外文翻譯---旅游文化和英國(guó)文化之城

1、<p><b>　　外文資料翻譯譯文</b></p><p>　　旅游文化和英國(guó)文化之城</p><p><b>　　Intro簡(jiǎn)介</b></p><p>　　本文介紹的是人們興趣的上升逐漸成為了文化旅游的直接目的，特別是在城市投資方面以文化為主導(dǎo)的再生政策下。本文認(rèn)為文化旅游正在作為一個(gè)轉(zhuǎn)型催化劑加速變化著，

2、旨在刺激游客帶來的經(jīng)濟(jì)以及產(chǎn)生的社會(huì)和文化利益。繼成功的城市利物浦作為歐洲文化之都之后，在2008年政府已推出自己的英國(guó)文化之城，要在2013首次頒發(fā)。背景和基本原理引入這一行動(dòng)，在文化疲勞的指控，被認(rèn)為是在評(píng)估和招標(biāo)的過程中。它也包括考慮未來投標(biāo)的入圍城市和目的地的建議。</p><p><b>　　過去和未來的發(fā)展</b></p><p>　　使用文化景點(diǎn)和圖像吸

3、引游客并不是一個(gè)新現(xiàn)象，其根源可以追溯到17世紀(jì)歐洲偉大的旅行格雷格·理查茲。格雷格·理查茲作為地圖集文化旅游研究項(xiàng)目的主任，歐洲委員會(huì)計(jì)劃于1991年主辦一次可以說是原始形式的旅游，主要在理解與表達(dá)更多的動(dòng)機(jī)、型材、行為和態(tài)度的文化游客方面——表明文化旅游。更有趣的是，理查德也宣稱，文化旅游是“一個(gè)形式旅游，大多數(shù)決策者似乎賭未來”。在許多英國(guó)旅游目的地文化已成為一個(gè)日益突出和重要組成部分，是一個(gè)可以提高企業(yè)的市場(chǎng)

4、競(jìng)爭(zhēng)力旅游產(chǎn)品和多方面的因素，?？焖僭鲩L(zhǎng)的“文化旅游”在過去的30年里上升主要是由于利益在藝術(shù)、傳統(tǒng)、文化和歷史，而最近的當(dāng)代生活方式可以解釋為人口、社會(huì)及文化的變遷。日益增長(zhǎng)的的旅游和文化協(xié)同一直是旅游業(yè)的發(fā)展和市場(chǎng)營(yíng)銷的關(guān)鍵主題，目的地越來越被看作是文化的差異和區(qū)別的一種手段。</p><p>　　文化旅游和文化的游客</p><p>　　以“文化旅游”和“文化旅游者的開始變得更加廣泛

5、使用，它們也被廣泛誤解了。理查茲幾乎十五年前說文化旅游從根本上是游客的文化消費(fèi)。在2002年，McKercher和杜Cros問，“什么是文化旅游?”這個(gè)簡(jiǎn)單的問題，得出結(jié)論認(rèn)為“很難回答”，有同樣多的定義還有：文化旅游、文化的游客。然而，據(jù)世界旅游組織認(rèn)為文化旅游包括各方面的旅游，不僅是可以教游客關(guān)于他們的過去和傳承，以及現(xiàn)代生活方式的訪問者，而且應(yīng)作為一個(gè)在全球最大和增長(zhǎng)最快的細(xì)分確認(rèn)旅游市場(chǎng)。</p><p>

6、;　　從文化旅游定義上說，Mickercher 和 Ducros對(duì)于兩大關(guān)健原因的工作，查找更多的細(xì)節(jié)是很有用的。</p><p>　　1．從旅游行為的視角來說，他們認(rèn)為文化游客更有可能是以下原因：</p><p>　　?是從地理范圍比較遙遠(yuǎn)的客源市場(chǎng)</p><p>　　?是初次登錄網(wǎng)站的訪問者使用旅游信息來源</p><p>　　?是樂于

7、停留于目的地</p><p>　　?是重游參觀的地方和社區(qū)</p><p>　　?樂于參與其他旅行和好客的活動(dòng)中</p><p>　　?是在花費(fèi)上多于非文化的游客</p><p>　　2．建議文化旅游可以劃分為五個(gè)市場(chǎng)立足于深度旅游參與文化活動(dòng)，可以看出是否文化吸引或節(jié)目的主要激勵(lì)因素是旅游者的目的地選擇，目標(biāo)管理者了解是非常重要的旅游動(dòng)機(jī)和

8、經(jīng)驗(yàn)的類型，不同類型的文化旅游正在尋求。因此，市場(chǎng)細(xì)分的目的每個(gè)五類文化旅游可以描述如下：</p><p>　　?有針對(duì)性的文化旅游—針對(duì)性文化旅游的主要?jiǎng)訖C(jī)是訪問一個(gè)特定的目標(biāo)和旅游的目的非常深刻的體驗(yàn)。</p><p>　　?觀光文化旅游—觀光文化旅游是訪問一個(gè)特定的目標(biāo)的一個(gè)關(guān)鍵原因，但積累文化經(jīng)驗(yàn)是沒有那么深的。</p><p>　　?偶然的文化旅游—此種類

9、型的旅游即使沒有前往特定的文化方面的原因，但最終也有深厚的文化旅游體驗(yàn)。</p><p>　　?休閑文化旅游—在這種類型的旅游方面看文化旅游是一個(gè)薄弱的旅游動(dòng)機(jī)，而且由此產(chǎn)生的文化體驗(yàn)也是膚淺的。 ?附帶的文化旅游—附帶的文化旅游是不以文化方面的原因前往，而是搞一些文化活動(dòng)，并有淺顯的文化經(jīng)驗(yàn)，因此附帶出文化旅游。</p><p>　　文化和旅游引導(dǎo)的再生</p>&

10、lt;p>　　作為一個(gè)重要組成部分的旅游系統(tǒng)，旅游目的地現(xiàn)在融合一個(gè)更大的文化內(nèi)容，為旅游業(yè)的發(fā)展提供獲得更大的競(jìng)爭(zhēng)優(yōu)勢(shì)，特別是臨近城市地區(qū)和城市市區(qū)。</p><p>　　利用城市的歷史性文化基礎(chǔ)設(shè)施大力發(fā)展文化旅游，可以采用以下方法：</p><p>　　?把城市資源作為一項(xiàng)重要的地方特有的資源</p><p><b>　　?圖像創(chuàng)作</b

11、></p><p><b>　　?吸引高消費(fèi)游客</b></p><p>　　?目標(biāo)是支持經(jīng)濟(jì)的、社會(huì)的和物理的再生。</p><p>　　總體上，這些目標(biāo)是相互關(guān)聯(lián)的文化旅游等方面對(duì)經(jīng)濟(jì)增長(zhǎng)的貢獻(xiàn)——所謂的游客經(jīng)濟(jì)圣杯。這是符合作者的觀點(diǎn)，如電子英里在他們所編輯的文本聲稱在都市更新文化的引導(dǎo)是指：“思想文化也可以被聘為一名引導(dǎo)老師，在城

12、市經(jīng)濟(jì)增長(zhǎng)已成為部分的新理論中尋求提高他們的競(jìng)爭(zhēng)城市地位，隱含在這一說法中似乎是對(duì)于許多歐洲城市，文化是常被引用為要素的城市旅游功能。他們達(dá)到這樣的程度，已經(jīng)成為文化類節(jié)目多樣化和增長(zhǎng)的催化劑，促進(jìn)了游客的經(jīng)濟(jì)體形成。事實(shí)上，有許多城市，例如：格拉斯哥、都柏林和巴塞羅那， 通過對(duì)文化旅游的投資，成功構(gòu)建了一個(gè)連貫和真實(shí)的旅游目的地形象。在這方面，文化旅游可能會(huì)被視為一個(gè)變革的催化劑加速變化。然而，隨著越來越多的城市發(fā)展策略基于使用文化資

13、源進(jìn)行旅游競(jìng)爭(zhēng)，文化與旅游互補(bǔ)因素對(duì)國(guó)內(nèi)投資和旅游參觀者的增長(zhǎng)，以及文化旅游市場(chǎng)的擴(kuò)大有很大的作用，據(jù)理查茲與威爾遜介紹淹水城成為新文化景點(diǎn)。他們還認(rèn)為，這類型的市場(chǎng)飽和導(dǎo)致了一些城市和地區(qū)，特別是那些不是傳統(tǒng)的文化，可以視為文化的中心，比如中小工業(yè)城市，努力促使他們成為了觀光文化旅游，本質(zhì)上，因?yàn)樗麄兊哪芰Γ梢詣?chuàng)建一個(gè)獨(dú)特的定位。然而，顯而易見的使用的一</p><p>　　城市文化旅游繼相對(duì)成功，利物浦的歐

14、洲文化首都的2008年，DCMS如今想復(fù)制這個(gè)成就成功的向英國(guó)文化之城被授予每四年舉行一次，試圖救同樣水平的經(jīng)濟(jì)、社會(huì)和身體的影響。雖然已經(jīng)有一些初步的批評(píng)新扳平文化競(jìng)爭(zhēng)力毋庸置疑，獲勝的城市將非常的聚光燈下于2013年。這個(gè)高度剖面加上重大文化投資將不可避免地導(dǎo)致增加文化游客。其中，歷史上被引用為最好的例子，文化引導(dǎo)的旅游在英國(guó)格拉斯哥的改變后，其指定為歐洲文化之城于1990年。有大量的證據(jù)認(rèn)為格拉斯哥的文化資本統(tǒng)治標(biāo)志著一個(gè)成功國(guó)家

15、和復(fù)興的國(guó)際形象。主要集中在城市的能力，用一個(gè)主要的文化榮譽(yù)作為催化劑的圖像變化，導(dǎo)致在休閑和商務(wù)旅游中的一個(gè)戲劇性的增長(zhǎng)。</p><p>　　最后，對(duì)英國(guó)所有城市不斷成為英國(guó)文化之城在2013年、2017年的競(jìng)爭(zhēng)只有四年之遙。規(guī)劃需要現(xiàn)在開始吧!</p><p><b>　　外文原文</b></p><p>　　Cultural Touri

16、sm and the UK City of Culture</p><p>　　Introduction</p><p>　　This article presents an overview of the rise in interest in cultural tourism as a direct result of destinations, cities in particula

17、r, investing in culture-led regeneration policies. It considers cultural tourism as a transformational catalyst accelerating change, designed to stimulate visitor economies and generate physical, social and culture benef

18、its. Following the success of Liverpool as European Capital of Culture in 2008 the government has launched its own UK City of Culture, to be awarde</p><p>　　The past and the future development</p><

19、;p>　　The use of cultural attractions and images to attract visitors is not a new phenomenon as its roots may be traced back to the 17th century European Grand Tour. Greg Richards, the director of the ATLAS Cultural To

20、urism Research Programme – a European Commission sponsored programme launched in 1991 with the express aim of understanding more about the motivations, profile, behaviour and attitudes of cultural tourists – has suggeste

21、d that cultural tourism is arguably the original form of tourism. Mo</p><p>　　In many UK tourism destinations culture has become an increasingly prominent and important part of the multifaceted tourism produ

22、ct and is one of the factors that can improve their competitiveness. The rapid growth of ‘cultural tourism’ over the last 30 years is largely the result of rising interest in art, heritage, culture and history, and more

23、recently contemporary lifestyles which may be explained by demographic, social and cultural changes. In addition, the growing synergy of tourism and cu</p><p>　　Cultural tourism and cultural tourists</p&g

24、t;<p>　　As the terms ‘cultural tourism’ and ‘cultural tourists’ started to become more widely used, they were also widely misunderstood. Almost fifteen years ago Richards stated that cultural tourism was fundament

25、ally the consumption of culture by tourists. In 2002, McKercher and Du Cros asked, ‘What is cultural tourism?’ and concluded that this simple question was ‘very difficult to answer’ as there were as many definitions of c

26、ultural tourism as there were cultural tourists. </p><p>　　However, according to the World Tourism Organisation cultural tourism includes ‘a(chǎn)ll aspects of tourism that can teach visitors about their past and

27、inheritance, as well as their contemporary lifestyles’, and should be recognised as one of the largest and fastest growing segments in the global tourism marketplace. </p><p>　　In defining cultural tourism i

28、t is useful to look in more detail at the work of McKercher and Du Cros for two key reasons. </p><p>　　1.From a tourist behaviour perspective they established that cultural tourists were more likely to: <

29、/p><p>　　be from geographically distant source markets </p><p>　　be first-time visitors </p><p>　　use travel information sources </p><p>　　stay more nights at the destinat

30、ion </p><p>　　recall places and communities they visited </p><p>　　engage in other travel and hospitality activities </p><p>　　spend more money than non-cultural tourists. </p>

31、;<p>　　2.They also suggested that cultural tourism can be segmented into five markets based on the depth of tourist engagement in cultural activities, and whether the cultural attraction or programme was a key mot

32、ivating factor in the tourists’ choice of destination.</p><p>　　It is important that destination managers understand both the travel motivation and the type of experience that different types of cultural tou

33、rists are seeking. Therefore, for market segmentation purposes each of the five categories of cultural tourist may be described as follows. </p><p>　　Purposeful cultural tourist – cultural tourism is the pri

34、mary motivation for visiting a specific destination and the tourist seeks a very deep experience. </p><p>　　Sightseeing cultural tourist – cultural tourism is a key reason for visiting </p><p>　

35、　a specific destination but the experience is less deep. </p><p>　　Serendipitous cultural tourist – the tourist does not travel for specific cultural reasons, but ultimately does have a deep cultural tourism

36、 experience. </p><p>　　Casual cultural tourist – cultural tourism is a weak travel motivation and the resulting cultural experience is shallow. </p><p>　　Incidental cultural tourist – the touris

37、t does not travel for cultural reasons, but does engage in some cultural activities and has shallow experiences. </p><p>　　Culture and tourism-led regeneration</p><p>　　As an essential component

38、 of the tourism system, destinations nowadays incorporate a greater cultural content in the development of their tourism offer in order to attain competitive advantage. Urban destinations and cities in particular, use th

39、eir historically-strong cultural infrastructures in the following ways: </p><p>　　as a key ‘placemaking’ resource </p><p>　　for image creation </p><p>　　to attract high spending vis

40、itors </p><p>　　to support economic, social and physical regeneration. </p><p>　　Collectively, these four cultural tourism objectives are interrelated in terms of their contribution to economic

41、growth – the so-called visitor economy Holy Grail. This is consistent with the views of authors such as Paddison and Miles who claimed in their edited text on Culture-Led Urban Regeneration that: </p><p>　　&

42、#39;The idea that culture can be employed as a driver for urban economic growth has become part of the new orthodoxy by which cities seek to enhance their competitive position.' </p><p>　　Implicit in thi

43、s assertion is that, for many European cities, culture is frequently cited as the key element of their urban tourism function. They do this to such an extent that cultural programmes have become the catalyst for diversif

44、ication and growth of visitor economies. Indeed, a number of cities for example, Glasgow, Dublin and Barcelona, have successfully constructed a coherent and authentic tourist destination image through investing in cultur

45、al tourism. In this respect, cultural tourism</p><p>　　However, as an increasing number of urban places have developed strategies based around the utilisation of cultural resources as complementary factors i

46、n the competition for inward investment and tourist visitors, the cultural tourism market has, according to Richards and Wilson become flooded with new cultural attractions. </p><p>　　They also suggest that

47、this type of market saturation has resulted in some cities and regions, particularly those that are not conventionally regarded as ‘cultural centres’, for example small and medium-sized industrial cities, struggling to p

48、romote themselves for tourism. This is essentially because their ability to create a unique, distinctive positioning has diminished.</p><p>　　However, the highly visible use of culture as a mechanism for ach

49、ieving wider economic and social goals remains high on the agenda for many urban regions in the UK. Culture-led urban regeneration continues to be positively highlighted by the government, as has been the case since Labo

50、ur were elected in 1997 and instantly acknowledged both the regenerative role and value of investing in culture. Chris Smith, the incoming minister for Culture at the Department of Culture, Media and Sport (DCMS), p</

51、p><p>　　DCMS subsequently published a 2004 report Culture at the heart of regeneration which explicitly stated that there was: ‘a(chǎn)n emerging body of evidence which suggests that culture is a key driver in the re

52、generation process.’ </p><p>　　The report also highlighted the increased popularity of the European Capital of Culture programme which:‘saw Glasgow, for example, enhance its status as a tourist destination f

53、rom a low baseline to one of the most visited cities in the UK.’ </p><p>　　Following the relative success of Liverpool’s European Capital of Culture year in 2008, the DCMS is now looking to replicate this ac

54、complishment by launching a UK City of Culture tribute to be awarded every four years in an attempt to deliver the same level of economic, social and physical impacts. Whilst there have been some initial criticisms level

55、led at this new cultural competition there is little doubt that the winning city will be very much in the spotlight in 2013. This heightened profile</p><p>　　Historically cited as the best example of culture

56、-led tourism in the UK is the transformation of Glasgow, following its designation as the European City of Culture in 1990. There is a wealth of evidence which argues that Glasgow’s Cultural Capital reign marked a succes

57、sful renaissance in its national and international profile. This focused predominantly on the city’s ability to use a major cultural accolade as a catalyst for image change, which resulted in a dramatic growth in leisure