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

DISSERTATION SUBMITT ED BY

A NNE H OPPEN
IN PARTIAL COMPL ETIO N OF THE AWARD OF

MS C T OURISM M ANAGEMENT

AND

M ARKETING

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 individuals 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.

Copyright
The copyright for this dissertation remains with me.

Requests for Information

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

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 Foweys/Cornwalls 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 Butlers 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

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.

ii

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

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

Butlers and Busby and Klugs Forms of Literary Tourism .................................................... 17

2.5

iii

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

Daphne du Mauriers Literary Connections with Cornwall ..................................... 20

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

iv

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

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 : Film Adaptations of Daphne Du Mauriers 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

vi

LIST OF FIGURES
Figure : 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 : Respondents Literary Awareness of Daphne Du Mauriers 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

vii

I. CHAPTER

INTRODUCTION
T H E R E I S A F A S C I N A T I O N A B O U T P L A C E S A SS O C I A T E D W I T H W R I T E R S T H A T H A S
O F T E N P R O MP T E D R E A D E R S T O B E C O M E P I L GR I M S : T O V I S I T A B I R T H P L A C E A N D
C O N T E MP L A T E T H E SU R R O U N D I N GS O F A N A U T H O R S C H I L D H O O D , T O SE E W I T H
F R E S H E Y E S P L A C E S T H A T I N SP I R E D P O E M S O R B O O K S , T O P A Y H O M A G E A T A
GR A V E S I D E O R P U B L I C ME M O R I A L
(EAGLE

AND

C A R N E L L 1 9 77

CITED IN

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 Shakespeares Stratford might first spring to ones

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 Shakespeares

th)

birthday (Watson 2006). One might also think of the

Bronts (aworth, Austens Chawton, Dickensons London, Wordsworths Lake District, or

Hardys 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 Doyles 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. Rowlings (arry
Potter books, whose success has even contributed to the provision of a sign reading Platform

above one half of a luggage trolley which seems to disappear into a solid wall at Londons
Kings 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).
1

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.
T ABLE 1: L ITERARY D ESTINATIONS W ORLDWIDE

DESTINATION

LITERARY FIGURE/AUTHOR

AFRICA
Kenya

Karen von Blixen-Finecke

Japan

Yukio Mishima

ASIA

AUSTRALASIA
New Zealand

Katherine Mansfield

EUROPE
England
France
Germany (Berlin)
Greece
Ireland (Dublin)
Italy
Russia
Scotland (Edinburgh)

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

John Keats, John Milton, JK Rowling, William Shakespeare
Albert Camus, Julia Child, Alexandre Dumas, Andr Gide, Victor
Hugo, Peter Mayle, Jean-Paul Sartre, Voltaire
Bertold Brecht, Hermann Hesse, Thomas Mann
Nikos Kazantzakis, Plato, Vassilis Vassilokos
Brendan Behan, Sean O'Casey, Roddy Doyle, James Joyce,
George Bernard Shaw, Oscar Wilde, WB Yeats
Frances Mayes
Anton Chekhov, Fyodor Dostoevsky, Alexander Pushkin, Leo Tolstoy
James Boswell, Sir Arthur Conan Doyle, JK Rowling, Ian Rankin, Sir
Walter Scott

SOUTH AMERICA
Argentina
Chile

Jorge Luis Borges, Jos Hernandz

Pablo Neruda

US & CANADA
Concord
(Massachusetts)
Key West (Florida)
New York
San Francisco
Quebec

Louisa May Alcott, Ralph Waldo Emerson, Nathaniel Hawthorn,

Henry David Thoreau
Ernest Hemingway, Tennessee Williams
Norman Mailer, Arthur Miller
Allen Ginsberg, Jack London, John Steinbeck, Amy Tan
Neil Bissoondath, Leonard Cohen, Mordecai Richler

(Source: adapted from Mintel 2011)

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 B ACKGROUND

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 Bront 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 filminduced literary tourism .

1.2 R ATIONALE FOR C HOOSING THE T OPIC

1.1.1 A CADEMIC

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

Shakespeare s Stratford ,

the Bronts

in Northumberland (Herbert 2001),

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 P ROFESSIONAL

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
4

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 places 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 P ERSONAL

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 ones 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
researchers 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 R ESEARCH A IM AND O BJECTIVES

MORE IS KNOWN ABOUT THE WHO, WHEN AND WHERE OF TOURISM THAN ABOU T
THE WHY

(C RO M PT O N 1 9 79 C IT E D I N H ER BE RT 20 0 1, P . 32 5) .

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

Cronin and OConnor

, 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
5

the Daphne Du Maurier Festival like any other literary tourism location, such as for example
Herberts (2001) study which looked at Jane Austens (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 S TRUCTURE OF THE DISS ERTATION

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 topics 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 Mauriers

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.

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.

II. CHAPTER

LITERATURE REVIEW
2.1 I NTRODUCTION

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 R ELEVANCE

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 SH I F T F R O M S I GH T SE E I N G T O L I F E SE E I N G A S T H E SO P H I S T I C A T E D C U L T U R A L
T R A V E L L E R S M I N D S E T F O C U S E S B E Y O N D T R A D I T I O N A L E L E ME N T S L I K E MU S E U M S
AND GALLERIES TOWARDS EXPERIENCE AND ENGAGEMENT WITH A LOCAL
CULTURE

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 L ITERARY T OURISM

WITHIN THE

A CADEMIC W ORLD

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 Changes

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 L ITERARY G UIDES

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 R ELATED P RODUCTS

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.

2.2.4 L ITERARY P LACES

IN THE

M EDIA

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 s

Jeremy Vine

show on a ban on taking photos at Draculas 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 places importance within the genre.

Furthermore, a recent issue of Country Life

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.

10

F IGURE 1: W RITERS M AP OF THE W EST C OUNTRY P LACING L ITERARY T OURISM

11

2.3 P LACING L ITERARY T OURISM

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 I E W I N G T H E W O R K O F A GR E A T MA S T E R A R T I S T I N H I S H O ME A N D S T U D I O I S A
H E R I T A G E T O U R I SM E X P E R I E N C E , W H I L E V I E W I N G T H O SE V E R Y SA M E P I E C E S O F
ART IN A TRAVELLING EXHIBITION IS A CULTURAL TOURISM EXPERIENCE.

THE

C O N T E N T I S T H E SA ME W H I L E T H E C O N T E X T I S D I F F E R E N T

(N A T I O N A L T R U S T F O R H I S T O R I C P R E S E R V A T I O N 2 01 1) .

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
Robinsons

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

12

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.

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

Film Tourism

Visits to places celebrated

for associations with books
& authors

Visits to places celebrated

for television programmes &
films

F IGURE 2: C LASSIFICATION OF L ITERARY T OURISM WITHIN THE F IELD OF C ULTURAL AND H ERITAGE T OURISM

13

2.4 T YPES OF L ITERARY T OURISM

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 A UTHOR -R ELATED L ITERARY T OURISM

2.4.1.1 W RI T ER S G R A V E SI T E S
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 Dvidhzi (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 writers 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 W RI T ER S B I RT H P L A CE S
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
(ardys cottage in Upper Bockhampton Watson

. Furthermore, according to Watson

, it is one thing to pay ones 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 authors 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 ones imagination, which is why the
extension of emotional investment from an authors 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).

14

2.4.1.3 W RI T ER S H O M E S
According to Herbert (2001), people may be drawn to former homes of writers due to a sense of
nostalgia:
I N T H E SE P L A C E S , A V I SI T O R C A N S T I L L W A L K O U T O F A H O U SE A N D I N T O
L A N D SC A P E S W H I C H H A V E B A R E L Y C H A N GE D S I N C E T H E W R I T E R D R E W
B R E A T H F R O M T H E M A N D B R E A T H E D L I T E R A T U R E I N T O T H E M ...

WE WALK

I N O U R W R I T E R S F O O T ST E P S A N D S E E T H R O U G H T H E I R E Y E S W H E N W E
ENTER THESE SPACE S
( MA R SH 1 99 3 , C I T E D I N H E R B E R 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).
Ones 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

note that a writers 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 authors pen physically touched the paper ibid . Not only is the writers home

the place where he or she lived, but the creative space where the writers 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 F ICTION -R ELATED L ITERARY T OURISM

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
15

evoked more excitement in visitors to Haworth than being able to tread in the footsteps of the
Bront 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 Shakespeares (amlet at the top of that chart, Arthur Conan Doyles Sherlock Holmes in

ninths place and Jane Austens Emma in seventieth place 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 L ITERARY F ESTIV ALS

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 B OOKSHOP

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. 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

16

collectors 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.
T H E T R A V E L L E R S W H O F R E Q U E N T I N D E P E N D E N T B O O K ST O R E S D O S O B E C A U S E
T H E Y L I K E T O T A K E T H E I R T I ME T O E X P L O R E A N D T O C H A T T O T H E O W N E R , W H O
C A N O F T E N B E A N I N V A L U A B L E S O U R C E O F I N F O R MA T I O N . W H E N Y O U R E
T R A V E L L I N G A W A Y F R O M H O M E , O N E O F T H E T H R I L L S O F B R O W SI N G I N A B O O K
SH O P I S H U N T I N G F O R A N E L U S I V E V O L U M E . Y O U A L W A Y S H O P E T H A T Y O U L L C O M E
A C R O S S S O ME T R E A SU R E T H A T Y O U V E B E E N T R Y I N G T O F I N D F O R Y E A R S
( B E A L E , C I T E D I N M I N T E L 2 01 1) .

2.4.5 B UTLER S
Butlers

, cited in Busby

AND

B USBY

K LUG S F ORMS OF
L ITERARY T OURISM

AND

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 projects primary research. )t is therefore considered appropriate to discuss the
framework in some more detail at this point. Butlers 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

, p.

, the first of Butlers 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 Mauriers
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 authors connection to that particular location.

Butlers

, cited in Busby

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 Williamsons novel Tarka , on the
background of which a 180 mile long walking route emerged as a visitor attraction (ibid).

17

The third form of literary tourism is concerned with the appeal of areas because they were
appealing to literary and other 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 Drabbles
Bradburys

A Writer s Britain: Landscape and Literature or Malcolm

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 Kingsleys 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
authors 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.

18

T ABLE 2: F ORMS OF LITERARY T OURISM

FORM

DESCRIPTION

BUTLERS 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 Kingsleys

Westward Ho! which resulted in the creation of
the eponymously-named seaside resort in
North Devon (Busby and Hambly 2000).

BUSBY AND KLUGS ADDED FORMS

5.

6.

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.

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)

19

2.5 D APHNE DU M AURIER S L ITERARY C ONNECTIONS

WITH C ORNWALL

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 H A D D E T E R M I N E D T O W R I T E A L I GH T R O MA N C E . B U T I GO F O R A W A L K O N T H E
MO O R , A N D SE E A T W I S T E D T R E E A N D A P I L E O F GR A N I T E ST O N E S B E S I D E A D E E P ,
D A R K P O O L A N D J A MA I C A I N N I S B O R N
( D U MA U R I E R C I T E D I N H E R B E R T 2 00 1 , P . 3 1 8 )

)n this spirit, Watson

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 Cornwall is connected with the author in several ways: first of all, it was her familys

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).

T ABLE 3: N OVELS BY D APHNE DU M AURIER

Novel
The Loving Spirit
Ill Never Be Young Again
Julius
Jamaica Inn
Rebecca
Frenchmans Creek
Hungry Hill
The Kings General
The Parasites
My Cousin Rachel
The Scapegoat
Castle Dor (with Sir Arthur Quiller-Couch)
The Flight of the Falcon
The House on the Strand
Rule Britannia

Publication
Year

Connection with
Cornwall

1931
1932
1933
1936
1938
1941
1943
1946
1949
1951
1957
1962
1965
1969
1972

Yes

Yes
Yes
Yes
Yes
Yes
Yes
Yes

(Source: adapted from Busby 2004)

20

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 Mauriers 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:

D A P H N E D U M A U R I E R A S T H E F I R ST O F T H E B I G H O U SE - W I T H - W I N D SW E P T - W O MA N - O N - A - C L I F F - T O P G E N R E O F R O MA N T I C N O V E L
W R I T E R S , H E R W O R K S T H E F O R E R U N N E R O F T H E MU L T I P L I C I T Y O F C O R N I SH
FICTION BOOKS THAT WERE TO A PPEAR AFTER THE SECOND WORLD WAR .
IT IS EASY TO CHARAC TERISE

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 Mauriers 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 .

21

F IGURE 3: D APHNE DU M AURIER IN C ORNWALL - P OSTCARD

(Source: Reynard Cards)

22

F IGURE 4: T HE O FFICIAL G UIDE TO D APHNE DU M AURIER IN C ORNWALL

(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

23

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 ATTRACTION OF BOO KSHOPS HAS ALWAYS BEEN THAT THEY OFFER M ORE
T H A N T H E I R U T I L I T A R I A N F U N C T I O N : T H E J O Y O F B R O W SI N G L O V I N G L Y S T A C K E D
SH E L V E S , U N E X P E C T E D R E A D I N G T I P S A N D C H A N C E E N C O U N T E R S MA K E F O R A
TACTILE AND INTELLEC TUAL EXPERIENCE IN ITS OWN RIGHT
This appears to be just the case with Foweys Bookends there is no empirical evidence for this,

however. Quite contrarily, it is merely based on the researchers 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

which is at the same time Foweys 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 Butlers types of tourism, Busby and (ambly

) 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 Butlers 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 Busby
24

F IGURE 5: B OOKENDS OF F OWEY P ROMOTIONAL P OSTCARD

(Source: Bookends of Fowey)

F IGURE 6: B OOKENDS OF F OWEY ( LEFT ) AND D APHNE DU M AURIER L ITERARY C ENTRE ( RIGHT )

25

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 Mauriers novels and short stories were adapted as films, three of which for (ollywood by no
one less that Alfred Hitchcock (see Table 4).

T ABLE 4: F ILM A DAPTATIONS OF D APHNE D U M AURIER

Novel/Short Story & Film Title

S WORK .

Year of Film Release

Director

1940

Alfred Hitchcock

1997

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

Rebecca

(Source: adapted from DuMaurier.org 2011)

26

2.6 L ITERARY T OURISM AND THE T OURIST E XPERIENCE

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 T HE C ONCEPT

OF

P LACE

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 authors 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 Robinson

. 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 Barke

. Furthermore, an authors 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
authors 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 readers 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).
27

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:
W H A T I S T H E T O U R I ST A B L E T O E X T R A C T F R O M T H E T E X T I T S E L F ? W H A T I S
T H E R E C O N T A I N E D B E T W E E N T H E C O V E R S O F A B O O K T H A T C A N I N D U C E , I N SP I R E ,
MO T I V A T E A N D T R A N S F O R M R E A D E R S I N T O T O U R I S 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 BOOK IS BORDERLES S BUT THE REALITY CONFINES
( W A T SO N A N D SA U N D E R 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 A UTHENTICITY
I F T H E M O N A L I SA I S I N T H E L O U V R E , W H E R E T H E N I S H A M L E T ?
( B A T E S O N 19 6 1 , C I T E D I N H O L D E R 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, Shakespeares drama must

be considered a poets 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
28

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 fictionrelated 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.
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 makebelieve 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.

29

2.7 L ITERARY D ESTINATIONS AND T HEIR P ROMOTION

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 E XCEPTIONAL

AND

G ENERAL Q UALITIES

OF

L ITERARY
P LACES

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 writers life (erbert

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.

30

EXCEPTIONAL QUALITIES
OF THE SITE

GENERAL QUALITIES OF
THE SITE

F IGURE 7: E XCEPTIONAL AND G ENERAL Q UALITIES OF L ITERARY S ITES

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

2.7.2 M ARKETING I MPLICATIONS

The previous sections demonstrated the importance of authenticity, linked to sense of place, for
literary places. )n conjunction with a literary places existing exceptional and general qualities as

put forward by Herbert (2001), those can arguably form the basis of the particular places image,

which can be exploited for marketing purposes as Brito (2004) put it:

L I T E R A T U R E C O N V E R T S SP A C E A N D T I M E I N T O A R T , W H E R E A S T O U R I S M T U R N S
T H E M I N T O A C O N SU M P T I O N P R O D U C T

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 Bronts
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

31

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 THERE CONTAIN ED BETWEEN THE COVER S OF A BOOK THAT CAN INDUCE,
I N SP I R E , M O T I V A T E A N D T R A N SF O R M R E A D E R S I N T O T O U R I S T S ?
( R O B I N S O N 20 0 4 , P . 4 0 )

The broader reasons for visiting literary sites have been discussed earlier, and Butlers

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 .

32

2.8 C ULTURAL F ESTIVALS

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 Cronin and OConnor

, p.

. As noted above (erbert

, p.

, 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 OConnor

, 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 Picard and Robinson

, which supports Cronin and OConnors

above statement of festivals as celebrations of peoples 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 formers main purpose being to travel to a destination in
order to see a particular performance and the latter ones 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 formers main reason for visiting a destination
33

being something else, but their decision to see a performance being made in advance, and the
latters 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.
T ABLE 5: C LASSIFICATION OF A RTS T OURISTS .

Main Purpose of Visiting the Destination

Decision to Attend Festival

Festival

Before arrival

Festival and
equally important reasons

Before arrival

Other than festival

Before arrival

Other than festival

After arrival

Primary
Multi Primary
Incidental
Accidental

(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.

34

2.9 C ONCLUSION

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.

35

III. CHAPTER

METHODOLOGY
3.1 I NTRODUCTION

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 R ESEARCH D EFINED

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:
A L L L I F E I S A GR E A T C H A I N , T H E N A T U R E O F W H I C H I S K N O W N W H E N E V E R W E A R E
SH O W N A S I N G L E L I N K O F I T . L I K E A L L O T H E R A R T S , T H E S C I E N C E O F D E D U C T I O N
AND ANALYSIS IS ONE WHICH CAN ONLY BE ACQUIRED BY LONG AND PATIENT
ST U D Y []
( SH E R L O C K H O L M E S 1 8 8 8 I N D O Y 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 researchers 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).

36

3.3 A IM AND O BJECTIVES

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 Mauriers work as well as the festival visitors socio-economic
characteristics, and secondly, it determined residents reactions towards the festival using
Doxeys )ndex of )rritation and Ap and Cromptons 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 (amblys

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 (amblys

study,

but of increasing the knowledge in line with the dissertations 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.

37

3.4 S ECONDARY R ESEARCH

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 projects 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 researchers 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 REVIEW ON THE LITERATURE CAN BE IMPORTANT EVEN WHEN IT UNCOV ERS NO
L I T E R A T U R E O N T H E T O P I C O F I N T E R E S T . T O E S T A B L I SH T H A T N O R E S E A R C H H A S
BEEN CONDUCTED ON A PARTICULAR TOPIC , ESPECIALLY WHEN THE TOPIC IS
C O N SI D E R E D T O B E O F S O M E I M P O R T A N C E T O T H E F I E L D , C A N B E A R E S E A R C H
F I N D I N G O F S O M E SI GN I F I C A N C E I N I T S O W N R I GH T .
( V E A L 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.

38

3.5 P RIMARY R ESEARCH

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 R ESEARCH P HILO SOPHIES

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 P O S I T I VI SM
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).

39

3.5.1.2 I N T E R PR ET I VI SM
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 R A T I O N A L E
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.
T ABLE 6: R ESEARCH O BJECTIVES AND C ORRESPONDING P HILOSOPHIES

RESEARCH OBJECTIVES
1. Determine motivations to visit this literary place linked to
Daphne Du Mauriers life and work
2. Determine literature awareness of the authors 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 socioeconomic characteristics and their participation in cultural
attractions

PHILOSOPHY

Interpretivist
Positivist
Interpretivist

Interpretivist

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 phenomenas 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).

40

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

Altinay and Paraskevas 200 , p. 2 . 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 R ESEARCH A PPROACHES

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 D E D UCT I O N
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
41

impossible to develop theories without any initial information on the topic in question (Veal
2006).

3.5.2.2 I N D UCT I O N
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 researchers mind Veal

3.5.2.3 R A T I O N A L E

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.

42

T ABLE 7: R ESEARCH O BJECTIVES AND C ORRESPONDING P HILOSOPHY AND A PPROACH

RESEARCH OBJECTIVES

PHILOSOPHY

APPROACH

Interpretivist

Inductive

Positivist

Deductive

Interpretivist

Deductive

Interpretivist

Deductive

Positivist

Deductive

1. Determine motivations to visit this literary place

linked to Daphne Du Mauriers life and work
2. Determine literature awareness of the authors 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

3.5.3 R ESEARCH M ETH OD

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 Q UA LI T A T I VE R ES E AR CH
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 ibid . 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 Q UA N T I T AT I V E R E S E AR CH
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).

43

With this type of research, it can, however, be argued that

T H O SE W H O ST U D Y T O U R I S M SH O U L D N O T M E R E L Y C O N C E R N T H E M S E L V E S
O N L Y W I T H T H A T W H I C H I S B U SI N E S S O R T H A T W H I C H I S E A S I L Y
QUANTIFIABLE.

W H I L E SU C H A N A P P R O A C H MA Y P R O V I D E A M A R K O F

R E S P E C T A B I L I T Y F O R T O U R I S M S T U D I E S I N A W O R L D D O MI N A T E D B Y
Q U A N T I T A T I V E M E T H O D , N E G L E C T O F Q U A L I T A T I V E I S SU E S W I L L I N E V I T A B L Y
L E A D T O A P O O R E R T O U R I S M P R O D U C T F O R B O T H T H E H O ST S A N D T H E
GU E S T S
( B U R N S A N D H O L D E N , C I T E D I N S H A R 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 M I X E D M ET H O D S
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 mixedmethod 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 E S E A R C H E R S SH O U L D T H I N K B E Y O N D T H E M Y O P I C Q U A N T I T A T I V E Q U A L I T A T I V E D I V I D E W H E N I T C O ME S T O D E V I S I N G A SU I T A B L E
ME T H O D O L O G Y F O R T H E I R R E S E A R C H , A N D S E L E C T M E T H O D S
QUANTITATIVE, QUALITATIVE OR A COM BINATION OF THE TWO

T H A T B E ST

SA T I SF Y T H E N E E D S O F SP E C I F I C R E SE A R C H P R O J E C T S

44

3.5.3.4 R A T I O N A L E
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 nonstandardised 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.
T ABLE 8: R ESEARCH O BJECTIVES AND C ORRESPONDING P HILOSOPHY , A PPROACH AND M ETHOD

RESEARCH OBJECTIVES

PHILOSOPHY APPROACH METHOD

Interpretivist

Inductive

Qualitative

Positivist

Deductive

Quantitative

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

1. Determine motivations to visit this

literary place linked to Daphne Du
Mauriers life and work
2. Determine literature awareness of the
authors work
3. Based on the former two: To identify
which of the six types of literary tourism
are present at the festival (if any)

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.

45

T ABLE 9: A PPROACHES TO R ESEARCH B ASED ON M ETHODOLOGY U SED

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 R ESEARCH D ESIGN

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 Q UANTITATIVE & Q UALITATIVE D ATA C OLLECTION

T ECHNIQUES
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 surveys findings, which would not be possible from a small sample.

3.6.1.1 S O CI A L S U R V EY

The social survey tends to be considered as a means of collecting quantitative data (Finn et al.
, 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 Butlers forms of literary tourism were applicable to
46

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
Georges

study of literary and film- tourism in Gloucester, based on its connection both

with Beatrix Potters book The Tailor of Gloucester and the (arry Potter films, identified three
out of the six earlier proposed forms of literary tourism Butlers initial four plus those two

proposed by Busby) by asking an openended 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 Q UE ST I O N N AI RE D E SI G N
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 T H E Q UE ST I O N N AI R E
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.

47

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.
T ABLE 10: C LASSIFICATION OF A RTS T OURISTS .

Primary
Multi Primary
Incidental
Accidental

Main Purpose of Visiting the Destination

Decision to Attend Festival

Festival

Before arrival

Festival and
equally important reasons

Before arrival

Other than festival

Before arrival

Other than festival

After arrival

(Source: adapted from Hughes 2000)

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
households occupation in order to determine their socio-economic group.
For a copy of the questionnaire that was utilized, see Appendix X.

3.6.2 D ATA S OURCES

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 which is at the same time Foweys tourist information centre ,

offering information on her and selling souvenirs. In contrast to that, Jane Austens 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.

48

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 P OPULATION

AND

S AMPLING

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 . 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

49

accordingly be at least 60 to 75. To increase the samples representativeness and validity, a

sample size of approximately 100 was aspired for this research project.

3.6.4 P ILOT

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 E THICAL 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 Universitys 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 A NALYSIS

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

50

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 L IMITATIONS

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.

51

3.10 C ONCLUSION

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.

52

IV. CHAPTER

FINDINGS AND DISCUSSION

4.1 I NTRODUCTION

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 L ITERATURE A WARENESS

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.

Literary Awareness of Daphne Du Maurier's

Work by Respondents
15%

85%

Read Something by Daphne Du Maurier

F IGURE 8: R ESPONDENTS L ITERARY A WARENESS OF D APHNE D U M AURIER

W ORK

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.

53

Daphne Du Maurier Books Read

by Gender
Male

57,7%

Female

94,7%

F IGURE 9: D APHNE DU M AURIER B OOKS R EAD BY G ENDER

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 Mauriers 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).

Most Read Novels by Daphne Du Maurier

The Parasites

13%

The Flight of the Falcon

15%

Julius

15%

Novels by Daphne Du Maurier

I'll Never Be Young Again

18%

The Scapegoat

22%

Castle Dor*

24%

Hungry Hill

24%

Rule Britannia

25%

Others

28%

The Loving Spirit*

38%

The King's General*

52%

The House on the Strand*

60%

My Cousin Rachel*

64%

Frenchman's Creek*

64%

Jamaica Inn*

83%

Rebecca*

92%
0%

20%

40%

60%

80%

Percentage Read by Respondents

F IGURE 10: M OST R EAD N OVELS BY D APHNE D U M AURIER

* Cornish Novels

54

100%

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).

Visits to other Places Related to

Authors or Literature
35%
65%

Have Visited other Places Related to Authors or Literature

Have Not Visited other Places Related to Authors or Literature
F IGURE 11: V ISITS TO O THER P LACES R ELATED TO A UTHORS OR L ITERATURE

With 36.7% the most frequently cited authors were the Bront 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 with

. %, William Shakespeares Stratford-upon-Avon with 20% and Charles

Dickens London with

respondents.

. %. See Figure 12 for all places and connected authors identified by

The fact that almost two thirds of respondents have actually been to other literary sites seem to
support (erberts

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 .

55

Other Places Related to

Authors or Literature
Other Authors and Related Places

36,7%

Bront Sisters

31,7%

Thomas Hardy

30,0%

Jane Austen

23,3%

William Shakespeare

20,0%

Charles Dickens

13,3%

Various Literary Festivals

10,0%

Agatha Christie

8,3%

William Wordworth

8,3%

Beatrix Potter

6,7%

John Betjeman

5,0%

Rudyard Kipling

5,0%

Henning Mankell

3,3%

George Orwell

3,3%

Edward Morgan Forster

3,3%

0,0% 5,0% 10,0% 15,0% 20,0% 25,0% 30,0% 35,0% 40,0%

Percentage

F IGURE 12: O THER P LACES R ELATED TO A UTHORS OR L ITERATURE

56

4.3 M OTIVATIONS F OR V ISITING THE L ITERARY P LACE

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 authors 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
Foweys/Cornwalls association with the settings for Du Mauriers novels 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.

Reasons for Visiting Fowey/Cornwall

Visit to Fowey/Cornwall because of
its Association with Settings for
Daphne Du Maurier's Novels

Reason for Visiting

17%

Visit to Fowey/Cornwall because of

Curiosity/General Interest in Daphne
Du Maurier and/or her Work

22%

Visit to Fowey/Cornwall because of

its Connection with the Life of
Daphne Du Maurier

25%

36%

Visit to Fowey/Cornwall not

Connected to Daphne Du Maurier
or her Work

Percentage

F IGURE 13: R EASONS FOR V ISITING F OWEY /C ORNWALL

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 places
connection with Daphne du Maurier as well as sheer general interest in the author.

4.4 T YPES OF L ITERARY T OURISM

n order to identify more specific motivations to visit the particular literary place, an openended 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.

57

Main Themes for Motivations to

Visit the Literary Place
Others

29%

Festival/Events in General

27%

Fowey: Town and/or Area, Local History and/or

Culture
Education/Knowledge about Daphne Du
Maurier or her Work

25%
17%

Particular Speakers at the Festival

17%

Cornwall: Countryside and/or Cornish People

15%

Location as Inspiration to the Author/Author's

Writing Background

13%

Settings for Daphne Du Maurier's Novels

13%

Walks linked to Daphne Du Maurier Locations

13%

Regular Festival Attendance

13%

Deeper Emotional Bond with Author/Writing

10%

Meet Like-Minded People

8%

Local Resident

4%

Festival Visit Linked to Holidays in Cornwall

4%
Percentage

F IGURE 14: M AIN T HEMES FOR M OTIVATIONS TO V ISIT THE L ITERARY P LACE

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:
H A V E L O V E D H E R N O V E L S B U T A T T E N D I N G A D A Y T O B E ST I M U L A T E D T O W R I T E
MY S E L F ,
A V A I L A B L E T I M E F O R SO M E C U L T U R A L I MP R O V E M E N T S N O T O F T E N F O U N D I N
C O R N W A L L L A C K O F T H E A T R E S E T C . , or
M Y W I F E W A S I N T E R E ST E D I N T H E B O O K S B Y D A P H N E D U M A U R I E R A N D W H E N
W E H E A R D A B O U T T H E F E ST I V A L 15 Y E A R S A G O W E A T T E N D E D , A N D T H E N G O T
E V E N M O R E I N T E R E S T E D A N D R E A D E V E R Y T H I N G SH E E V E R W R O T E .
The second biggest category of 27% of responses stated the overall festival as their main
motivation for visiting, which matches Busby and (amblys

finding from the same

festival in 1998 that people were motivated primarily by the simple entertainment value of the
festival. One respondent stated:

58

I L O V E T H E F E ST I V A L . W E H A V E D I SC O V E R E D SO MA N Y T R E A SU R E S F R O M T H E
L I T E R A R Y A N D E N T E R T A I N M E N T W O R L D A T T H E F E ST I V A L . I T H A S GR E A T L Y
BROADENED MY HORIZONS THANKS TO DAPHNE DU MAURIER
Another respondent wrote:
L O V E T H E F E ST I V A L , D U M A U R I E R , T H E C O U N T R Y S I D E , T H E P L A C E
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:
F O C U S P O I N T F O R V I S I T T O A L O V E L Y , S MA L L T O W N . T H I S I S O U R 10 T H 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:
T H E L E C T U R E S O N D A P H N E D U M A U R I E R S B O O K S E X E T E R U N I V E R SI T Y S I N
P A R T I C U L A R , and
T O E X P L O R E T H E W R I T I N G B A C K GR O U N D W H I C H I N F L U E N C E D T H E A U T H O R
THE ROMANCE OF PLACE . ALSO THE NEW DEVELOPM ENTS IN RESEARCH OF THE
WRITER AND HER PLACE IN THE GOTHIC NOVEL .
Another 17% were motivated by particular speakers at the festival:
I C O ME T O F O W E Y F O R T H E F E S T I V A L E A C H Y E A R , C H O O S I N G SP E A K E R S W H O
I N T E R E ST M E . I M A R E S I D E N C E I N C O R N W A L L .
15% were motivated by Cornwall (landscape and/or people) and 13% by the location which
inspired the author, the settings for Du Mauriers 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:

L O C A T I O N A S I N SP I R A T I O N O F H E R N O V E L S ( W E A R E K E E N W A L K E R S ). T H I S
LINKED IN WITH HOLID AY. WE LOVE CORNWALL.
I T W A S H E R W R I T I N G T H A T B R O U GH T M E H E R E 20+ Y E A R S A GO A N D I H A V E N T
ST O P P E D C O MI N G B A C K !
Other than with Busby and Georges

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 HAVE LOVED DAPHNE S WORK FROM MY EARLY TEENS OVER THE YEARS I
WROTE TO DAPHNE (AND HAVE ANSWERS). I READ EVERYTHING I CAN OBTAIN
A B O U T H E R F A MI L Y F L A V I A S B O O K A D A U G H T E R S ME M O I R S I S W O N D E R F U L
A N D H E L P E D M E T H R O U G H A ST R E S SF U L T I M E . F L A V I A MA K E S O N E F E E L O N E I S A T
T H E P L A C E A B O U T W H I C H S H E W R I T E S A S D I D H E R MO T H E R .

59

The low occurrence of the latter category in the underlying study as opposed to Busby and
Georges

findings could possibly be explained by the circumstance that Busby and

Georges study of Beatrix Potter tourism was concerned with an author of childrens 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 womens, 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.
T ABLE 11: M OTIVATIONS I DENTIFIED AND C ORRESPONDING T YPES OF L ITERARY T OURISM

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

60

All of Butlers 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 Butlers 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 Butlers second form of literary tourism without further

discussion. Butlers 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 authors 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 Butlers fourth form literary tourism, as

much of Foweys 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 Cornwalls
popularity is connected to Daphne du Maurier or her works.

Busby and Klugs 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 Frys travel

books. The non-occurrence of the latter category can be best explained by the fact that the

screen adaptations of Du Mauriers novels happened between 1940 and 1973, apart from one
remake of Rebecca in

, and therefore, despite some of them having been box office

successes in their own time, are now fairly out-of-date.

)n addition to Butlers 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:
I N T E R E ST I N / F A S C I N A T E D W I T H D A P H N E D U M A U R I E R T H E P E R S O N A N D W R I T E R
A N D H E R W O R K . T H I S F E S T I V A L A L W A Y S C O N T A I N S SO M E E V E N T S O F D I R E C T A N D
I N D I R E C T I N T E R E ST O F R E L E V A N C E A N D P R O V I D E S R A R E O P P O R T U N I T I E S T O
D I SC O V E R MO R E O R ME R E L Y SH A R E A N I N T E R E S T W I T H O T H ER L I K E - M I N D E D
E N T H U SI A ST S I N A L O V E L Y S E T T I N G .

61

4.5 M OTIVATIONS TO A TTEND THE F ESTIVAL

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
% 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.

Percentage

Main Purpose in Travelling to Fowey/Cornwall

70%
60%
50%
40%
30%
20%
10%
0%

62%

22%

to attend the Daphne

Du Maurier Festival

16%

to attend the Daphne

Du Maurier Festival as
well as other, equally
important reasons

a reason other than

attending the Daphne
Du Maurier Festival

Main Purpose

F IGURE 15: M AIN P URPOSE IN T RAVELLING TO F OWEY /C ORNWALL

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.

Decision Time to Attend the Daphne Du Maurier Festival

Percentage

100%

86%

80%
60%
40%
20%

14%

00%
before my arrival in
after my arrival in
Fowey/Cornwall
Fowey/Cornwall
Decision Time
F IGURE 16: D ECISION T IME TO A TTEND THE D APHNE D U M AURIER F ESTIVAL

62

Combined by cross tabulation, the above two variables result in the following table:
T ABLE 12: C LASSIFICATION OF A RTS T OURISTS

ARTS-CORE
TOURISTS

Main Purpose of Visiting the

Destination

Decision to Attend
Festival

PRIMARY
63.5%

To attend the festival

Before arrival

MULTI PRIMARY
21.2%

To attend the festival and

equally important reasons

Before arrival

INCIDENTAL
5.9%

Other reasons than attending the

festival

Before arrival

ACCIDENTAL
9.4%

Other reasons than attending the

festival

After arrival

ARTSPERIPHERAL
TOURISTS

(Source: adapted from Hughes 2000)

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).

Arts-Peripheral Tourists
61%

39%

Arts-Core and
Arts-Peripheral Tourists
15%

Incidental

Accidental

85%

Arts-Core Tourists
25%
75%

Primary

ARTS-CORE TOURISTS

ARTS-PERIPHAL TOURISTS

Multi Primary

F IGURE 17: A RTS -C ORE AND A RTS -P ERIPHERAL T OURISTS

63

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 scales 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.

Cultural Exploration
70,0

61,7

Percentage

60,0

53,3

50,0

42,2

38,3

40,0

Strongly Agree
Agree

30,0

Disagree

20,0

Strongly Disagree

10,0

4,4

,0
,0
To Enjoy
Arts/Literature/Crafts

To Increase my Cultural
Knowledge

F IGURE 18: C ULTURAL E XPLORATION

Percentage

Family Togetherness
50,0
45,0
40,0
35,0
30,0
25,0
20,0
15,0
10,0
5,0
,0

43,1

42,4
33,8

Strongly Agree

25,8
15,2

Agree
16,7

15,4
7,7

To Spend Time with my

Family

To help my Family Learn

More about Arts and
Literature

F IGURE 19: F AMILY T OGETHERNESS

64

Disagree
Strongly Disagree

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.

Novelty
60,0

54,8

53,8

Percentage

50,0
Strongly Agree

40,0
30,0

Agree
26,0

25,6

20,0

Disagree

15,4

10,0

Strongly Disagree

15,1
5,1

4,1

,0
Because it is a Good
Opportunity to Visit the Area

Because I am Curious

F IGURE 20: N OVELTY

Escape
45,0

39,4

40,0

36,2

37,7

Percentage

35,0

Strongly Agree

30,0
25,0

23,9

Agree

23,9

Disagree

20,0
15,0

13,0

11,3

Strongly Disagree
11,6

10,0
5,0
,0
To Escape from Routine Life

To Relieve Daily Stress

F IGURE 21: E SCAPE

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.

65

Event Attractions
55,4

60,0

51,9

Percentage

50,0
40,0

42,0

37,3

Strongly Agree
Agree

30,0

Disagree

20,0

Strongly Disagree
7,2

10,0

6,2
,0

,0

,0
To Enjoy the Festival Mood

To See New and Different

Things

F IGURE 22: E VENT A TTRACTIONS

Socialization
50,0

45,1 43,9

39,7

Percentage

40,0

Strongly Agree
Agree

26,0 26,0

30,0

Disagree
20,0
10,0

Strongly Disagree

9,8

8,2
1,2

,0
To Be with People who Enjoy To Enjoy the Festival with a
the Same Things as I Do
Group
F IGURE 23: S OCIALIZATION

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.

66

T ABLE 13: R ELEVANCE OF M OTIVATIONS TO A TTEND F ESTIVALS IN THE U NDERLYING S TUDY

Motivations to Attend Festivals

Relevance in Underlying Study

Cultural Exploration

Family Togetherness

unclear

Novelty

Escape

unclear

Event Attractions

to be with like-minded people

Socialization

unclear: to enjoy the festival with a group

4.6 V ISITOR C HARACTERISTICS

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 Mauriers literature being read mostly by women.

Gender Distribution
25%
75%

male

female

F IGURE 24: G ENDER D ISTRIBUTION

With regards to respondents age it was found that half of all respondents were aged

years or

older and 35% aged 55 to 64 (see Figure 25 , other than with Busby and (amblys 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.

Age Groups
65 years or over

50%

55-64 years

35%

45-54 years
35-44 years

8%
4%

25-34 years

1%

15-24 years

2%

F IGURE 25: A GE G ROUPS

67

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:
A V A I L A B L E T I M E F O R SO M E C U L T U R A L I MP R O V E M E N T S N O T O F T E N F O U N D I N
CORNWALL LACK OF THEATRES ETC .

Region (Country) of Origin

Overseas

3%

Other UK country Countries

Yorkshire and the Humber

4%
3%

West Midlands

6%

South West England

59%

South East England

12%

North West England

North East England

5%
0%

Greater London

3%

East of England

3%

East Midlands

2%

F IGURE 26: R EGION (C OUNTRY ) OF O RIGIN

According to Hyounggon et al.

, 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 . )n Busby and (amblys

study, there were less respondents reported in the

highest two classes (10% in A, 34% in B and 34% in C).

68

Highest Level of Education

Postgraduate Degree (e.g.
Masters, PhD or equivalent)

22%

First Degree (e.g. Bachelors or

equivalent)

40%

A-Level or equivalent

14%

GCSE/O-Level or equivalent

Other

17%

7%

F IGURE 27: H IGHEST L EVEL OF E DUCATION

Socio-Economic Groups
E
D
C2
C1

6,5%
2,2%
1,1%
8,7%

B
A

50,0%
31,5%

F IGURE 28: S OCIO -E CONOMIC G ROUPS

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.

69

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, Fishers 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 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.
T ABLE 14: C HI -S QUARE T EST R ESULTS FOR THE V ARIABLES

VISITS TO OTHER PLACES RELATED TO AUTHORS OR

LITERATURE AND EDUCATION

Chi-Square Tests
Value
Pearson ChiSquare
Likelihood Ratio

Asymp. Sig.
(2-sided)

df

Exact Sig.
(2-sided)

12,659a

,013

,000

12,814

,012

,001

Fisher's Exact Test

12,341

Linear-by-Linear
Association
N of Valid Cases

2,891b

Exact Sig.
(1-sided)

Point
Probability

1,000
1

,089

,095

,054

,018

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.
T ABLE 15: C HI -S QUARE T EST R ESULTS FOR THE V ARIABLES

VISITS TO OTHER PLACES RELATED TO AUTHORS OR

LITERATURE AND SOCIOECONOMIC GROUP

Chi-Square Tests
Value
Pearson ChiSquare
Likelihood Ratio

Asymp. Sig.
(2-sided)

df

Exact Sig.
(2-sided)

5,202a

,518

,001

6,317

,389

,001

Fisher's Exact Test

4,835

Linear-by-Linear
Association
N of Valid Cases

,396b

Exact Sig.
(1-sided)

1,000
1

,529

,570

,290

89

a. 10 cells (71.4%) have expected count less than 5. The minimum expected count is .35.
b. The standardized statistic is .630.

70

Point
Probability

,052

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 Herberts

definition. This could

be explained by the fact that, even though there are still true literary pilgrims with a singleminded 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 C ONCLUSION

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.

T ABLE 16: R ESEARCH O BJECTIVES AND C ORRESPONDING F INDINGS

Research Objective

Findings

1. Determine literature awareness of the

authors work

High: 85% of respondents have read at least

one of Du Mauriers novels

2. Determine motivations to visit this

literary place linked to Daphne Du
Mauriers life and work

People were more interested in the places

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 Butlers 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 artscore 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:
Cultural Exploration
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

71

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 researchers 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 Foweys/Cornwalls 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 Butlers and Busby and Klugs forms of literary tourism, all four of

Butlers 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

72

by the researchers observation and not by statistical data . 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 authors work, with

% having read something by Daphne du Maurier while

% 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

Brito 2004, p.1), at this point the implications from the research

findings should be considered. The benefits of Daphne du Mauriers connection with Fowey have

been recognized and used for the destinations 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 deepseated 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

73

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.

R EFLECTIVE S TATEMENT

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.

74

viii

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