Interpretation of 23-Tourists' Eyes (Third Edition)

John? John Earley, Jonas? Jonas Larsen, translated by Huang. The Gaze of Tourists, Gezhi Publishing House, Shanghai People's Publishing House, 20 16. 286 thousand words.

The first edition of this book was in 1989, and the original edition was revised twice in 200 1 and 20 12, almost every 10 year. The version I have at hand is a translation of the third edition.

Concepts have always been human inventions. A valid concept often means an insight, which means progress in understanding and thinking. The greatest originality of this book on tourism sociology is that it puts forward a refreshing concept, that is, the title-tourist gaze. The new concept establishes a new framework. Under the thinking framework of "tourist gaze", many daily phenomena that are used to it need to be re-examined. The following records and sorts out some inspiring words or concepts, which are concise expressions after re-examining the phenomenon.

Seeing//staring is the function of the eyes, which can see; Gaze is a way of watching-who is watching, what is watching and how-and "gaze" sees the relationship between things and viewers, and this relationship is not limited to the two, but a social and cultural construction that covers more factors.

Tourism//Tourism is a kind of "non-daily" behavior, because it is divorced from the daily life track, especially from the time and space arrangement stipulated by living and working. Tourism activities make people become tourists. As tourists, their vision will become more and more sensitive, and they often feel "too many things to see". We often say that "sightseeing" and "viewing" are caused by the eyes, which is the so-called "gaze" in this book.

Collective gaze//romantic gaze? The author puts forward two consumption patterns: Fordism mass consumption and post-Fordism differentiated consumption. The former is a typical McDonald's, emphasizing homogenization, standardization and high efficiency, and taking consistency and risk-free as the standard; The latter is a typical Disney, which emphasizes diversity and difference, and takes "personalization" and "experience" as its value pursuit. In the field of tourism, simply speaking, group tour is "McDonald's" and free travel is "Disney". In the words of tourists' gaze, mass tourism corresponds to "collective gaze", which means "carnival or sports"; Corresponding to personalized tourism is "romantic gaze", which is "personal and spiritual" (page 22, the text is slightly changed).

Media Gaze Due to the omnipresence and fuel of media culture, tourists can't get rid of the interference and influence of the media, and tourists will unconsciously embed relevant texts and images seen by the media into their gaze. We often say that "punching in somewhere" is a typical performance of "media gaze". Look at several types of "card lists" made by the media: 1 cultural sites; The birthplace of important classics; 3. The place where the important event happened; 4 the footprints of great men; 5 foreign culture. As the book says: "Whether it is virtual tourism, imaginary tourism or physical tourism, the three meet and overlap in a very complicated way, and the dividing line between them is becoming more and more blurred." (page 132). It seems that what is in your mind is more real, but what is in front of you has become a "replica" that needs to be verified.

Landscape is an "ornamental" design and a "landscape" for tourists to stare at. This is the "bright spot" that the tourism industry has racked its brains to explore. Take a look: the ancient village landscape has turned the daily life of aborigines into the daily life of small shops; Rural landscape, land and crops, busy farming and leisure are gone, resulting in a series of "beautiful countryside" landscape paintings; Shopping malls are landscape, and shopping malls are like traveling around the world; Major events and events (such as the World Cup and World Expo) make a country a huge landscape. Tourists participate in it, and the participation is high. In such an advanced house-playing scene, tourists are actors, acting in groups, but they feel like starring.

Host and guests, you look at me and I look at you. Tourists and local people (especially when traveling abroad) treat each other "objectively". There are tourists staring, and of course there are "locals staring". Tourists often see more scenery than people, and locals become "set props" in the eyes of tourists; Whether tourists notice it or not, locals also have their own eye reaction patterns: cooperation, disguised boycott or public boycott.

The concept of camera (lens) gaze is not explicitly put forward in the book, which was "invented" by the author. In the third edition, a new chapter "Vision and Photography" is added to illustrate the view that "photography can be regarded as the core of modern tourists' gaze". The best place to watch is an intoxicating place where you can keep your distance, and this is also the best place for the camera to take pictures. Taking pictures through the camera lens can have a sense of control and gain of "beautiful scenery in hand". No wonder you can see so many tourists "low-headed"-check whether the photos just taken are good. Another kind of camera gaze is "staring at the camera". Remember the "Kodak moment" advertisement? As soon as the camera appeared, I didn't know my family, friends, colleagues and classmates. Ah, a harmonious "eggplant" face. The face staring at the camera is a ritualized "tourist face".

In the preface of the third edition, the author said that this edition "thinks more about the concept of' tourist gaze' theoretically, especially its' dark side'", and the above concept can be said to be an element of theoretical reflection. In this book, we can also see many "shoulders of giants", such as Foucault (medical gaze), Gorman (drama theory), Campbell (romantic ethics and modern consumerism spirit) and Baker (risk society), which are the tools and knives for the author to analyze "tourism gaze". How easy is it to solve cattle? On the knife, but also on people.

Learning point

20 18- 12-30