Busby 2004) framework encompasses those reasons. Herbert (2001), however argues

that each visitor has ╉some individual form of chemistry with the place, its presentation, and its

associated characters and events, real-life or fictional╊.

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2.8 CULTURAL FESTIVALS

here is no research with regards to why people engage in literary festivals in particular,

why this section is going to look at cultural festivals, which literary festivals are a sub-

category of.

A festival is by definition not natural or spontaneous, but an ╉authored landscape where

dominant individuals and groups lay out dictates transforming and stimulating the contestation of

space╊ ゅCronin and O’Connor にどどぬ, p. はぬょ. As noted above ゅ(erbert にどどな, p. ぬなぬょ, ╉literary places

are no longer accidents of history, sites of a writer╆s birth or death; they are also social

constructions, created, amplified, and promoted to attract visitors╊, which can be achieved by the

creation of a festival. According to Cronin and O’Connor ゅにどどぬょ, festivals are complex cultural phenomena which humans engage in as a celebration of their beliefs as well as an assertion of their identity. The

relationship between tourism and festivals can occur in different ways: on the one hand,

particularly with large festivals, those are often seen as the central attraction and become the key motivator for tourism ゅPicard and Robinson にどどはょ, which supports Cronin and O’Connor’s ゅにどどぬょ above statement of festivals as celebrations of people’s beliefs and assertion of their identity. On the other hand, some festivals are seen as a mere part of an overall destination and

support the cultural offer of that destination. In this instance, tourists may or may not encounter

the festival in the context of its promotion, but might still stumble across a small festival when

exploring the destination (Picard and Robinson 2006).

Arts festivals have been established for different reasons, such as to endorse awareness and

increase understanding of particular forms of art or culture, but also to allow residents of small

towns/villages in rural areas to engage with the arts, where there is little opportunity for this

type of activity otherwise. Furthermore, like noted above, arts festivals are created to share

common interests among arts-enthusiasts, but increasingly also to attract tourists (Hughes

2000). )n order to determine visitors’ motivations to attend a literary and arts festival, a framework is

proposed here which is based on the arts in general, as there is no literature regarding literary

festivals in particular.

Hughes (2000) distinguishes between arts-core and arts-peripheral tourists, depending on

their degree of interest and intent in the arts. He classifies arts-core tourists into primary and

multi-primary arts related tourist, the former’s main purpose being to travel to a destination in order to see a particular performance and the latter one’s having equally important other reasons for their visit to the destination. Furthermore, he classifies arts-peripheral tourists as

incidental or accidental arts-related tourists, the former’s main reason for visiting a destination

T

34

being something else, but their decision to see a performance being made in advance, and the latter’s having other reasons for visiting a destination and having no interest in seeing any

performance in advance. This framework can be adapted for a literary festival as shown in Table

5.

TABLE 5: CLASSIFICATION OF ARTS TOURISTS.

Main Purpose of Visiting the Destination Decision to Attend Festival

Primary

Festival Before arrival

Multi Primary

Festival and equally important reasons

Before arrival

Incidental

Other than festival Before arrival

Accidental

Other than festival After arrival

(Source: adapted from Hughes 2000)

Furthermore, the decision to visit a festival is a ╉directed action which is triggered by a desire to

meet a need╊ (Crompton and McKay 1997). The literature (e.g. Lee et al. 2004, Crompton and

McKay 1997, Uysal et al. 1993, cited in Lee et. al 2004) recognizes several categories of broad

motives to attend different types of festival events, which are:

1. Cultural exploration

2. Family togetherness

3. Novelty

4. Escape

5. Event attractions

6. Socialization.

Those motives obviously depend on the type of festival and its target audience, based on which

they may occur to different extents or not at all.

35

2.9 CONCLUSION

his chapter highlighted the relevance and importance of literary tourism through some

examples of media coverage, as there is no empirical evidence on the topic, and

furthermore suggested a classification of literary tourism as a sub-category of cultural and

heritage tourism. The different shapes and forms that literary tourism can take were then

discussed, based on which the following section established that all of these forms could be

applicable to Daphne du Maurier and her literary works related to Cornwall. This was followed

by a discussion of the required preconditions that literary places ought to possess in order for

them to be developed and marketed successfully for touristic exploitation. In that context the

concept of place and authenticity were discussed, as well as which general and exceptional

qualities literary places can have. Lastly, the chapter looked into cultural festivals and why

people engage in them, as the context of a festival needs to be understood for the underlying

research project, as outlined earlier.

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III. CHAPTER

METHODOLOGY 3.1 INTRODUCTION

he methodology is understood as the underlying theory and analysis of how research

should progress (Sachdeva 2009), or in other words, as the science and philosophy behind

all research (Adams et al. 2007). The following chapter is therefore firstly going to look at the

broad term ╉research╊ and its implications for the context of the underlying research project.

Based on this context, the research philosophy, research approach and research method that

were utilized for the underlying project will then be discussed and justified in detail, before

discussing the actual research design as well as considering research ethics, limitations of the

research and means of data analysis.

3.2 RESEARCH DEFINED

n line with the literary theme of this dissertation, why not begin this chapter with a citation

by a great, albeit imaginary, true literary figure - penned by no one less but Sir Arthur Conan

Doyle himself:

╉ALL LI F E I S A GR EA T C HAI N , T HE NATUR E O F WHI CH IS KN OWN WH EN EV ER W E AR E

SH OW N A S IN G LE LI NK OF IT . L IK E A LL OTH ER AR TS , TH E SCI EN CE OF DEDUCT IO N

AND ANA LY S I S I S O NE WHI CH C AN O NL Y B E AC QUIR ED B Y L ON G A ND P ATI ENT

STUD Y […]╊

( SH ER LOC K H OL M E S 1 8 8 8 IN D OY L E 2 0 1 1, P . 1 1 F) .

In the figurative sense, this statement on life as a chain can be transferred to the underlying

research project, where the overall aim and objectives can be considered as representatives of

the chain, with the researcher’s challenge being to turn the objectives of the dissertation into a

set of information requirements, from where to create questions (Brace 2008), or in other

words, single links, in order to provide that particular information (ibid). With regards to the

second part of the citation, Altinay and Paraskevas (2008) note that research in itself is an art,

and as such, like the process of painting a portrait, requires ╉long and patient study╊ (Doyle 2011,

p.12). Other authors (e.g. Kothari 2004 and Phophalia 2010) agree that research is indeed an

“art of scientific investigation” (Phophalia 2010, p.1), with the word research deriving from the

French for ╉seeking again╊ (ibid), already implying one characteristic of research, namely that it

should be replicable, either by the same or different researchers, and ideally lead to the same or

similar conclusions (Veal 2006). Furthermore, research can be conducted within a system of

existing knowledge and should have the aim to test that system and to increase that knowledge

(Preece 1994, cited in Finn et al. 2000).

T

I

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3.3 AIM AND OBJECTIVES

n accordance with the above, the underlying research project sought to repeat (in an adjusted

form) a study carried out by Busby and Hambly (2000) at the 1998 Daphne Du Maurier

Festival, which had two different focuses: firstly, it looked at festival visitors and their literary awareness of Daphne Du Maurier’s work as well as the festival visitors’ socio-economic characteristics, and secondly, it determined residents’ reactions towards the festival using Doxey’s )ndex of )rritation and Ap and Crompton’s Local Residence Response Theory to Tourism Development. Since the focus of this research is on determining what motivates people to visit

literary places, only the first part of that study was considered relevant for this dissertation. Since, however, Busby and (ambly’s ゅにどどどょ questionnaire has not been published alongside their findings, while at the same time they did not give much detail about the questions asked, it

would be difficult to replicate their study accurately and thus, also to compare the findings of the

two studies reliably. Therefore, and with the aim of not only testing the existing knowledge about visitors at the Daphne Du Maurier Festival based on Busby and (ambly’s ゅにどどどょ study, but of increasing the knowledge in line with the dissertation’s aim to determine peoples’ motivations to visit literary places, other aspects from studies that looked at literary tourism

(e.g. Herbert 2001 and Busby and George 2004) were taken into consideration. This appeared

appropriate as ╉research is scientific and as such is not satisfied with isolated facts, but seeks to

integrate and systematize its results and findings╊ (Phophalia 2010, p.1). As ╉literary places are no

longer accidents of history, sites of a writer╆s birth or death╊ but are also ╉social constructions,

created, amplified, and promoted to attract visitors╊ (Herbert 2001, p. 313) - in this case, by the

creation of a festival - the circumjacent context of a festival should also be considered, which

Busby and Hambly (2000) have failed to do in their study.

According to Bouma 1996 (cited in Jennings 2001), ╉the challenge of the research process is to

relate theory and research in such a way that questions are answered╊. Therefore, after having set

the context for the underlying research above, the following is going to discuss the underlying

research philosophy, methods and approaches that were utilised in order to fulfil the research

aim, i.e. to determine motivations to visit literary places and the following research objectives:

1. Determine motivations to visit this literary place linked to Daphne Du Maurier╆s life and work

2. Determine literature awareness of the author╆s work

3. Based on the former two: To identify which of the six types of literary tourism are present at the

festival (if any)

4. Determine motivations to attend the Daphne Du Maurier Festival (focus on the context of a

festival of literature and arts)

5. Examine the proposed relationship between visitors╆ socio-economic characteristics and their

participation in cultural attractions.

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3.4 SECONDARY RESEARCH

econdary research refers to existing data that has been collected for other primary research

purposes, but can be re-used for new research projects, in which the researcher then

becomes the secondary user (Veal 2006). With pure secondary research, no new data is gathered

but the research project merely draws on existing, secondary sources (Clark et al. 1998), as

opposed to primary research, which is original data generated by the researcher specifically to

answer the research objectives of the particular project (Finn et al. 2000, Long 2007).

According to Saunders et al. (2009), secondary sources can provide a useful resource from which to answer, or at least partly answer, a project’s underlying research questions and can

play ╉a variety of roles in a research project, from being the whole basis of the research to being a

vital or incidental point of comparison╊ (Veal 2006, p. 147). Long (2007) supports this by stating

that secondary data has the potential to provide the necessary context for a researcher’s own research as well as the opportunity to examine something that the original researcher has failed

to investigate. This is true for the underlying research project, as it is partly based on an existing

study by Busby and Hambly (2000), which, however, failed to acknowledge the context of a

festival and its implications for the collection of their data, as well as having a slightly different

focus. As discussed earlier, it is considered of major importance to look into what motivates

people to visit literary places and to do so in more detail, moving beyond just determining

literary awareness, in order to market those places successfully.

According to Veal (2006), any research benefits from reference to existing literature, in that it

indicates the state of knowledge on a topic and can also be a stimulant for new ideas. The author

(Veal 2006) even argues that

╉A R EV I EW O N TH E L IT ER A TUR E CAN BE IM POR TAN T EV EN WH EN IT UN COV ER S N O

LIT ER A TUR E ON TH E T O PIC OF INT ER ES T . T O E S TABL I SH T HAT N O R E S E AR CH H AS

BE EN CO NDUC TED ON A PAR TI CUL AR TO PIC , ES PEC IA LL Y W H EN TH E T O PIC IS

CON SI DER ED T O BE OF S OM E I M POR TA NC E TO T HE FI E LD , C AN B E A R E S EAR C H

FI NDI NG OF S OM E SI GN I FI CANC E I N IT S OWN R I GH T .╊

( V EAL 2 0 06 , P . 9 7)

Therefore, secondary data really only provided the framework for the primary research that was

needed in order to be able to answer the research aim and objectives. That, however, does not

make it inferior to the primary data findings, as the rather scarce existing literature has helped

to build the context for this research and contributed to the recognition that literary tourism,

despite being under-researched, is a very important and relevant part of the wider, growing field

of cultural tourism.

S

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3.5 PRIMARY RESEARCH

s discussed above, primary research, involving the collection of original data specific to this

particular research project is needed in addition to secondary sources in order to answer

the research aim and objectives.

In order to conduct primary reseach in such a way that it generates valid, reliable primary data,

Van Rys et al. (2012) recommend to conduct the research in a systematic and careful manner,

using appropriate methods. Gratton and Jones (2010) point out that the researcher needs to

choose those methods that will help to gather the particular information which is directly

related to the research question and which complements the secondary sources simultaneously,

as well as having to be aware of the specific advantages and disadvantages of those methods.

However, before looking at different research methods and their application for the underlying

research, the different research philosophies will be discussed, a term that relates to the

╉development of knowledge╊ as well as the ╉nature of that knowledge╊ (Saunders et al. 2009, p.

107). The philosophy encompasses important assumptions about the way in which the

researcher views the world, which some researchers consider of even higher importance than

the research methods applied, and which will ultimately support the choice of methods

(Saunders et al. 2009). Furthermore, the approaches to the underlying research project will be

discussed.

As the research methodology is determined by the information requirements of the research

(Jennings 2001), as set out in the research objectives, it is the latter ones that will determine the

philosophy, approach and method required. The following will therefore discuss the different

philosophies, approaches and methods in general, before arguing which of the latter ones were

utilized for each particular research objective.

3.5.1 RESEARCH PHILOSOPHIES

One of the most frequently cited distinctions between types of research philosophies is that

between positivism and interpretivism (Clark et al. 1998), also known as phenomenology

(Altinay and Paraskevas 2008).

3.5.1.1 POSITIVISM

Positivism describes interrelations between real, observable phenomena (Clark et al. 1998) and

promotes an objective interpretation of reality through the use of hard data obtained through

surveys or experiments (Altinay and Paraskevas 2008). It incorporates the ╉belief that there

exists a reality out there, driven by immutable natural laws╊ (Guba 1990, cited in Richards and

Munsters 2010, p. 131).

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3.5.1.2 INTERPRETIVISM

Interpretivism, as the name already implies, places larger emphasis on the people under

observation and tries to provide explanations, or interpretations, of their behaviour (Veal 2006)

- it thus stresses the belief that ╉reality is constructed in the mind of individuals╊ (Smith 2010, p.

23). Both philosophies share the mutual goal of trying to understand behaviour, but make

different underlying assumptions about the world of phenomena (Clark et al. 1998), and even

though the two philosophies are commonly considered as opponents, they are still frequently

used in a combined manner (Altinay and Paraskevas 2008).

3.5.1.3 RATIONALE

In order to fulfil the aim of this dissertation through its differing research objectives, both

philosophies need to be applied for the different objectives, as set out in Table 6.

TABLE 6: RESEARCH OBJECTIVES AND CORRESPONDING PHILOSOPHIES

RESEARCH OBJECTIVES PHILOSOPHY

1. Determine motivations to visit this literary place linked to Daphne Du Maurier’s life and work

Interpretivist

2. Determine literature awareness of the author’s work Positivist

3. Based on the former two: To identify which of the six types of literary tourism are present at the festival (if any)

Interpretivist

4. Determine motivations to attend the Daphne Du Maurier Festival (focus on the context of a festival of literature and arts)

Interpretivist

5. Examine the proposed relationship between visitors’ socio-

economic characteristics and their participation in cultural attractions

Positivist

Objectives two and five arguably require a positivist approach, as both peoples’ literature awareness as well as their socio-economic status can be considered as objective, observable

phenomena, calling for a research philosophy that, too, is objective and at the same time

╉immune from the influence of human values and beliefs╊ (Clark et al. 1998, p. 10). Findings from

positivist research should be capable of explanatory generalization, as the accumulated

knowledge gained through this type of research allows for precise description of the nature and behaviour of phenomena, such as the phenomena’s interrelations with regards to their cause and effect as well as their dependency and interdependency (Clark et al. 1998). This will be helpful in order to determine the relationship between participants’ socioeconomic status and

participation in cultural attractions as well as finding out whether literature awareness can be

linked to other factors. Nonetheless, the criticism for this research philosophy also lies in its

scientific nature, causing some academics to argue that it is inappropriate for the study of social

phenomena (ibid).

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Therefore, an interpretivist approach, which focuses on meanings other than pure facts (Long

2007) is more appropriate for objectives one, three and four. The first and fourth objective, which are to determine peoples’ motivations to visit the literary place and to determine

motivations to attend the festival, are not about hard facts, but about social behaviour and

human action – they are about why people behave the way they do. As social behaviour is the

product of human action, which in turn is grounded in the articulation of shared meanings, those

meanings must be interpreted and understood by the researcher (Clark et al. 1998). That

already implies a major characteristic of interpretivism, which is the strong involvement of the

researcher, who is not independent from the research, but is part of what is being observed

(Smith 2010) in that he or she interprets those meanings based on his or her own

preconceptions (Long 2007). The main criticism for interpretative research also lies in this

personal involvement and the inseparability of the researcher from the research object, who can

potentially ╉read too much meaning╊ into behaviour (Clark et al. 1998, p. 18). This last point is

also particularly valid for the third objective, to identify which types of literary tourism are

present, as the researcher has to make this distinction subjectively based on peoples’ responses to the first and fourth objectives, which allows some scope for bias to occur, and ultimately

results in the non-generalizability of findings and, potentially non-representativeness.

Even though the two research philosophies in question are often seen as opposing to one

another, Altinay and Paraskevas (2008) argue that they should be considered as two ends of a

continuum and thus as complimentary rather than exclusive, as ╉the reality of what is being

investigated is considerably more complex in its totality than either positivist or phenomenological

philosophies can capture╊ ゅAltinay and Paraskevas 200ふ, p. ぴ2ょ. It is therefore considered most

appropriate to combine the strengths of both philosophies in the underlying research project in

order to study the phenomena under investigation more profoundly and to compensate

weaknesses in each philosophy (Altinay and Paraskevas 2008).

3.5.2 RESEARCH APPROACHES

While the research philosophy refers to how knowledge is constructed, the research approach is

about when knowledge is constructed, i.e. either at the beginning or the end of a research project

(Altinay and Paraskevas 2008).

3.5.2.1 DEDUCTION

With a deductive approach, the researcher first develops a theory and hypothesis which is then

tested (Long 2007). According to Saunders et al. (2009), a deductive approach is more suitable

for a topic that has to offer a wide range of literature, which can help to define a theoretical

framework and hypotheses, which can then be tested. Deduction is also the most suitable

approach to explain causal relationships between different variables (Saunders et al. 2009).

Normally, any deductive research does contain some elements of induction though, as it is

42

impossible to develop theories without any initial information on the topic in question (Veal

2006).

3.5.2.2 INDUCTION

With an inductive approach, the researcher first collects data and as a result of its analysis,

develops a theory (Long 2007). This type of approach lends itself more to a new research topic,

on which there is little existing literature, as it can generate and analyse data in order to develop

new theoretical themes on that topic (Saunders et al. 2009). It is furthermore advantageous for

explaining why something is happening, but one of its disadvantages is that it tends to take

longer to undertake and requires more resources, as theories have to slowly emerge from the

data (Gratton and Jones 2010). Furthermore, just as deductive research tends to include at least

some elements of induction, the same is valid vice versa, as it is unlikely for data to be collected with no explanatory model in the researcher’s mind ゅVeal にどどはょ. 3.5.2.3 RATIONALE

According to Saunders et al. (2009), these research approaches can be linked to the above

discussed research philosophies, with deduction owing more to positivism and induction more to

interpretivism, even though this should not be considered as universally valid and is believed to

be of ╉no real practical value╊ by the authors (Saunders et al. 2009). Just as the philosophies

were used in a combined manner for the underlying research project, the same is valid for the

research approaches. However, in line with Saunders et al. (2009), deduction was not only

linked to those research objectives that had a positivist philosophy, but was also utilized for the

third and fourth research objectives, which had an underlying interpretivist philosophy (see

Table 7). With regards to the third objective, the deductive approach can be explained through

the fact that this objective is about identifying those types of literary tourism that were present

at the festival based on a framework developed by Butler (1986 cited in Busby and Hambly

2000) and advanced further by Busby and Klug (2001) and Busby and George (2004), thus,

based on existing theory, despite being interpretivist insofar as the researcher has to make this

identification subjectively. For the fourth objective, a deductive approach has been chosen

based on the fact that it is also based on existing research. This approach was chosen as some

literature is available in the field of motivations to attend festivals as well as to participate in

cultural forms of tourism, and it was considered to be more practical and less time-consuming to

test this existing theory, rather than to try and develop something new.

As objectives two and five are based on existing findings from similar studies on literary

tourism and seek to compare the new findings to existing ones as well as explaining causal

relationships between the different variables, a deductive approach is most appropriate.

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TABLE 7: RESEARCH OBJECTIVES AND CORRESPONDING PHILOSOPHY AND APPROACH

RESEARCH OBJECTIVES PHILOSOPHY APPROACH

1. Determine motivations to visit this literary place

linked to Daphne Du Maurier’s life and work Interpretivist Inductive

2. Determine literature awareness of the author’s work Positivist Deductive

3. Based on the former two: To identify which of the six

types of literary tourism are present at the festival (if any)

Interpretivist Deductive

4. Determine motivations to attend the Daphne Du

Maurier Festival (focus on the context of a festival of literature and arts)

Interpretivist Deductive

5. Examine the proposed relationship between visitors’ socio-economic characteristics and their

participation in cultural attractions Positivist Deductive

3.5.3 RESEARCH METHOD

In contrast to the methodology, which is the underlying theory and analysis of how the research

should be processed, the method consists of techniques to gather evidence (Sachdeva 2009) and

as such can be understood as the specific tools for data collection and analysis that the

researcher will use to gather the desired information (Jennings 2001).

3.5.3.1 QUALITATIVE RESEARCH

This type of research is used to study the behaviour of people (Krishnaswami and Satyaprasad

2010) and has the potential to add new dimensions to an issue or question under study as well

as producing evidence as to the ╉world of symbolism and meaning for individuals and groups╊

(Clark et al. 1998, p. 101). This is because qualitative research tries to develop an understanding

of the contexts in which these behaviours occur, while at the same time focusing on experiences

and emotions (Altinay and Paraskevas 2008). Other than quantitative data, which is presented

trough numbers, qualitative data is usually taking the form of words and therefore paints a richer and deeper picture of peoples’ experiences, attitudes and beliefs ゅibidょ. However, for

qualitative research, the personal involvement and interpretation of the researcher increases

the possibility of human error and bias (Clark et al. 1998).

3.5.3.2 QUANTITATIVE RESEARCH

Quantitative research is empirical research where the outcome of the study is presented in

numerical terms (Krishnaswami and Satyaprasad 2010), and has the advantage of being able to

explore larger scale macro structures of a research project (Finn et al. 2000). Furthermore,

quantitative research seeks to quantify relationships between different variables in a population

by using statistical methods (Altinay and Paraskevas 2008).

44

With this type of research, it can, however, be argued that

╉THO SE W HO STU DY T O UR I S M SH OU LD NO T M E R EL Y C ONC ER N T HE M S E LV E S

ONL Y W IT H THA T W HIC H I S BU SIN E S S OR T HAT WHI CH IS EA S IL Y

QUANT I FIA BL E . WH IL E SUC H AN AP PR O ACH MA Y PR OV ID E A M AR K O F

R ES PE CTAB I LI TY FOR T OUR I S M S TUDI E S I N A W OR LD D O MIN AT ED BY

QUANT ITA TIV E M ET HO D , N EG L ECT OF QUA LIT ATI V E I S SUE S WI LL IN E V I TAB LY

LE AD TO A PO OR ER T OU R IS M PR ODUC T F OR BO T H TH E H O ST S AND T H E

GU ES TS╊

( BUR NS A ND H OLD EN , C ITE D IN S HAR M A 2 0 0 4, P . 20 5) .

Therefore, the following is going to look at a mixed methods approach, which can improve the

validity of the research (Finn et al. 2000).

3.5.3.3 MIXED METHODS

Research is a ╉systematic enquiry that contributes to knowledge╊ (Altinay and Paraskevas 2008, p.

1) and is based on logic and reason as well as the systematic examination of evidence (Veal

2006). Long (2007), however, points out that in the social sciences - where tourism as a

discipline in its own right has its roots within the fields of economics, geography, sociology,

psychology, anthropology, marketing and history (Jennings 2001) - it is often difficult to

ascertain precisely the reliability, validity and generality of findings. This is considered to be

particularly relevant for the underlying research project, as it seeks to determine festival visitors’ motivations, which Crompton and McKay (1997) define as a dynamic process of internal

psychological needs and wants which ultimately lead to actions in order to satisfy those needs

and wants. As such, a decision to attend a festival is a directed action caused by a desire to

satisfy a need (ibid).

For this reason, Long (2007) suggests studying a phenomenon in different ways from different

perspectives in order to increase the chances of understanding the object of study. In this mixed-

method approach, also known as triangulation (Clark et al. 1998), two or more methods are

used to address the research question at the same time in the research process (Finn et al.

2000). Through using multiple sources of data from different perspectives, desired new pieces of

information can be gained (Smith 2010). According to Philip (cited in Finn et al. 2000, p.9),

╉R ES EAR C H ER S SH OU LD T HIN K B EY OND T HE M Y OP I C QUA NTI TAT IV E -

QUAL ITA TIV E DIV I D E W HEN IT C O ME S T O DEV I S IN G A SU IT ABL E

ME TH ODO LO G Y FOR T H EI R R ES EAR CH , AND S EL ECT M ETH OD S –

QUANT ITA TIV E , QUA LIT ATIV E OR A C OM BIN AT I ON O F TH E T WO – T HAT BE ST

SAT I SF Y T HE N E ED S O F SP EC IF IC R E SEAR CH PR OJ EC TS╊

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3.5.3.4 RATIONALE

As with the underlying mixed philosophies and approaches to this research project, mixed

qualitative and quantitative methods were applied.

Objectives one, three and four lend themselves to a qualitative approach, as they are based on

meanings expressed through words (other than numbers) and their gathering results in non-

standardised data which requires classification into categories by the researcher (Saunders et al.

2009). Objectives two and five on the other hand, are classic examples for a quantitative

approach, as their meaning derives from numbers while their gathering results in numerical,

standardised data (ibid), which the researcher can then compare to findings from previous

studies. Furthermore, those variables serve as a basis to quantify relationships amongst the latter ones, such as the proposed relationship between visitors’ socio-economic characteristics

and their participation in cultural attractions.

Table 8 shows a summary of the research objectives and their corresponding philosophies,

approaches and methods.

TABLE 8: RESEARCH OBJECTIVES AND CORRESPONDING PHILOSOPHY, APPROACH AND METHOD

RESEARCH OBJECTIVES PHILOSOPHY APPROACH METHOD

1. Determine motivations to visit this

literary place linked to Daphne Du Maurier’s life and work

Interpretivist Inductive Qualitative

2. Determine literature awareness of the author’s work

Positivist Deductive Quantitative

3. Based on the former two: To identify

which of the six types of literary tourism are present at the festival (if any)

Interpretivist Deductive Qualitative

4. Determine motivations to attend the Daphne Du Maurier Festival (focus on

the context of a festival of literature and arts)

Interpretivist Deductive Qualitative

5. Examine the proposed relationship

between visitors’ socio-economic characteristics and their participation in cultural attractions

Positivist Deductive Quantitative

Table 9 illustrates how qualitative data is normally linked to inductive, interpretivist research,

while quantitative data is generally related to deductive, positivist research. For most of the

research objectives this generalisation proved to be true, apart from the third and fourth

research objectives, where a deductive approach was used even though they were of a

qualitative and interpretivist nature, as has been discussed in detail earlier.

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TABLE 9: APPROACHES TO RESEARCH BASED ON METHODOLOGY USED

QUALITATIVE QUANTITATIVE

Inductive Deductive

Grounded in the interpretive social sciences paradigm

Grounded in the positivist social science paradigm

Commences in real world settings (empirical social world)

Commences with theories or hypotheses about a particular tourism phenomenon

Data about the tourism phenomenon are gathered, then analysed, and theoretical

constructions are either generated or modified

Data is gathered from the real-world setting and then analysed to support or reject hypothesis

(Source: adapted from Jennings 2001)

3.6 RESEARCH DESIGN

fter having identified the corresponding research philosophies, approaches and methods

above for each of the research objectives, this section is dedicated to the research design,

which is the way of ╉turning the research question into a research project╊ (Robson 2002, cited in

Saunders et al. 2009, p. 136) and which will be influenced by the research philosophy, approach

and method.

3.6.1 QUANTITATIVE & QUALITATIVE DATA COLLECTION

TECHNIQUES

As both quantitative and qualitative methods are required for different objectives, as are mixed

philosophies and approaches, there is no obvious preferred data collection technique. However,

social surveys, of which site surveys are the most commonly used ones (Long 2007), have

proven to be the most important source of information for tourism analysis, planning and

decision-making (Smith 1995 cited in Finn et al. 2000). They involve asking participants the

same questions (either through an interview or questionnaire), and tend to be large-scale with

regards to the number of participants involved (Finn et al. 2000). This larger scale is considered

advantageous for the underlying research project as it is intended to draw generalisations from the survey’s findings, which would not be possible from a small sample.

3.6.1.1 SOCIAL SURVEY

The social survey tends to be considered as a means of collecting quantitative data (Finn et al. にどどどょ, which is one objective of this research, but can arguably also be used to ╉gather and

record simple information on the incidence of attitudes, meanings and perceptions among the

population as a whole╊ (Veal 2006, p. 233). The authors of the previous, questionnaire-based

study of literary tourism at the Daphne du Maurier Festival in 1998 (Busby and Hambly 2000) argue that in order to ascertain which of Butler’s forms of literary tourism were applicable to

A

47

those people identified as literary tourists, in-depths interviews with those people would have

been necessary. It can be argued, however, that this is not necessarily the case. Busby and George’s ゅにどどねょ study of literary and film- tourism in Gloucester, based on its connection both with Beatrix Potter’s book ╉The Tailor of Gloucester╊ and the ╉(arry Potter╊ films, identified three

out of the six earlier proposed forms of literary tourism ゅButler’s initial four plus those two proposed by Busby) by asking an open–ended question with regards to why people had come to

visit the site. The response data was then coded and placed into the categories in question.

Based on this, a questionnaire using both closed- and open-ended questions appears to be the

most practical tool for this research as it should be able to gather the required quantitative and

qualitative data as well as reaching a larger number of participants than would be possible

through in-depth interviews.

3.6.1.2 QUESTIONNAIRE DESIGN

Questionnaire surveys can be interviewer-completed or respondent-completed, which both have

advantages and disadvantages (Veal 2006). Interviewer-completed questionnaires tend to be

more expensive and time-intensive, while respondent-completed questionnaires take less time

and are cheaper, but can result in a low response rate and involve the risk of being incomplete.

Furthermore, self-administered questionnaires require the researcher to take greater care when

it comes to layout and presentation, and should ideally consists of closed-ended questions,

where respondents only need to tick the appropriate boxes (Veal 2006). Based on limited time

and monetary resources, it was considered most practical to use self-administered

questionnaires for this research, as it would not have been possible to collect the desired

amount of data in the limited period of time available to the researcher if interviewer-completed

questionnaires would have been applied.

With regards to the length of the questionnaire, it encompassed two A4 sheets and was expected

to take respondents about 5 minutes to fill in. As the length of the questionnaire is likely to affect

the response rate (Altinay and Paraskevas 2008), it was considered most practical to keep it

short and only ask information that was considered most relevant in order to answer the

research objectives. Open-ended questions were only scarcely utilized in the questionnaire, as

those questions tend to achieve only a low response rate (Veal 2006).

3.6.1.3 THE QUESTIONNAIRE

In order to answer the research objectives, the questionnaire firstly asked respondents about

their literary awareness (objective 2) of Daphne Du Maurier, using closed-ended questions. With

regards to the 1st and 3rd objectives, an open question was used and the replies will be coded

into themes and placed within the 6 categories of literary tourism that were identified by other

authors, if applicable.

48

With regards to the 4th objective, a framework on the classification of arts tourists (Hughes

2000) was adapted, which places these tourists in 4 categories (primary, multi-primary,

incidental, accidental) as seen in the table (Table 10) below.

TABLE 10: CLASSIFICATION OF ARTS TOURISTS.

Main Purpose of Visiting the Destination Decision to Attend Festival

Primary

Festival Before arrival

Multi Primary

Festival and equally important reasons

Before arrival

Incidental

Other than festival Before arrival

Accidental

Other than festival After arrival


Based on other studies regarding what motivates people to attend festivals in general (e.g. Lee et

al. 2003, Crompton and McKay 1997), a Likert scale question was utilized based on 6 categories

of motivations that were previously identified by the literature, (1) Cultural exploration, (2)

Family togetherness, (3) Novelty, (4) Escape, (5) Event attractions, (6) Socialization) (ibid).

For the 5th objective, people were asked to state their highest level of education and head of the household’s occupation in order to determine their socio-economic group.

For a copy of the questionnaire that was utilized, see Appendix X.

3.6.2 DATA SOURCES

In order to gather the required data, using a self-administered questionnaire as described above,

access to a large number of participants was required. For this reason, the Daphne du Maurier

Festival of Arts and Literature has been chosen to conduct the on-site survey, as it would

otherwise have proven difficult to get access to a large number of participants. This is because

even though the town of Fowey has close linkages to Daphne du Maurier, there is no particular

site related to the author that has been developed as a tourist attraction, apart from a visitor centre dedicated to du Maurier ゅwhich is at the same time Fowey’s tourist information centreょ, offering information on her and selling souvenirs. In contrast to that, Jane Austen’s house in Chawton or Dylan Thomas’ boathouse in Laugharne for example have both been developed for tourism in that they are museums today (Herbert 2001). In order to get access to a larger sample

of literary tourists, which was arguably needed in order to establish which types of literary

tourism were present and why people were motivated to visit this literary destination, the

Daphne du Maurier Festival lent itself to conducting an on-site survey.

49

The Daphne du Maurier Festival of Arts and Literature took place between 12th and 21st of May

2011 in Fowey, Cornwall, and data was collected there on the 18th and 19th of May. Ideally,

weekend- and weekday variations should have been introduced in order to minimize

interviewer bias (Busby and Hambly 2000), but again due to restricted resources that was not

possible.

3.6.3 POPULATION AND SAMPLING

Questionnaire surveys generally include only a proportion of the population (Veal 2006), as for

practical reasons not all people that the researcher has an interest in can be included in the

research (Long 2007). Therefore, a sample, i.e. a sub-set of the study population, can help to

draw generalisations about the population (Clark et al. 1998). Based on advice from the festival

committee, it was decided to collect data within the physical boundaries of the ╉festival village╊ (a collection of marquees, including information stand, bookshop, refreshment stall and large ╉festival marquee╊ where most ticketed festival events and talks took placeょ. The sampling frame

therefore includes all those people that were present inside of the boundaries of the festival

village at the time of data collection. It must be noted, however, that all those people who

attended festival events taking place elsewhere were automatically excluded, which must be

considered as a potential source of bias. However, since the festival village offered seating

opportunities, it was still considered most appropriate for conducting the research, as the

generally older participants could be approached whilst seated in order to enable them to fill in

the questionnaire in more comfort.

Since, despite the physical boundaries of the festival village, it was still a case of a non-gated

outdoor event, any type of probability sampling would have been difficult to employ, as it could

not be guaranteed that every member in the sampling frame had an equal chance of being

selected (Smith 2010). Therefore and in order to get as many responses as possible, convenience

sampling was chosen, which is normally not likely to produce a representative sample (ibid). In

order to make the sample more representative, a gender quota of 25 to 75 male to female was

introduced, based on participant observation. This ratio can be explained by the fact that

Daphne du Maurier is considered a writer of romantic fiction primarily aimed at women (Horner

and Sloznik, cited in Busby and Hambly 2000).

As the population size was unknown, it was difficult to establish an appropriate sample size for

this research, with the only reference point being the interviewer-administered survey by Busby

and Hambly (2000), which had a sample size of 50. According to Smith (2010), one way to

determine the sample size is to go by the relationship between the number of questionnaire

items and sample size, which should at least be 1:4 or 1:5, i.e. four or five respondents per

question in the questionnaire. As the questionnaire had 15 items, the sample size should

50

accordingly be at least 60 to 75. To increase the sample’s representativeness and validity, a sample size of approximately 100 was aspired for this research project.

3.6.4 PILOT TEST

The pilot test can provide an insight into whether the respondents understand the questions as

they were intended (Altinay and Paraskevas 2008) and can help to determine the reliability and

validity of the survey (Finn et al. 2000). According to Altinay and Paraskevas (2008), the pilot

test should ideally be conducted with people who have as many similarities with the intended

sample as possible. The questionnaire was tested by 3 volunteers, two female and one male, two

of which were over 60, in order to be representative of the intended sample. Based on the pilot,

the wording of the questionnaire was slightly adapted.

3.7 ETHICAL CONSIDERATIONS

ccording to Veal (2006), ethical behaviour is as important in research as in any other type

of human activity and concerns both honesty as well as respect for the rights of those

individuals involved in the research.

Furthermore, there are three major principles in research ethics (Veal 2006), which are

1. that no harm should befall the research subjects;

2. that subjects should take part freely ; and

3. that subjects should take part on the basis of informed consent.

The underlying research project was implemented under consideration of all those points as well as in compliance with Bournemouth University’s Research Ethics Code of Practice. Participants were not harmed in any way - the questionnaire did not include any personal

questions that could have caused harm or stress to participants. Furthermore, participants were

informed about the nature of the study and the use of data supplied prior to taking part in the

survey. All participants that were approached during the research process were furthermore

orally informed about the approximate length of the questionnaire and the fact that the survey

was entirely anonymous and that participation was absolutely voluntary.

3.8 ANALYSIS

he analysis of the primary data was carried out using SPSS Version 19, while Microsoft

Excel 2010 was used to create the figures and most tables from the SPSS data output. Since

all the variables from the study are categorical, that is, nominal and ordinal, the use of

descriptive statistics was self-evident (Pallant 2005). The use of frequencies and cross

tabulation was considered sufficient in order to obtain the data that was needed in order answer

A

T

51

the research objectives. The only disadvantage with using non-parametric statistics can be seen

in the fact that they tend to be less powerful and fail to identify differences between variable

groups (Pallant 2005) – since, however, all data lent itself to nominal and ordinal scales and the

samples were small, non-parametric techniques were chosen.

3.9 LIMITATIONS

he first limitation of the research lies within the fact that even though a questionnaire can be used in order to gather some qualitative data with regards to peoples’ attitudes or behaviour as argued earlier, it cannot be considered the most appropriate tool for this purpose,

as it cannot gather in-depth-motivations. Therefore, despite the fact that open questions are

likely to help identify which, if any, of the earlier identified types of literary tourism were

present at the Daphne du Maurier Festival, personal in depth-interviews with a smaller sample would have likely resulted in richer information regarding peoples’ deeper-seated motivations.

With regards to the actual questionnaire, an error occurred which was unfortunately not

identified through the pilot test prior to conducting the research. The questionnaire asked

respondents to state whether their main purpose in travelling to Fowey was (1) to attend the

Daphne du Maurier Festival, (2) to attend the Daphne Du Maurier Festival as well as other, equally

important reasons or (3), a reason other than attending the Daphne Du Maurier Festival, as well

as asking whether participants had decided to attend the festival before or after their arrival in

Fowey, but failed to include an option for residents in or around Fowey. This initially caused

some confusion amongst those who were residents, a fact that could and should have been

anticipated beforehand. After the problem was identified, respondents were advised to leave

this particular item on the questionnaire blank.

Another source for potential bias was the fact that data was collected on two consecutive

weekdays, which could potentially result in the exclusion of particular respondents (e.g. working

people, who would be more likely to attend at the weekend). Also, all those people who did not

participate in any of the events within the boundaries of the festival village were automatically

excluded from taking part in the survey, even though they may have attended other festival

events that took place elsewhere around the town.

Furthermore, even though it was tried to make the sample more representative by introducing a

gender quota, it was still a case of non-probability sampling, which cannot guarantee absolute

representativeness.

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52

3.10 CONCLUSION

he chapter discussed and justified the utilization of different philosophies, approaches and

methods for the differing research objectives. In order to be able to collect quantitative as

well as qualitative data, it was argued that a social survey through a self-administered

questionnaire was the best and most practical tool to collect the required data, and also because

a larger number of participants could be reached this way. In order to get access to such a large

number of participants, the Daphne Du Maurier Festival was identified to be the only practical

place for conducting the survey. The population size was unknown, but a sample size of

approximately 100 was considered to be sufficient. Furthermore, as probability sampling was

not possible, and the instead chosen method of convenience sampling normally does not result

in a representative sample, a gender quota was introduced in order to increase the

representativeness of the sample. Regarding research ethics, no concerns could be identified for

the underlying study. Analysis of the data was carried out using SPSS 19 and Microsoft Excel,

using merely descriptive statistics, which was considered sufficient in order to answer the

research objectives. Limitations regarding the research were identified in the fact that in order

to gain more in depth qualitative data, interviews would have been more appropriate, but had to

be dismissed for practical reasons. Also, an error in the questionnaire was identified and

potential bias was found in conducting the research only at two consecutive weekdays and by

excluding festival attendants who were not present in the festival village.

T

53

IV. CHAPTER

FINDINGS AND DISCUSSION 4.1 INTRODUCTION

he chapter is organised around the research objectives as discussed in the introduction

chapter. It will look at the findings related to each research objective as well as discussing those findings’ relationships with regards to the literature. 4.2 LITERATURE AWARENESS ther studies regarding literary tourism found high awareness of particular authors’ works

amongst those visiting sites related to those authors (e.g. Herbert 2000, Squire 1994,

Busby and George 2004), while a previous study of visitors to the Daphne Du Maurier Festival by

Busby and Hambly (2000) indicated low literature awareness amongst those interviewed. The

underlying study contradicts this previous finding in that 85% of respondents have stated to

have read at least one novel by Du Maurier as shown in Figure 8.

FIGURE 8: RESPONDENTS╆ LITERARY AWARENESS OF DAPHNE DU MAURIER╆S WORK

Furthermore, even though Du Maurier is categorized mainly as ╉a writer of romantic fiction for

women╊, particularly in relation to her Cornish novels (Horner and Zlosnik 1998, p. 26), some

58% of male respondents have stated to have read at least one of her novels (see Figure 9),

while 95% of female respondents have read something by her. Some of the male respondents, however, are more likely to have attended the festival merely because of their wives’ interest in the author, as two respondents stated when asked about their motivations to visit the literary

place.

T

O

85%

15%

Literary Awareness of Daphne Du Maurier's

Work by Respondents

Read Something by Daphne Du Maurier

54

FIGURE 9: DAPHNE DU MAURIER BOOKS READ – BY GENDER

Figure 10 demonstrates those of her novels which have been most frequently read by

participants, with seven out of eight of her Cornish novels scoring highest. This could be

interpreted as an indication for the occurrence of fiction-related literary tourism, where visitors

possibly came because of their desire to experience the hyper-reality of those places featured in Du Maurier’s fiction. The score could, however, just as well be a reflection of the popularity of her novels, with ╉Rebecca╊, ╉Jamaica )nn╊ and ╉Frenchman╆s Creek╊ being considered to be her

most popular books (DuMaurier.org 2011).

FIGURE 10: MOST READ NOVELS BY DAPHNE DU MAURIER

* Cornish Novels

92%

83%

64%

64%

60%

52%

38%

28%

25%

24%

24%

22%

18%

15%

15%

13%

0% 20% 40% 60% 80% 100%

Rebecca*

Jamaica Inn*

Frenchman's Creek*

My Cousin Rachel*

The House on the Strand*

The King's General*

The Loving Spirit*

Others

Rule Britannia

Hungry Hill

Castle Dor*

The Scapegoat

I'll Never Be Young Again

Julius

The Flight of the Falcon

The Parasites

Percentage Read by Respondents

No

ve

ls b

y D

ap

hn

e D

u M

au

rie

r

Most Read Novels by Daphne Du Maurier

94,7%

57,7%

Female

Male

Daphne Du Maurier Books Read

by Gender

55

Furthermore, according to Smith (2003), literary places attract both general heritage visitors as

well as a niche segment of genuine literary pilgrims, who Herbert (2001, p. 313) has

characterised as well-educated tourists, ╉versed in the classics and with the cultural capital to

appreciate and understand this form of heritage╊. In order to distinguish this, participants in the

survey were asked whether they had visited other places related to authors or literature. 65% of

respondents have stated to have visited such places (see Figure 11).

FIGURE 11: VISITS TO OTHER PLACES RELATED TO AUTHORS OR LITERATURE

With 36.7% the most frequently cited authors were the Brontë sisters in connection with

Haworth, or more generally, Yorkshire, followed by Thomas Hardy and Dorset (31.7%). Further

authors and places named were Jane Austen (respondents identified her with both Bath and Chawtonょ with にぬ.ぬ%, William Shakespeare’s Stratford-upon-Avon with 20% and Charles Dickens’ London with なぬ.ぬ%. See Figure 12 for all places and connected authors identified by

respondents.

The fact that almost two thirds of respondents have actually been to other literary sites seem to support (erbert’s ゅにどどどょ above statement that those particular visitors possess the cultural capital to appreciate this particular form of cultural and heritage tourism. Placing them under

the category of literary pilgrims, however, would be exaggerated, as Herbert (2000, p. 313)

himself has noted that ╉there are now many more literary places attracting a greater diversity of

tourist types╊.

65%

35%

Visits to other Places Related to

Authors or Literature

Have Visited other Places Related to Authors or Literature

Have Not Visited other Places Related to Authors or Literature

56

FIGURE 12: OTHER PLACES RELATED TO AUTHORS OR LITERATURE

3,3%

3,3%

3,3%

5,0%

5,0%

6,7%

8,3%

8,3%

10,0%

13,3%

20,0%

23,3%

30,0%

31,7%

36,7%

0,0% 5,0% 10,0% 15,0% 20,0% 25,0% 30,0% 35,0% 40,0%

Edward Morgan Forster

George Orwell

Henning Mankell

Rudyard Kipling

John Betjeman

Beatrix Potter

William Wordworth

Agatha Christie

Various Literary Festivals

Charles Dickens

William Shakespeare

Jane Austen

Thomas Hardy

Brontë Sisters

Other Authors and Related Places

Percentage

Other Places Related to

Authors or Literature

57

4.3 MOTIVATIONS FOR VISITING THE LITERARY PLACE

s discussed in the literature review, the most frequently cited overall motivations for

people to visit literary places are rooted in the circumstance that the place is either connected to the life of an author or is featured within an author’s work of fiction. In the

underlying study, 25% of respondents stated that their visit to Fowey/Cornwall was linked to its

connection with the life of Daphne Du Maurier, while 17% stated their visit was connected to Fowey’s/Cornwall’s association with the settings for Du Maurier’s novels ゅsee Figure 13). 22%

of respondents maintained their reason for visiting was curiosity/general interest in Daphne du

Maurier and/or her work, while 36% of respondents claimed that their visit was not connected

to Daphne du Maurier or her work.

FIGURE 13: REASONS FOR VISITING FOWEY/CORNWALL

This indicates - contrary to the above suggestion that visitors might be drawn to Fowey or

Cornwall in search of hyper-real places - that people are primarily interested in the place’s connection with Daphne du Maurier as well as sheer general interest in the author.

4.4 TYPES OF LITERARY TOURISM

n order to identify more specific motivations to visit the particular literary place, an open-

ended question provided responses that were placed into broader categories, as shown in

Figure 14. Some of the more detailed responses could be placed into more than one category as

represented in the percentages shown in the figure.

36%

25%

22%

17%

Percentage

Re

aso

n f

or

Vis

itin

g

Reasons for Visiting Fowey/Cornwall

Visit to Fowey/Cornwall because ofits Association with Settings forDaphne Du Maurier's Novels

Visit to Fowey/Cornwall because ofCuriosity/General Interest in DaphneDu Maurier and/or her Work

Visit to Fowey/Cornwall because ofits Connection with the Life ofDaphne Du Maurier

Visit to Fowey/Cornwall notConnected to Daphne Du Maurieror her Work

A

I

58

FIGURE 14: MAIN THEMES FOR MOTIVATIONS TO VISIT THE LITERARY PLACE

Those responses which were very individual and therefore could not be associated with any of

the other main categories were placed under ╉Others╊. 29% fell into that category, with

responses such as:

╉HAV E LOV ED H ER NOV EL S BU T ATT END IN G A DAY T O BE ST I MUL AT ED TO WR I TE

MY S E LF╊ ,

╉AV AILA BL E T IM E FOR SO M E CU LTUR A L I MPR O V EM EN TS – NOT OF TE N FOU ND I N

COR NWA L L – LA CK O F T HEA TR E S ETC .╊ , or

╉MY WI FE WA S IN TER E ST E D I N TH E BO OK S B Y DAPHN E DU MAUR I ER AND WH EN

WE H EAR D ABOU T TH E F E ST IV A L 15 Y EAR S A G O WE ATT END E D , AND T HEN G OT

EV E N M OR E INT ER ES TE D AND R EA D EV ER Y TH I NG SH E EV ER WR OT E╊.

The second biggest category of 27% of responses stated the overall festival as their main motivation for visiting, which matches Busby and (ambly’s ゅにどどどょ finding from the same festival in 1998 that people were motivated primarily by the simple entertainment value of the

festival. One respondent stated:

4%

4%

8%

10%

13%

13%

13%

13%

15%

17%

17%

25%

27%

29%

Festival Visit Linked to Holidays in Cornwall

Local Resident

Meet Like-Minded People

Deeper Emotional Bond with Author/Writing

Regular Festival Attendance

Walks linked to Daphne Du Maurier Locations

Settings for Daphne Du Maurier's Novels

Location as Inspiration to the Author/Author'sWriting Background

Cornwall: Countryside and/or Cornish People

Particular Speakers at the Festival

Education/Knowledge about Daphne DuMaurier or her Work

Fowey: Town and/or Area, Local History and/orCulture

Festival/Events in General

Others

Percentage

Main Themes for Motivations to

Visit the Literary Place

59

╉I LOV E TH E FE ST IV A L . WE H AV E D I SCOV ER ED SO MAN Y TR EA SUR ES FR OM T H E

LIT ER AR Y AND EN TER T A IN M ENT W OR L D AT T H E F E ST IV AL . IT HA S GR E ATL Y

BR OAD EN ED M Y H OR I Z O N S – T HAN K S TO DAP H NE DU MAUR I ER╊

Another respondent wrote:

╉LOV E TH E FE ST IV A L , DU MAUR IER , TH E C OU NTR Y S IDE , T HE P LA CE╊

In line with the last citation, 25% of responses identified Fowey, that is, the town itself and its

surroundings or its local history and/or culture, as the primary motivation for their visit. One

citation with regards to Fowey was:

╉FOCUS PO INT FOR V IS I T TO A L OV EL Y , S MA LL TOWN . TH I S I S OUR 10TH V I SI T!╊ .

17% named the wish to be educated about Daphne du Maurier and/or her work or gain some

sort of knowledge regarding the latter, such as these respondents stated:

╉THE L EC TUR E S O N DA PHN E DU MAUR I ER ╆S B OOK S – EX ET ER UN IV ER SI TY ╆S I N

PAR TI CUL AR╊, and

╉TO EX PL OR E TH E WR I TIN G BA CK GR OU ND W HI CH I N F LU ENC ED T HE AU THOR –

╉THE R OM ANC E O F P LAC E╊. ALS O T HE N EW D EV EL OP M ENT S I N R E S EAR C H OF TH E

WR IT ER AND HER PLA C E IN T H E GOTH IC NOV E L╊.

Another 17% were motivated by particular speakers at the festival:

╉I CO ME T O FO WE Y F OR THE FE S TIV A L E ACH Y E AR , CH OO S IN G SP EAK ER S W H O

INT ER E ST M E . I╆M A R E S IDE NC E IN C OR NWA L L╊.

15% were motivated by Cornwall (landscape and/or people) and 13% by the location which inspired the author, the settings for Du Maurier’s novels and walks linked to Du Maurier locations – a further 13% of responses stated to be regular festival attendants. Examples of

responses for these categories included:

╉LOCAT ION A S IN SP IR A TIO N O F H ER N OV EL S ( WE AR E K EE N WA LK ER S ). THI S

LIN K ED IN WI TH H O LID AY . WE LOV E COR N WA L L .╊

╉IT WA S H ER WR ITI N G TH AT BR OU GHT M E H ER E 20+ Y EAR S A GO – AN D I HAV EN ╆T

ST OPP ED C O MIN G B ACK !╊ Other than with Busby and George’s ゅにどどねょ study of visitors to Gloucester Cathedral which found that 41% of visitors were drawn there for ╉some broader deeper emotion than the specific

writer or story╊ (Busby and George 2004, p.6), only 10% of responses in the underlying study

indicated a deeper emotional bond with the author or her writing as a motive for visiting, such

as the following:

╉I HAV E LOV ED DAP HN E ╆S WOR K FR OM M Y EAR LY T E EN S – OV ER TH E Y EAR S I

WR OT E TO DA PH NE (AN D HAV E A NS W ER S) . I R E AD EV ER YT H I N G I CAN OBTA IN

ABOUT HER FA MI L Y – FLAV I A ╆S B OO K ╅A DAU G HTER ╆S ME M OIR S ╆ I S W OND ER FU L

AND H EL PE D M E THR OU G H A STR E S SFU L T IM E . FLAV IA MA KE S ON E F EE L ON E I S A T

THE PLA CE ABOU T WH I C H S H E WR I TE S A S D ID HER MOT H ER .╊

60

The low occurrence of the latter category in the underlying study as opposed to Busby and George’s ゅにどどねょ findings could possibly be explained by the circumstance that Busby and George’s study of Beatrix Potter tourism was concerned with an author of children’s literature which prompted many visitors to recall childhood memories in connection with their visit to the literary place, resulting in a feeling of nostalgia, whereas Du Maurier is an author of adults’, mainly women’s, literature and thus unlikely to prompt the same type of reaction. Less frequently cited motivations were that of meeting like-minded people (8%), being a local

resident (4%) and that the festival visit linked in well with holidaying in Cornwall (4%).

The following table (Table X) lists the above given motivation themes as identified in the study

with the corresponding forms of literary tourism, if applicable.

TABLE 11: MOTIVATIONS IDENTIFIED AND CORRESPONDING TYPES OF LITERARY TOURISM

Motivations Themes Identified Corresponding Forms of Literary Tourism

Education/Knowledge about Daphne Du

Maurier or her Work

1. FORM:

Aspects of Homage to an actual location

Walks linked to Daphne Du Maurier Locations 2. FORM:

Places of Significance in the Work of Fiction

Settings for Daphne Du Maurier's Novels 2. FORM:

Places of Significance in the Work of Fiction

Location as Inspiration to the Author/Author's

Writing Background

1. FORM Aspects of Homage to an actual

location

3. FORM: appeal of areas because they

were appealing to literary figures

Fowey: Town and/or Area, Local History

and/or Culture

4. FORM:

Area becomes a tourist destination in its

own right

Cornwall: Countryside and/or Cornish People (Possibly 4. FORM: Area becomes a tourist

destination in its own right)

Deeper Emotional Bond with Author/Writing As identified by Busby and George (2004)

Festival Visit Linked to Holidays in Cornwall Linked to Festival

Local Resident Linked to Festival

Meet Like-Minded People Linked to Festival

Regular Festival Attendance Linked to Festival

Particular Speakers at the Festival Linked to Festival

Festival/Events in General Linked to Festival

61

All of Butler’s forms of literary tourism can be identified within the themes: the categories ╉location as inspiration to the author/author╆s writing background╊ and ╉education/knowledge

about Daphne Du Maurier or her work╊ arguably apply to Butler’s first form of tourism, which is concerned with seeing ╉the background against which a work was produced╊ and ╉to gain new

insights into the work and the author╊ (Butler 1986, cited in Busby 2004). The themes ╉Walks

linked to Daphne Du Maurier Locations╊ and ╉Settings for Daphne Du Maurier's Novels╊ doubtlessly can be allocated to Butler’s second form of literary tourism without further discussion. Butler’s third form of literary tourism, ╉appeal of areas because they were appealing

to literary figures╊, is arguably present within the category ╉Location as )nspiration to the

Author/Author's Writing Background╊, considering the author’s sense of identification with the

place as reflected in her written works, which nowadays prompts visitors to Fowey. Lastly,

based on the fact that Fowey and its surrounding villages are strongly connected to Daphne Du

Maurier and promoted as ╉Daphne du Maurier Country╊, the last theme, ╉Fowey: Town and/or

Area, Local (istory and/or Culture╊ arguably applies for Butler’s fourth form literary tourism, as much of Fowey’s popularity and resulting economic benefits are owed to Du Maurier. )n a way, the same could also be valid for the category ╉Cornwall: Countryside and/or Cornish People╊, but

based on the data from the present study it cannot be distinguished to which extend Cornwall’s popularity is connected to Daphne du Maurier or her works. Busby and Klug’s further two types of literary tourism, ╉travel writing╊ and ╉film-induced

tourism╊ could not be identified, even though they could have possibly occurred as discussed in

the literature review. With the former, her two partly autobiographical books on Cornwall

probably do not appeal so much to the general reader of travel literature but rather to those who

are already enthusiastic Du Maurier readers – other than with for example Stephen Fry’s travel books. The non-occurrence of the latter category can be best explained by the fact that the screen adaptations of Du Maurier’s novels happened between 1940 and 1973, apart from one remake of ╉Rebecca╊ in なひひば, and therefore, despite some of them having been box office successes in their own time, are now fairly out-of-date. )n addition to Butler’s four forms of literary tourism, the present study also underlines the

importance of acknowledging the festival context as argued earlier, since almost half of the

themes identified by the study are motivations to visit the festival, as opposed to being

motivations to merely visit the literary place, although the two arguably overlap in some aspects,

as the following citation by one of the respondents probably illustrates best:

╉INTER E ST IN/FA S CIN A TED W IT H DAP HNE DU MAUR IER T H E PER S ON AN D WR ITER

AND H ER WOR K . T HI S F ES TIV A L A LWA Y S C ONT AIN S SO M E EV ENT S O F D IR E CT AND

IND IR E CT IN TER E ST O F R EL EV AN CE A ND PR OV I D E S R AR E OPP OR TUN IT I E S TO

DI SCOV ER MOR E OR ME R EL Y SHAR E AN INT ER E S T W IT H OT HER LI K E-M IND ED

ENT HU SIA ST S IN A LOV E LY S ETT IN G .╊

62

4.5 MOTIVATIONS TO ATTEND THE FESTIVAL

n order to distinguish which types of arts tourists were present at the festival in accordance

with the proposed adaptation of a framework by Hughes (2000), participants were asked to

state their main purpose in travelling to Fowey or Cornwall as well as their decision time to

attend the festival (before or after their arrival in Fowey or Cornwall). Figure 15 illustrates that はに% of respondents’ main purpose in travelling to Fowey/Cornwall was to attend the Daphne Du Maurier Festival, while 22% intended to attend the Daphne Du Maurier Festival but had

other, equally important reasons for travelling to Fowey/Cornwall. Only 16% of respondents

had other reasons for travelling to Fowey/Cornwall than attending the festival.

FIGURE 15: MAIN PURPOSE IN TRAVELLING TO FOWEY/CORNWALL

As illustrated in Figure 16, 86% of respondents decided to attend the Daphne Du Maurier

Festival before their arrival either in Fowey or Cornwall, while only 14% made the decision after

their arrival.

FIGURE 16: DECISION TIME TO ATTEND THE DAPHNE DU MAURIER FESTIVAL

62%

22% 16%

0%

10%

20%

30%

40%

50%

60%

70%

to attend the DaphneDu Maurier Festival

to attend the DaphneDu Maurier Festival aswell as other, equally

important reasons

a reason other thanattending the Daphne

Du Maurier Festival

Pe

rce

nta

ge

Main Purpose

Main Purpose in Travelling to Fowey/Cornwall

86%

14%

00%

20%

40%

60%

80%

100%

before my arrival inFowey/Cornwall

after my arrival inFowey/Cornwall

Pe

rce

nta

ge

Decision Time

Decision Time to Attend the Daphne Du Maurier Festival

I

63

Combined by cross tabulation, the above two variables result in the following table:

TABLE 12: CLASSIFICATION OF ARTS TOURISTS

Main Purpose of Visiting the

Destination

Decision to Attend

Festival

ARTS-CORE

TOURISTS

PRIMARY

63.5% To attend the festival Before arrival

MULTI PRIMARY

21.2%

To attend the festival and

equally important reasons Before arrival

ARTS-

PERIPHERAL

TOURISTS

INCIDENTAL

5.9%

Other reasons than attending the

festival Before arrival

ACCIDENTAL

9.4%

Other reasons than attending the festival

After arrival


Therefore, 85% of all respondents can be classified as arts-core tourists, of which three quarters

fall into the category of primary arts tourist, whose main purpose was to travel to their

destination in order to see a particular arts event, in this case, to attend the Daphne du Maurier

Festival. The remaining one quarter of visitors are multi-primary arts tourists, who had other

reasons for travelling to the destination than the festival, but yet made plans to attend the

festival before travelling. Only 15% of visitors to the festival fall into the category of arts

peripheral tourist, of which the accidental arts tourists outweigh incidental arts tourist slightly

by a ratio of 60 to 40, with the former ones visiting the destination with no previous intention of

attending the festival and the latter ones having decided in advance to attend the festival, even

though both categories of visitors came to the destination for other reasons (see Figure 17).

FIGURE 17: ARTS-CORE AND ARTS-PERIPHERAL TOURISTS

75%

25%

Arts-Core Tourists

Primary Multi Primary

39% 61%

Arts-Peripheral Tourists

Incidental Accidental

85%

15%

Arts-Core and

Arts-Peripheral Tourists

ARTS-CORE TOURISTS ARTS-PERIPHAL TOURISTS

64

Furthermore, respondents were presented with a Likert scale question in order to distinguish

which of the six broad motivations to attend a festival as identified by the literature were

prevalent at the Daphne du Maurier Festival. The scale ranged from ╉strongly agree╊ and ╉agree╊

to ╉disagree╊ and ╉strongly disagree╊, while a neutral answer was not included on purpose in

order to make the data on the extent of which of the categories were or were not present at the

festival more conclusive. With regards to the underlying scale’s reliability it was found that the Cronbach Alpha coefficient was .817 and as such, since it is above .7, the scale can be considered

reliable (Pallant 2005).

The following figures illustrate these scales for the two questions in each of the 6 categories.

FIGURE 18: CULTURAL EXPLORATION

FIGURE 19: FAMILY TOGETHERNESS

61,7

42,2 38,3

53,3

,0 4,4

,0

10,0

20,0

30,0

40,0

50,0

60,0

70,0

To Enjoy

Arts/Literature/Crafts

To Increase my Cultural

Knowledge

Pe

rce

nta

ge

Cultural Exploration

Strongly Agree

Agree

Disagree

Strongly Disagree

15,2

7,7

25,8

33,8

42,4 43,1

16,7 15,4

,0

5,0

10,0

15,0

20,0

25,0

30,0

35,0

40,0

45,0

50,0

To Spend Time with my

Family

To help my Family Learn

More about Arts and

Literature

Pe

rce

nta

ge

Family Togetherness

Strongly Agree

Agree

Disagree

Strongly Disagree

65

From the first two categories it becomes evident that cultural exploration obviously played a significant role in festival attendants’ motivation. With the second category, family togetherness, the results are not that clear, as with both statements respondents overall disagreed with

approximately 60% as opposed to some 40% who overall agreed.

FIGURE 20: NOVELTY

FIGURE 21: ESCAPE

Novelty, on the other hand, seems to be a stronger motivator amongst participants, with

approximately three quarters agreeing to both statements in the category. The next category,

escape, does not indicate any strong tendency, with 63% overall agreeing to the first statement

and approximately equal numbers of people agreeing as well as disagreeing to the second.

25,6 26,0

53,8 54,8

15,4 15,1

5,1 4,1

,0

10,0

20,0

30,0

40,0

50,0

60,0

Because it is a Good

Opportunity to Visit the Area

Because I am Curious

Pe

rce

nta

ge

Novelty

Strongly Agree

Agree

Disagree

Strongly Disagree

23,9

13,0

39,4 36,2

23,9

37,7

11,3 11,6

,0

5,0

10,0

15,0

20,0

25,0

30,0

35,0

40,0

45,0

To Escape from Routine Life To Relieve Daily Stress

Pe

rce

nta

ge

Escape

Strongly Agree

Agree

Disagree

Strongly Disagree

66

FIGURE 22: EVENT ATTRACTIONS

FIGURE 23: SOCIALIZATION

With event attractions, there is a very strong tendency towards overall agreement for both

statements, whilst with socialisation there is strong agreement towards the first statement, but

almost equal agreement and disagreement for the second. Apparently, most people wanted to be

with like-minded people, but were not necessarily motivated to attend the festival in a group.

Furthermore, some of the themes identified earlier were linked to motivations to attend the

festival, one of which was the motivation to meet like-minded people, which matches this

finding. Another one consisted of particular festival speakers and the festival in more general terms, both of which support the prevalence of the category ╉event attractions╊ even further. See table X for an overview of those motivations that were found relevant for the underlying

study.

37,3 42,0

55,4 51,9

7,2 6,2 ,0 ,0

,0

10,0

20,0

30,0

40,0

50,0

60,0

To Enjoy the Festival Mood To See New and Different

Things

Pe

rce

nta

ge

Event Attractions

Strongly Agree

Agree

Disagree

Strongly Disagree

45,1

26,0

43,9

26,0

9,8

39,7

1,2

8,2

,0

10,0

20,0

30,0

40,0

50,0

To Be with People who Enjoy

the Same Things as I Do

To Enjoy the Festival with a

Group

Pe

rce

nta

ge

Socialization

Strongly Agree

Agree

Disagree

Strongly Disagree

67

TABLE 13: RELEVANCE OF MOTIVATIONS TO ATTEND FESTIVALS IN THE UNDERLYING STUDY

Motivations to Attend Festivals Relevance in Underlying Study


Family Togetherness unclear

Novelty

Escape unclear

Event Attractions

Socialization to be with like-minded people

unclear: to enjoy the festival with a group

4.6 VISITOR CHARACTERISTICS

s discussed in the methodology, a gender quota of 75 to 25 female to male was introduced

based on prior participant observation (see Figure 24). This can also be explained by the earlier discourse on Du Maurier’s literature being read mostly by women.

FIGURE 24: GENDER DISTRIBUTION With regards to respondents’ age it was found that half of all respondents were aged はの years or older and 35% aged 55 to 64 (see Figure 25ょ, other than with Busby and (ambly’s study, where 62% were aged 45-64 and only 14% aged 65 years or older. This could, however, possibly be

explained by the fact that the research was carried out on two weekdays, which is likely to have

excluded most working people from attending and explains why such a high proportion of

retirees was present.

FIGURE 25: AGE GROUPS

2%

1%

4%

8%

35%

50%

15-24 years

25-34 years

35-44 years

45-54 years

55-64 years

65 years or over

Age Groups

A

25%

75%

Gender Distribution

male female

68

Furthermore, almost 60% of participants were from the South West of England, followed by

12% from the South East and 6% from the West Midlands (see Figure 26).

As discussed in the literature review, there are various reasons for the establishment of arts

festivals, one of which is to allow residents of small towns or villages in rural areas to engage

with the arts, where there is little opportunity for this type of activity otherwise (Hughes 2000).

As the South West of England region is largely rural, this is likely to be applicable in this case.

This is supported by the fact that one of the themes identified earlier was that of being a local

resident, which is unlikely to prompt, for example, a resident in London to attend a particular

festival in the city, where there is a very diverse offer of cultural attractions available, but makes

sense in a small, rural town such as Fowey, which is surrounded largely by other, equally small

towns and villages and where there is little on offer with regards to cultural events. One of the

respondents had stated it that way:

╉AV AILA BL E T IM E FOR SO M E CU LTUR A L I MPR O V EM EN TS – NOT OF TE N FOU ND IN

COR NWA L L – LA CK O F T HEA TR E S ETC .╊

FIGURE 26: REGION (COUNTRY) OF ORIGIN

According to Hyounggon et al. ゅにどどはょ, most cultural tourists are ╉up-scaled╊ in that they tend to have high incomes as well as a high level of education and are often of mature age. With regards

to the underlying study, the mature age has already been confirmed, but so have both other

characteristics as well: 62% of respondents had at least a first degree, of which 22% possessed a

postgraduate degree (see Figure 27). Furthermore, 32% of respondents belonged to

socioeconomic group A, half of all respondents to socioeconomic group B, and 9% to C1 (see figure Xょ. )n Busby and (ambly’s ゅにどどどょ study, there were less respondents reported in the highest two classes (10% in A, 34% in B and 34% in C).

2%

3%

3%

0%

5%

12%

59%

6%

3%

4%

3%

East Midlands

East of England

Greater London

North East England

North West England

South East England

South West England

West Midlands

Yorkshire and the Humber

Other UK country Countries

Overseas

Region (Country) of Origin

69

FIGURE 27: HIGHEST LEVEL OF EDUCATION

FIGURE 28: SOCIO-ECONOMIC GROUPS

According to Herbert (2000) literary pilgrims are well-educated and ╉versed in the classics and

with the cultural capital to appreciate and understand this form of heritage╊, but are also

primarily drawn from what he terms the ╉service class of professional and business people and

others in white-collar occupations╊ (Herbert 2000, p. 314) who also possess educational

credentials distinguishing them from other groups. Therefore, the relationship between the two

variables ╉education╊ and ╉socioeconomic group╊ with the variable ╉visits to other places related

to authors or literature╊ should be tested using the chi square test in order to assess whether

participants who possess a particular type of education or are from a particular socio-economic

group are more likely to have visited other places that are related to authors or literature.

7%

17%

14%

40%

22%

Other

GCSE/O-Level or equivalent

A-Level or equivalent

First Degree (e.g. Bachelors orequivalent)

Postgraduate Degree (e.g.Masters, PhD or equivalent)

Highest Level of Education

31,5%

50,0%

8,7%

1,1%

2,2%

6,5%

A

B

C1

C2

D

E

Socio-Economic Groups

70

One of the assumptions for a valid chi square test is that of a minimum expected cell frequency

of 5 or greater – since the cell frequency for the contingency table ╉visits to other places related to

authors or literature*education╉ is only 2.45 and for the contingency table ╉visits to other places

related to authors or literature*socioeconomic group╊ is only .35, the chi square test cannot deliver reliable results. Therefore, Fisher’s Exact Probability Test is the preferred option in this case (Pallant 2005). This test resulted in exact significance values of 1.000 for the variables

╉visits to other places related to authors or literature*education and also in 1.000 for the variables

╉visits to other places related to authors or literature*socioeconomic group╊ ゅsee Table X and Table

Y). As both values are above .05, there is no significant relationship between the different

variables, why the hypotheses that participants who possess a particular type of education or

are from a particular socio-economic group are more likely to have visited other places that are

related to literature, must be rejected.

TABLE 14: CHI-SQUARE TEST RESULTS FOR THE VARIABLES ╉VISITS TO OTHER PLACES RELATED TO AUTHORS OR

LITERATURE AND EDUCATION╊

Chi-Square Tests

Value df

Asymp. Sig.

(2-sided)

Exact Sig.

(2-sided)

Exact Sig.

(1-sided)

Point

Probability

Pearson Chi-

Square

12,659a 4 ,013 ,000

Likelihood Ratio 12,814 4 ,012 ,001 Fisher's Exact Test 12,341 1,000 Linear-by-Linear

Association

2,891b 1 ,089 ,095 ,054 ,018

N of Valid Cases 97

a. 3 cells (30.0%) have expected count less than 5. The minimum expected count is 2.45.

b. The standardized statistic is -1.700.

TABLE 15: CHI-SQUARE TEST RESULTS FOR THE VARIABLES ╉VISITS TO OTHER PLACES RELATED TO AUTHORS OR

LITERATURE AND SOCIOECONOMIC GROUP╊

Chi-Square Tests

Value df

Asymp. Sig.

(2-sided)

Exact Sig.

(2-sided)

Exact Sig.

(1-sided)

Point

Probability

Pearson Chi-

Square

5,202a 6 ,518 ,001

Likelihood Ratio 6,317 6 ,389 ,001 Fisher's Exact Test 4,835 1,000 Linear-by-Linear

Association

,396b 1 ,529 ,570 ,290 ,052

N of Valid Cases 89

a. 10 cells (71.4%) have expected count less than 5. The minimum expected count is .35.

b. The standardized statistic is .630.

71

Respondents matched the overall characteristics of cultural tourist, as discussed earlier, but

based on the fact that no significant correlation was found between the variables in questions,

they cannot be classified as literary pilgrims according to Herbert’s ゅにどどどょ definition. This could be explained by the fact that, even though there are still true literary pilgrims with a single-

minded sense of devotion to particular authors or their work, those are by far outnumbered by

tourists who come for reasons of curiosity or general interest (Herbert 2000), drawn there for

broader motivations – maybe triggered by the promotion of literary places that nowadays

frequently occurs.

4.7 CONCLUSION

he chapter discussed findings related to each of the research objectives and at the same time discussed the findings’ relevance regarding the literature, which is summarized in Table X.

TABLE 16: RESEARCH OBJECTIVES AND CORRESPONDING FINDINGS

Research Objective Findings

1. Determine literature awareness of the

author’s work

High: 85% of respondents have read at least

one of Du Maurier’s novels 2. Determine motivations to visit this

literary place linked to Daphne Du

Maurier’s life and work

People were more interested in the place’s connection with Daphne du Maurier (25%) as

well as sheer general interest in the author

(22%) than with the settings for her novels

(17%)

3. Based on the former two: To identify

which of the six types of literary tourism

are present at the festival (if any)

All four of Butler’s forms of literary tourism were identified, but not the two proposed by Busby

and Klug

4. Determine motivations to attend the

Daphne Du Maurier Festival (focus on

the context of a festival of literature

and arts)

85% of all respondents are classified as arts-

core tourists, three quarters of which are

primary arts tourist, whose main purpose was

to travel to Fowey to attend the festival

Motivations that were most present were:


Novelty

Event Attractions

Socialisation (like-minded people)

5. Examine the proposed relationship

between visitors’ socio-economic

characteristics and their participation

in cultural attractions.

All characteristics of general cultural tourists

(income, education, age) were identified,

but literary pilgrims could not be classified

T

72

V. CHAPTER

CONCLUSION &

RECOMMENDATIONS Literary tourism has grown into a commercially significant phenomenon, which is evident despite the lack of statistical evidence on this particular type of tourism. Places’ connections to authors or literature are frequently being used to promote destinations these days – yet, literary

tourism remains under-researched in the academic world, even though in recent years the attention paid to the topic has increased. These facts, linked with the researcher’s personal interest in the topic, gave rise to the research project. The focus point of interest was the

question why people engage in this particular type of cultural tourism, or in other words, what

motivates people to visit literary places. As there is a shift towards experience-based tourism, at

least in the Western world, and visitors purchase expectations these days, it is considered vital to understand visitors’ needs and expectations in order to develop and market literary sites accordingly. With literary tourism in particular, there is a significant intangible element

involved, and two major themes linked to this are the sense of a place as well as its authenticity.

Based on findings from the literature, the research set out to determine which types of literary

tourism were prevalent at the Daphne du Maurier Festival of Arts and Literature. Apart from the focus of determining participants’ motivations to visit this literary place linked to both the author and her fictional work, the study also looked at those motivations that were linked to

attending the festival, as it was considered vital to acknowledge the overall festival context.

Furthermore, it was intended to compare findings from other literary places regarding specific

visitor characteristics of literary tourists, such as literature awareness, socioeconomic variables

and educational credentials. A questionnaire-based social survey which intended to gather both

quantitative as well as some qualitative data was chosen in order to collect the required data to

answer those questions. It was found that Fowey’s/Cornwall’s connection with the author Daphne du Maurier was a more relevant motive for people to visit the place than the fact that it

was featured in settings for her novels. Therefore, author-connected literary tourism prevailed

over fiction-related literary tourism, although both forms of motivations were found amongst respondents. Regarding Butler’s and Busby and Klug’s forms of literary tourism, all four of Butler’s forms were identified within the themes of motivations that participants stated, while

the two forms proposed by Busby and Klug were not found, even though they could have

possibly occurred. One other form of literary tourism as discussed in chapter two was found to

be relevant as well, namely bookshop tourism (despite the fact that this can only be supported

73

by the researcher’s observation and not by statistical dataょ. The most relevant motivations regarding the festival attendance were found to be ╉Cultural Exploration╊, ╉Novelty╊, ╉Event Attractions╉ as well as ╉Socialisation (meeting like-minded people)╊. Furthermore, the majority (85%) of participants fell into the category of arts-core tourists, of which three quarters were

classified as primary arts tourist, whose main purpose in travelling to Fowey was solely to

attend the Daphne du Maurier Festival. The findings in connection with visitor characteristics

were that the general characteristics of cultural tourists as identified by the literature were met

by the underlying findings. Most participants were of mature age (85% were 55 or older), had a

higher educational background (40% had a first degree, 22% a postgraduate degree) and the

majority of respondents were from higher income groups (31,5% from socioeconomic group A

and 50% from B). Furthermore, a vast majority of respondents had a high literary awareness of the author’s work, with ぱの% having read something by Daphne du Maurier while はの% of respondents had visited at least one other place related to other authors or literature. The

hypothesis that participants who possessed a higher level of education or had higher income

levels were more likely to have visited other places related to authors/literature in order to manifest the occurrence of the ╉literary pilgrim╊ could not be corroborated, however. Yet, even though no respondents could be classified as literary pilgrims, their high literature awareness

and the fact that a large proportion had visited other places related to authors/literature speaks

for the occurrence of literary tourists, even though they may have had broader motivations for

their visit than a dedicated and single-minded literary pilgrim. Since it was argued that ╉literature converts space and time into art╊, while ╉tourism turns them into a consumption product╊ ゅBrito 2004, p.1), at this point the implications from the research findings should be considered. The benefits of Daphne du Maurier’s connection with Fowey have been recognized and used for the destination’s promotion already. The consumption product in the underlying case can be considered the Daphne du Maurier Festival, thus, the potential of the

literary place has been exploited to a great extent already. The above discussed findings could

benefit the destination insofar as they provide some in-depth-information as to visitors’ motivations which could be used for adapting the festivals’ offering in the future as well as for the purpose of target marketing. With regards to literary destinations in general, the underlying

study highlights the relevance and importance of the particular field within cultural and heritage

tourism as well as confirming findings from other studies. A broad picture of literary tourists at

the festival was painted - for future research into the particular field and author, however, some

more detailed research into the more individual motivations would suggest itself. In order to do

that, more resources would be needed, but the benefits could possibly be to identify more deep-

seated motivations which may lead to further and indeed new insights into the subject. In that

case, conducting in-depth-interviews would be more appropriate, and the research should

74

possibly not be conducted at the festival, which attracts a broader range of visitors who may not

fit the category of literary tourist as such, but that of overall cultural tourists.

REFLECTIVE STATEMENT

he entire project was very challenging for me, both academically and personally, as I felt

strong personal involvement with the topic of literary tourism and saw myself reflected in

many aspects of a literary tourist. The disadvantage in this was that I had to try even stronger to

be objective with the work – but the advantage was the pleasure I had when doing the research.

The on-site survey at the Daphne du Maurier Festival was the most challenging, but at the same

time, also most rewarding part of the entire project, which, I feel has also most contributed to

my personal development. The countless conversations I had with participants in the survey

were very stimulating for me personally, but also for the project as whole. The pleasure in

researching and writing this piece of academic work outweighed all difficulties – moreover, this

dissertation will probably remain the one piece of academic work that I associate the fondest

memories with, such as my first ever visit to Cornwall, which I am certain will be followed by

many more in the future, or my very own bookshop-tourism experience, which I will always be

reminded of by the second hand Du Maurier book I bought there, amongst many others.

T

ix

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APPENDIX

Literary Places Tourism A Study of Visitors Motivations at the Daphne Du Maurier Festival of Arts...

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