外文翻译---旅游文化和英国文化之城.docx

外文资料翻译译文旅游文化和英国文化之城Intro简介本文介绍的是人们兴趣的上升逐渐成为了文化旅游的直接目的，特别是在城市投资方面以文化为主导的再生政策下。本文认为文化旅游正在作为一个转型催化剂加速变化着，旨在刺激游客带来的经济以及产生的社会和文化利益。继成功的城市利物浦作为欧洲文化之都之后，在2008年政府已推出自己的英国文化之城，要在2013首次颁发。背景和基本原理引入这一行动，在文化疲劳的指控，被认为是在评估和招标的过程中。它也包括考虑未来投标的入围城市和目的地的建议。过去和未来的发展使用文化景点和图像吸引游客并不是一个新现象，其根源可以追溯到17世纪欧洲伟大的旅行格雷格理查兹。格雷格理查兹作为地图集文化旅游研究项目的主任，欧洲委员会计划于1991年主办一次可以说是原始形式的旅游，主要在理解与表达更多的动机、型材、行为和态度的文化游客方面表明文化旅游。更有趣的是，理查德也宣称，文化旅游是“一个形式旅游，大多数决策者似乎赌未来”。在许多英国旅游目的地文化已成为一个日益突出和重要组成部分，是一个可以提高企业的市场竞争力旅游产品和多方面的因素，。快速增长的“文化旅游”在过去的30年里上升主要是由于利益在艺术、传统、文化和历史，而最近的当代生活方式可以解释为人口、社会及文化的变迁。日益增长的的旅游和文化协同一直是旅游业的发展和市场营销的关键主题，目的地越来越被看作是文化的差异和区别的一种手段。文化旅游和文化的游客以“文化旅游”和“文化旅游者的开始变得更加广泛使用，它们也被广泛误解了。理查兹几乎十五年前说文化旅游从根本上是游客的文化消费。在2002年，McKercher和杜Cros问，“什么是文化旅游?”这个简单的问题，得出结论认为“很难回答”，有同样多的定义还有：文化旅游、文化的游客。然而，据世界旅游组织认为文化旅游包括各方面的旅游，不仅是可以教游客关于他们的过去和传承，以及现代生活方式的访问者，而且应作为一个在全球最大和增长最快的细分确认旅游市场。从文化旅游定义上说，Mickercher 和 Ducros对于两大关健原因的工作，查找更多的细节是很有用的。1从旅游行为的视角来说，他们认为文化游客更有可能是以下原因：是从地理范围比较遥远的客源市场是初次登录网站的访问者使用旅游信息来源是乐于停留于目的地是重游参观的地方和社区乐于参与其他旅行和好客的活动中是在花费上多于非文化的游客2建议文化旅游可以划分为五个市场立足于深度旅游参与文化活动，可以看出是否文化吸引或节目的主要激励因素是旅游者的目的地选择，目标管理者了解是非常重要的旅游动机和经验的类型，不同类型的文化旅游正在寻求。因此，市场细分的目的每个五类文化旅游可以描述如下：有针对性的文化旅游针对性文化旅游的主要动机是访问一个特定的目标和旅游的目的非常深刻的体验。观光文化旅游观光文化旅游是访问一个特定的目标的一个关键原因，但积累文化经验是没有那么深的。偶然的文化旅游此种类型的旅游即使没有前往特定的文化方面的原因，但最终也有深厚的文化旅游体验。休闲文化旅游在这种类型的旅游方面看文化旅游是一个薄弱的旅游动机，而且由此产生的文化体验也是肤浅的。 附带的文化旅游附带的文化旅游是不以文化方面的原因前往，而是搞一些文化活动，并有浅显的文化经验，因此附带出文化旅游。文化和旅游引导的再生作为一个重要组成部分的旅游系统，旅游目的地现在融合一个更大的文化内容，为旅游业的发展提供获得更大的竞争优势，特别是临近城市地区和城市市区。利用城市的历史性文化基础设施大力发展文化旅游，可以采用以下方法：把城市资源作为一项重要的地方特有的资源图像创作吸引高消费游客目标是支持经济的、社会的和物理的再生。总体上，这些目标是相互关联的文化旅游等方面对经济增长的贡献所谓的游客经济圣杯。这是符合作者的观点，如电子英里在他们所编辑的文本声称在都市更新文化的引导是指：“思想文化也可以被聘为一名引导老师，在城市经济增长已成为部分的新理论中寻求提高他们的竞争城市地位，隐含在这一说法中似乎是对于许多欧洲城市，文化是常被引用为要素的城市旅游功能。他们达到这样的程度，已经成为文化类节目多样化和增长的催化剂，促进了游客的经济体形成。事实上，有许多城市，例如：格拉斯哥、都柏林和巴塞罗那， 通过对文化旅游的投资，成功构建了一个连贯和真实的旅游目的地形象。在这方面，文化旅游可能会被视为一个变革的催化剂加速变化。然而，随着越来越多的城市发展策略基于使用文化资源进行旅游竞争，文化与旅游互补因素对国内投资和旅游参观者的增长，以及文化旅游市场的扩大有很大的作用，据理查兹与威尔逊介绍淹水城成为新文化景点。他们还认为，这类型的市场饱和导致了一些城市和地区，特别是那些不是传统的文化，可以视为文化的中心，比如中小工业城市，努力促使他们成为了观光文化旅游，本质上，因为他们的能力，可以创建一个独特的定位。然而，显而易见的使用的一种机制来实现文化旅游的经济和社会目标，仍然在英国中许多城市区域的重要会议中体现。都市更新文化引导仍然是由政府积极突出，在1997年当选工党执政以来的情况时，都市立即承认再生的作用和价值投资的文化。克里斯史密斯是下届部长的文化部门文化、媒体及运动(DCMS)，发表了他的创造性的英国愿景，他庆祝，并探讨了影响再生文化引导在国家的复苏。DCMS随后发表了一份2004年的报告中指出文化的核心的再生明确要求，“新兴的证据表明，文化机构，是一个在再生过程中的主要驱动力。”该报告还强调了文化计划的欧洲资本的日益普及：“看到格拉斯哥，例如，加强其作为旅游目的地在英国访问量最大的城市之一，从一个较低的基准地位。”城市文化旅游继相对成功，利物浦的欧洲文化首都的2008年，DCMS如今想复制这个成就成功的向英国文化之城被授予每四年举行一次，试图救同样水平的经济、社会和身体的影响。虽然已经有一些初步的批评新扳平文化竞争力毋庸置疑，获胜的城市将非常的聚光灯下于2013年。这个高度剖面加上重大文化投资将不可避免地导致增加文化游客。其中，历史上被引用为最好的例子，文化引导的旅游在英国格拉斯哥的改变后，其指定为欧洲文化之城于1990年。有大量的证据认为格拉斯哥的文化资本统治标志着一个成功国家和复兴的国际形象。主要集中在城市的能力，用一个主要的文化荣誉作为催化剂的图像变化，导致在休闲和商务旅游中的一个戏剧性的增长。最后，对英国所有城市不断成为英国文化之城在2013年、2017年的竞争只有四年之遥。规划需要现在开始吧!外文原文Cultural Tourism and the UK City of CultureIntroductionThis article presents an overview of the rise in interest in cultural tourism as a direct result of destinations, cities in particular, 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 benefits. Following the success of Liverpool as European Capital of Culture in 2008 the government has launched its own UK City of Culture, to be awarded for the first time in 2013. The background and rationale for introducing this initiative, in the light of allegations of cultural fatigue, is considered and the bidding process is assessed. It also includes recommendations for shortlisted cities and destinations considering future bids. The past and the future developmentThe 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 Tourism 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 suggested that cultural tourism is arguably the original form of tourism. More interestingly, Richards has also proclaimed that cultural tourism is one of the forms of tourism that most policymakers seem to be betting on for the future. In many UK tourism destinations culture has become an increasingly prominent and important part of the multifaceted tourism product 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 recently contemporary lifestyles which may be explained by demographic, social and cultural changes. In addition, the growing synergy of tourism and culture has been a key theme of tourism development and marketing as destinations increasingly view culture as a means of differentiation and distinction.Cultural tourism and cultural touristsAs 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 fundamentally 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 cultural tourism as there were cultural tourists. However, according to the World Tourism Organisation cultural tourism includes all aspects of tourism that can teach visitors about their past and 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. In defining cultural tourism it is useful to look in more detail at the work of McKercher and Du Cros for two key reasons. 1.From a tourist behaviour perspective they established that cultural tourists were more likely to: be from geographically distant source markets be first-time visitors use travel information sources stay more nights at the destination recall places and communities they visited engage in other travel and hospitality activities spend more money than non-cultural tourists. 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 motivating factor in the tourists choice of destination.It is important that destination managers understand both the travel motivation and the type of experience that different types of cultural tourists are seeking. Therefore, for market segmentation purposes each of the five categories of cultural tourist may be described as follows. Purposeful cultural tourist cultural tourism is the primary motivation for visiting a specific destination and the tourist seeks a very deep experience. Sightseeing cultural tourist cultural tourism is a key reason for visiting a specific destination but the experience is less deep. Serendipitous cultural tourist the tourist does not travel for specific cultural reasons, but ultimately does have a deep cultural tourism experience. Casual cultural tourist cultural tourism is a weak travel motivation and the resulting cultural experience is shallow. Incidental cultural tourist the tourist does not travel for cultural reasons, but does engage in some cultural activities and has shallow experiences. Culture and tourism-led regenerationAs an essential component 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 their historically-strong cultural infrastructures in the following ways: as a key placemaking resource for image creation to attract high spending visitors to support economic, social and physical regeneration. Collectively, these four cultural tourism objectives are interrelated in terms of their contribution to economic 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: 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. Implicit in this 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 diversification 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 cultural tourism. In this respect, cultural tourism may be viewed as a transformational catalyst accelerating change. However, as an increasing number of urban places have developed strategies based around the utilisation of cultural resources as complementary factors in the competition for inward investment and tourist visitors, the cultural tourism market has, according to Richards and Wilson become flooded with new cultural attractions. They also suggest that 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 promote themselves for tourism. This is essentially because their ability to create a unique, distinctive positioning has diminished.However, the highly visible use of culture as a mechanism for achieving 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 Labour 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), published his Creative Britain vision in 1998 in which he celebrated and discussed the impact of culture-led regeneration in the nations resurgence. DCMS subsequently published a 2004 report Culture at the heart of regeneration which explicitly stated that there was: an emerging body of evidence which suggests that culture is a key driver in the regeneration process. 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 from a low baseline to one of the most visited cities in the UK. Following the relative success of Liverpools European Capit