旅游目的地意象定位研究述评——基于心理学视角的分析

旅游目的地意象自20世纪70年代初产生以来一直是旅游研究中的热点问题,国内外此类研究取得了丰硕的成果。本文以对此类研究成果的述评为基础,从心理学角度分析了旅游目的地意象的构成和发展过程,提出＂destination image＂的翻译应体现该概念的心理学构成,从旅游者心理研究角度将其译为＂旅游目的地意象＂;旅游目的地意象研究应着力将抽象的概念推理和具体的实证测量相结合;在此基础上借助认知心理学理论成果提出了旅游目的地意象形成中的讯息加工过程及阶段模式。     

“The noble pirate”: The Voice of Peace offshore radio station

This article analyzes the case of Abie Nathan's “Voice of Peace” – an offshore pirate radio station that began broadcasting in 1973 off the coast of Tel Aviv. Although the station reflected the diffusion of this type of media transmission into the Middle East from Europe, particularly in its identification with pop music, the Voice of Peace was distinct in its political and ideological aims and in its positive reception. I argue that public enthusiasm for the Voice of Peace reflected not merely the yearning for pop music but the search for a “normal” life within the turmoil of Israel. By “tuning in” to the Voice of Peace, listeners found an escapist heterotopia – an alternative to Israel's hegemonic national characteristics.     

Nostalgia and Titanic commemorations in Cobh,Ireland

The year 2012 marked the centenary of the sinking of the liner Titanic. This event has been commemorated in a variety of ways, including the development of “authentic” and “created” tourist projects related to Titanic. This research presents one location's tourist response to the centenary. The heritage town of Cobh in Ireland was the last port of call for the ill-fated liner. Its commemorative activities focused on a week-long festival of cultural events from 9 to 15 April. It will be contended that its use of nostalgia and “vintage” can be interpreted more as a function of the interpretative agenda of Irish tourism policy and its heritage construction of Cobh than as a genuine symbolic expression of a town remembering its past.     

‘Brazil,Tell Me How It Feels’: Soccer,Music, Narcissism,and the State,or Mascherano’s Failure

During Brazil's 2014 World Cup finals, Argentine fans popularized a chant that stated “Brazil, tell me how it feels”. The chant became viral, and produced a Brazilian response, “Argentina, me diz que se sente”: both discussed relationship of rivalry by joking at the other's expenses. But it was surprising that the chant was based on the melody of a very old song from the American rock band Creedence Clearwater Revival, recorded in 1969, possibly before the birth of those who sang the melody in Brazil (“Bad Moon Rising”, a very popular song recorded many times). This paper discusses several topics derived from that fact: the relationship between popular music and football chants; the uses of popular music and global pop at the World Cups from 1962 to our days; the self-presentation of the “local” (national) fans before a globalized media scene; and, last but not least, the role of sport icons and heroes for the fans but also for the construction of national epics (the icons and heroes invoked in the chants included, obviously, both Maradona and Messi, two of the most important football heroes from the ‘80s until today). The core idea is to show how contemporary football culture must be described and interpreted in the continuous intersection of local texts -and fans’ practices- and global events.     

近20年国外旅游目的地市场营销研究综述

随着旅游业客源市场竞争日益加剧,旅游目的地市场营销在旅游营销管理中逐渐被重视,并成为旅游目的地提升综合竞争力的一个重要因素。运用文献分析法,对国外有关旅游目的地市场营销研究进行了全面的梳理和总结。国外研究主要集中在旅游客源市场、旅游目的地营销主体和方式、旅游目的地形象以及旅游目的地市场营销信息技术与渠道四个方面,其中有关旅游目的地市场营销信息技术与渠道,新兴知识引入比例最大。     

国外旅游目的地研究综述 --基于Tourism Management近10年文章

为了对国外旅游目的地研究的成果和最新动态有一个清晰的了解,笔者检索了Tourism Management(《旅游管理》)近10年来的相关文献(不包括会议记录和书评)共32篇,对不同年份发表的论文数量及作者的国别作了统计,并分析了这些文献研究的主要内容,包括旅游目的地的概念、旅游目的地形象、旅游目的地的管理与发展、旅游目的地与居民的关系及旅游者与旅游目的地的关系等,最后展望旅游目的地研究的趋势。     

旅游目的地形象的测量与分析——以南京在华东区域内的比较性研究为例

旅游目的地形象对旅游者的目的地决策具有重要影响,因而关于其实际测量和分析的研究成为国内外旅游研究的重点内容之一。我国该领域研究虽然在开展市场调查和定量统计分析方面已取得长足进展,但仍存在研究视角和方法过于单一的突出局限。因此,本文将着眼点放在旅游者需求和区域内竞争对手这两个经常被忽视的要素上,将它们纳入研究设计之中,以南京为案例目的地,通过综合运用重要性-表现分析法(IPA)和对应分析法(CA)系统阐释了如何从这两个角度来测量和分析目的地形象的基本路径。研究识别了南京当前形象在满足旅游者需求上的优、劣势以及其独特的差异化优势属性,对其形象管理的资源配置和竞争性形象定位战略的开发具有重要启示。     

旅游目的地形象认知过程——基于扎根理论的探索性研究

在对旅游目的地形象作为系统整体进行认识的基础上,以网络游记文本为数据来源,采用扎根理论的方法探索旅游目的地形象要素的认知过程,建立旅游目的地形象要素认知过程模型,采用统计方法对旅游目的地形象要素认知过程的维度差异进行研究。结果发现,旅游目的地形象要素的认知过程包括信息获取、认知加工和要素变化等3个过程。其中,信息获取过程是旅游目的地形象要素认知过程的基础环节,包括感官体验、人际互动和信息搜寻等3种获取方式;认知加工过程是形象要素认知过程的核心环节,包括对比和聚类等2种方式;形象要素变化过程是认知过程的最后阶段,包括强化、调整和新建等3种变化方式。旅游目的地形象不同维度的形象要素认知过程中,信息获取方式和变化方式存在维度差异,认知加工方式不存在明显维度差异。     

“隐性介体”视野下的旅游地空间生产与形象建构话语——以龙胜金坑大寨红瑶梯田为例

选择龙胜金坑大寨梯田作为案例地,引用"隐性介体"这一概念统摄本文的四个研究对象:摄影家、旅游规划机构、旅游经营公司、政府,发现四者分别主要运用独立性旅游话语、专业性旅游话语、商业性旅游话语和消费性旅游话语建构金坑梯田的旅游形象,形象的话语建构过程同时也表现为各"隐性介体"诸空间利益诉求下的梯田多维空间生产过程,最终金坑大寨梯田由最初的"稻作空间系统"被生产为"摄影天堂"、"经典案例地"、"旅游胜地"和"政治高地"四种空间形态。最后文章从"东道主-游客"互动的角度讨论了这种形象建构可能对旅游地产生的两类问题以及应用旅游人类学"主体-介体-客体"三段式研究范式的必要性和途径。     

自我一致性对旅游目的地忠诚的作用机理研究——以韶山为例

自我一致性描述了产品象征价值表征对消费决策和行为的影响,是旅游目的地进行“非功用性定位”的重要理论基础.以自我一致性作为旅游目的地忠诚形成机理的逻辑起点,引入功能一致性作为中介变量,游客涉入和旅游经验作为调节变量,构建概念模型.使用问卷工具在韶山获得基础数据,利用结构方程模型技术分析得到结果：第一,自我一致性对功能一致性具有显著的正向影响;第二,自我一致性通过功能一致性对旅游目的地忠诚产生显著的正向影响;第三,自我一致性未能对旅游目的地忠诚产生直接效应;第四,旅游经验和游客涉入的调节效应未得到证实.实证结果提示营销管理者除关注旅游目的地的功能属性之外,还应高度重视象征性形象（如品牌个性）的塑造和传播.     

NOTES ON CAMPS,OR, COUNTERFACTUAL FÜHRERS AND THE STRUCTURE OF THE JOKE

In this review essay I explore the dynamics of “normalization” in historical and fictional depictions of the National Socialist past, examining both the “organic” normalization of catastrophic events through the passage of time, and efforts to normalize the Nazi past through aesthetics. Focusing on Gavriel Rosenfeld's Hi, Hitler: How the Nazi Past is Being Normalized in Contemporary Culture, I argue against many dimensions of Rosenfeld's account of normalization, particularly his claim that aesthetic normalization can undermine our moral judgments regarding the Holocaust. Drawing on Sigmund Freud on jokes, and Susan Sontag on Camp aesthetics, I argue that every effort to normalize the Holocaust, especially ones that work through humor and jokes (a major topic of Rosenfeld's book), actually maintain the Holocaust's status as a series of historical events resistant to “normalization.” If “normalization” is a process through which extraordinary, or morally charged, historical events lose their moral charge, then aesthetic efforts to normalize the Holocaust actually reinscribe the special moral status that Rosenfeld believes they erase.     

旅游目的地形象认知过程中的"先入为主"与"既成事实"效应研究--以银川沙湖与榆林红碱淖为例

旅游者对旅游目的地的形象认知是影响旅游活动的重要因素,对旅游目的地形象定位和市场营销策略的选择都具有重要的参考价值,逐渐成为旅游研究的新热点。本文选取了我国几个代表性的案例,逐步展开分析,提出若干个相应的假设,据此设计了调查问卷,在兰州、西安两地开展了抽样调查。本文应用国际通用的科学方法和规范模式对抽样调查结果进行分析,根据分析结果对旅游者对旅游目的地形象认知中的“先入为主”与“既成事实”效应进行了探讨,强调了旅游形象定位与市场营销中的先发优势。     

旅游目的地品牌基因选择的三力模型构建

旅游目的地竞争已从资源竞争转向品牌竞争。针对当前旅游品牌实践没有价值命题、同质性强等问题，本研究在批判继承现有战略管理、旅游目的地品牌战略等相关理论的基础上，从目的地、客源地、竞争性目的地三个维度，构建了目的地代表力、客源地吸引力、竞争性目的地竞争力的旅游目的地品牌基因筛选的三力（RAC）模型。其中，代表力包括原生性、唯一性、真实性；吸引力包括价值性、自然环境和生活方式差异性、地方依恋性；竞争力包括稀缺性、不可模仿性、难以替代性。旅游目的地品牌基因筛选的三力（RAC）模型将为旅游目的地品牌基因筛选提供完整、详细、具有可操作性且可以广泛应用的定量分析工具，有助于解决当下目的地品牌营销缺乏理论依据问题，能够指导旅游目的地管理机构的品牌建设实践。     

不同类型旅游地竞合关系研究——基于旅游者忠诚差异分析

旅游地竞合关系是旅游地理学研究的重要内容。旅游地竞合关系的实质是客源市场的竞合,它主要通过旅游者忠诚来体现。本文通过构建旅游者满意与旅游者忠诚的结构方程模型（SEM）,以观光旅游者、乡村旅游者和城市旅游者为研究对象,通过分析旅游者满意与旅游者忠诚3个维度的具体关系来考察3种类型旅游者忠诚的异同,并探讨了不同类型旅游者忠诚差异产生的原因,在此基础上归纳、总结出不同类型旅游地竞合关系及其影响因素。     

Musical memory,heritage and local identity: remembering the popular music past in a European Capital of Culture

This paper explores the relationship between rock music, collective memory and local identity, by focusing on events connected to Liverpool's status as European Capital of Culture 2008. The first part of the paper describes these events and how memories of local rock music were attached to heritage and local identity and mobilised to validate Liverpool as a capital of culture, whilst in turn the city's Capital of Culture status served to validate particular ways of remembering the local musical past. The second part of the paper considers the broader significance of these events by relating them to three pan-European trends in cultural policy: the development of the cultural and heritage industries; the protection and promotion of local culture and identity; and the fostering of cultural diversity and integration. It highlights the general significance of the popular music past for cultural policy in Europe, but also the politics of popular music memory and how it involves a complex and dynamic process of negotiation that relates to cultural policy in particular ways. The paper concludes by arguing that popular music offers a specific and productive focus for research on cultural policy, heritage and local identity in Europe.     

韩国潜在游客的中国旅游目的地意象认知与行为意图

旅游目的地意象是20世纪70年代以来,地理学和旅游学等学科交叉生成的研究命题,是旅游目的地市场细分、市场定位及竞争分析的重要工具。本文选择中国近缘文化群体客源市场,也是中国最大的入境客源市场韩国为研究对象,以非结构式和结构式研究相互结合的方式,研究分析了韩国潜在游客对中国的旅游目的地意象认知及行为意图,研究结果显示：（1）韩国潜在游客对中国的旅游目的地意象认知由四个基本维度构成,分别是平和、愉悦、动感与现代,其中,平和、愉悦和现代与旅游目的地意象呈正相关关系;（2）韩国潜在游客对中国的旅游目的地意象认知与其行为意图呈正相关关系;（3）中国旅游目的地意象的平和、愉悦特征对韩国潜在游客行为意图有明显的正向影响,呈正相关关系。     

“FUTURE PAST”: TIME AND TELEOLOGY IN (ANCIENT) HISTORIOGRAPHY

The historian's account of the past is strongly shaped by the future of the events narrated. The telos, that is, the vantage point from which the past is envisaged, influences the selection of the material as well as its arrangement. Although the telos is past for historians and readers, it is future for historical agents. The term “future past,” coined by Reinhart Koselleck to highlight the fact that the future was seen differently before the Sattelzeit, also lends itself to capturing this asymmetry and elucidating its ramifications for the writing of history. The first part of the essay elaborates on the notion of “future past”: besides considering its significance and pitfalls, I offset it against the perspectivity of historical knowledge and the concept of narrative “closure” (I). Then the works of two ancient historians, Polybius and Sallust, serve as test cases that illustrate the intricacies of “future past.” Neither has received much credit for intellectual sophistication in scholarship, and yet the different narrative strategies Polybius and Sallust deploy reveal profound reflections on the temporal dynamics of writing history (II). Although the issue of “future past” is particularly pertinent to the strongly narrative historiography of antiquity, the controversy about the end of the Roman Republic demonstrates that it also applies to the works of modern historians (III). Finally, I will argue that “future past” alerts us to an aspect of how we relate to the past that is in danger of being obliterated in the current debate on “presence” and history. The past is present in customs, relics, and rituals, but the historiographical construction of the past is predicated on a complex hermeneutical operation that involves the choice of a telos. The concept of “future past” also differs from post‐structuralist theories through its emphasis on time. Retrospect calms the flow of time, but is unable to arrest it fully, as the openness of the past survives in the form of “future past” (IV).     

TO THE PLANETARIUM—THERE IS STILL TIME!

This review essay examines James McFarland's Constellation: Friedrich Nietzsche and Walter Benjamin in the Now‐Time of History, which stages a comparative reading of the two thinkers’ works and argues that they shared a resistance to the conventions of nineteenth‐century historicism as well as a desire to attend not to causation as a force in history but rather to the importance of each individual “present.” Benjamin's term “dialectics at a standstill” is a formulation only a reader of Nietzsche could have produced, as McFarland ably demonstrates. This review essay also delves into Benjamin's own use of the “constellation” motif, identifying complexities McFarland leaves out of his account. Influenced by Nietzsche's own uses of astronomical and astrological motifs, Benjamin employed the image of the constellation as a symbol not only for temporality (say, of the time it takes for starlight to reach our planet). He also used it to examine our transforming relationship with the cosmos and with nature most broadly, and, in the famous “Theses on the Philosophy of History,” he used it as a figure for the proper relationship historians should establish between their own period and the past; this is what yields an understanding of the present moment as the Jetztzeit, the “time of the now” enjoying its own dignity beyond any causal relationship with the future it may have. However, and as this review essay suggests, Benjamin's uses of the constellation image, and of images of stars, telescopes, and planetariums more generally, were highly ambivalent. They can serve as indices of his shifting views of modernity and of his desire that modern experience, seemingly condemned to alienation, might be redeemed.     

Tradisi and Turisme: Music,Dance, and Cultural Transformation at the Ubud Palace,Bali, Indonesia

This article investigates relationships between music and place through analysis of performances for tourists at a prominent site, Puri Saren Agung (the Ubud Palace) in the Balinese village of Ubud. These performances are representative of ways in which Balinese traditional cultural representation is transformed when it is packaged for tourist consumption. Through a number of readings of the palace, potential meanings for music are shown to be dependent on the past and present identities of this site. This is heightened by a view of changes in the palace's status and uses as a metaphor for ongoing developments in Balinese music and dance, and thus of ways in which tourism has been, and continues to be, a force in Balinese cultural production.     

Toward a Received History of the Holocaust

In this article, I examine both the problem of so-called postmodern history as it relates to the Holocaust and suggest the ways that Saul Friedlander's recent work successfully mediates between the somewhat overly polemicized positions of “relativist” and “positivist” history. In this context, I find that in his search for an adequately self-reflexive historical narrative for the Holocaust, Hayden White's proposed notion of “middle-voicedness” may recommend itself more as a process for eyewitness writers than as a style for historians after the fact. From here, I look at the ways Saul Friedlander's reflections on the historian's voice not only mediate between White's notions of the ironic mode and middle-voicedness, but also suggest the basis for an uncanny history in its own right: an anti-redemptory narrative that works through, yet never actually bridges, the gap between a survivor's “deep memory” and historical narrative. For finally, it may be the very idea of “deep memory” and its incompatibility to narrative that constitutes one of the central challenges to Holocaust historiography. What can be done with what Friedlander has termed “deep memory” of the survivor, that which remains essentially unrepresentable? Is it possible to write a history that includes some oblique reference to such deep memory, but which leaves it essentially intact, untouched and thereby deep? In this section, I suggest, after Patrick Hutton, that “What is at issue here is not how history can recover memory, but, rather, what memory will bequeath to history.” That is, what shall we do with the living memory of survivors? How will it enter (or not enter) the historical record? Or to paraphrase Hutton again, “How will the past be remembered as it passes from living memory to history?” Will it always be regarded as so overly laden with pathos as to make it unreliable as documentary evidence? Or is there a place for the understanding of the witness, as subjective and skewed as it may be, for our larger historical understanding of events? In partial answer to these questions, I attempt to extend Friedlander's insights toward a narrow kind of history-telling I call “received history”—a double-stranded narrative that tells a survivor-historian's story and my own relationship to it. Such a narrative would chart not just the life of the survivor-historian itself but also the measurable effect of the tellings—both his telling and mine—on my own life's story. Together, they would compose a received history of the Holocaust and its afterlife in the author's mind—my “vicarious past.”