本真视角的少数民族旅游文化符号舞台化研究

本文以Cohen主客二维动态真实性与舞台化关系模型为基础,在符号的表达和内容层面对少数民族旅游文化符号进行剖析,以旅游文化符号的能指与所指作为符号维度,以旅游文化的真实性与舞台化作为本真维度,建构出旅游文化符号化的四种关系类型,即意指性旅游文化符号(signification)、象征性旅游文化符号(symbol)、隐喻性旅游文化符号(metaphor)及指示性旅游文化符号(instructions),深入分析少数民族旅游目的地文化符号的结构分层状况,从跨学科的角度了解人文地理本真性景观与舞台化景观的建构互动过程,推动本真性理论的进一步发展。

A STUDY OF STAGELIZATION OF ETHNIC MINORITY CULTURAL SYMBOLS FROM THE PERSPECTIVE OF AUTHENTICITY

This paper, applying Erik Cohen's model of subject-object dynamic authenticity and staged authenticity, analyzes minority tourism cultural symbols in terms of the representation and contents. All such cultural symbols and their rules are part of an encoding system of tourist cultural information. The former is a rule predefined for the dichotomy of signifiers and the signified, and the latter is one predefined to connect different symbols. These two rules jointly contribute to the construction of meanings of cultural symbols. This paper outlines four types of ethnic minority cultural symbols, i.e. significative, symbolic, metaphoric, and instructive, based on dichotomy of signifiers and the signified, and authenticity as against staged authenticity. Significative symbols undergo no change in either their encoding or coding method; and their representation and content tend to be identical. Metaphoric symbols undergo change in their encoding method but not in their coding one, and their representation and content are not identical. Symbolic symbols undergo change in their coding method but not in their encoding one, and their representation and content are not identical. Instructive symbols undergo change in both their encoding and coding methods, and their representation and content tend to be identical. By utilizing cultural symbols of different types, cultural externalization and targetization can be realized, and tourists can be guided to attain authentic experience of ethnic minority culture. As the cult of authenticity pervades modern life, tourism researchers are recently sensitized to the social demand for the production, structure and representation of authentic tourism cultural products, and to the scholarly community's call for deeper understanding and theoretical relevance. We provide insight as to the distinction between authentic and staged destination, and analyze the influence paths of each other from the view of anthropogeography. It is expected that such classification of cultural symbols can contribute to the development of the theory of authenticity.