[雙語翻譯]文化旅游外文翻譯--文化旅游-近期研究與趨勢綜述（英文）

1、Cultural tourism: A review of recent research and trendsGreg RichardsAcademy for Leisure Breda University, Postbus 3917, 4800 DX, Breda, The Netherlandsa r t i c l e i n f oArticle history:Received 16 March 2018Accepted

2、29 March 2018Available online 3 July 2018Keywords:Cultural tourismTangible heritageIntangible heritageIndigenous tourismCultural consumptiona b s t r a c tThis review article traces the development of cultural tourism as

3、 a field of research over the past decade,identifying major trends and research areas. Cultural tourism has recently been re-affirmed by theUNWTO as a major element of international tourism consumption, accounting for ov

4、er 39% of tourismarrivals. Cultural tourism research has also grown rapidly, particularly in fields such as cultural con-sumption, cultural motivations, heritage conservation, cultural tourism economics, anthropology and

5、 therelationship with the creative economy. Major research trends include the shift from tangible tointangible heritage, more attention for indigenous and other minority groups and a geographicalexpansion in the coverage

6、 of cultural tourism research. The field also reflects a number of ‘turns’ in socialscience, including the mobilities turn, the performance turn and the creative turn. The paper concludeswith a number of suggestions for

7、future research directions, such as the development of trans-moderncultures and the impacts of new technologies.© 2018 The Authors.1. IntroductionCulture and tourism have always been inextricably linked. Cul- tural

8、sights, attractions and events provide an important motiva- tion for travel, and travel in itself generates culture. But it is only in recent decades that the link between culture and tourism has been more explicitly ide

9、ntified as a specific form of consumption: cul- tural tourism. The emergence of cultural tourism as a social phenomenon and as an object of academic study can be traced back to the surge in post-World War 2 leisure trave

10、l. In Europe, travel helped to increase cultural understanding as well as rebuild shattered economies. As incomes and consumption continued to rise in the 1960s and 1970s, so did international travel, and the consumption

11、 of culture. By the 1980s the flow of international tourists to major sites and attrac- tions began to attract enough attention for the label ‘cultural tourism’ to be attached to an emerging niche market. Early aca- demi

12、c studies of cultural tourism also surfaced at this time, and the World Tourism Organisation (WTO, as it was then) produced its first definition of the phenomenon. In the early 1990s the first es- timate of the size of t

13、his ‘new’ market also emerged (at 37% of all international tourism) and were attributed to the WTO, even though Bywater (1993) comments that it was not clear how this estimate was derived.Interest in cultural tourism con

14、tinued to grow throughout the 1980s and 1990s, driven by the ‘heritage boom’ (Hewison, 1987), the growth of international and domestic travel and the identifi- cation of cultural tourism as a ‘good’ form of tourism that

15、would stimulate the economy and help conserve culture (Richards, 2001). The beginning of the 1990s indicates a period of transformation of cultural tourism which, unlike the original orientation towards elite clientele,

16、found a new opportunity for development in the orien- tation towards the mass market. Cultural tourism became a well- established phenomenon in many tourism destinations, and was increasingly the target of academic resea

17、rch. The first textbooks on cultural tourism began to emerge (Ivanovic, 2008; Smith, 2003) and a growing range of research papers appeared, linked to many different theoretical and methodological approaches (Richards Ru

18、sso, 2002). Many discussions of cultural tourism, particularly in emerging economies, also revolve around the need to spread tourism geographically (e.g. Ivanovich & Saayman, 2015). Growing interest in the relationsh

19、ip between cultural tourism and economics is marked by a recent special issue of the Journal of Cultural Economics (2017). This includes a number of papers reflecting on issues such as the spending habits of cultural tou

20、rists in Amsterdam (Rouwendal & van Loon, 2017) and the impact of cultural participation in destinations in attracting cultural tourists (Guccio, Lisi, Mignosa, & Rizzo, 2018). In their introduction to the specia

21、l issue on “The Economics of Cultural Tourism” Noonan and Rizzo (2017) admit that little theoretical advancement has been made. The editors identify new areas of application, such as drug tourism, language tourism, and f

22、ilm festivals, as well as the po- tential for work in new areasdsuch as online ‘crowdsourcing’ and cultural conventions. At its heart, the distinction between cultural tourism and tourism generally may be a false distinc

23、tion…. Moving in the di- rection of developing more distinctly cultural economic theories of tourism presents an important challenge to the field (p. 104). The availability of time-series data is now making it possible t

24、o start estimating the economic effects of cultural tourism more accurately in some destinations. Spain is a leading example, as the surveys carried out consistently with domestic and international tourists now provide a

25、 wealth of data to be mined. Artal-Tur, Briones-Pe~ nalver, and Villena-Navarro (2018) show the leading role that cultural activities play in attracting long-haul and first time visitors to Spain. These cultural tourists

26、 also tend to spend more than other international tourists, and play a major role in supporting Spanish Museums (Ponferrada, 2015). Cisneros- Martínez and Fern? andez-Morales (2015) also demonstrate the role of cult

27、ural tourism in reducing seasonality in Andalucía. In Italy, Guccio et al. (2018) assess the impact of the monetary value of cultural heritage on tourism. They find that a million euros worth of cultural heritage ge

28、nerates about 1000 more cultural visitors, which underlines the strong relationship between the regional performance of the tourism sector and cultural visitors.Di Lascio, Giannerini, Scorcu, and Candela (2011) also look

29、ed at the attractiveness of art exhibitions for tourists in Italy. They found a positive 1-year lagged effect of modern art exhibitions on tourism and a positive mild effect of contemporary art exhibitions on tourist flo

30、ws. They conclude that “temporary art exhibitions contribute to increase tourist flows if they are part of a structural characteristic of a destination” (p. 239).2.4. Cultural heritageHeritage, particularly built and tan

31、gible heritage has long been one of the fundaments of cultural tourism. As Timothy (2011) suggests, the definition of heritage is almost as fraught as the dis- cussion about cultural tourism. He sees heritage as a broad

32、range of resources including built patrimony, living lifestyles, ancient arte- facts and modern art and culture e in other words there is little distinction between cultural tourism and heritage tourism. How- ever, much

33、of the research on cultural heritage has tended to concentrate on specific aspects of heritage, such as the destination of ‘World Heritage Sites’ (WHS), or debates surrounding ‘contested heritage’ consumed by tourists an

34、d others (Yankholmes & McKercher, 2015).Frey and Steiner (2011) for example, ask whether the World Heritage List makes sense? They argue that a World Heritage designation is beneficial only where “heritage sites are