创意型怀旧消费空间中游客的存在真实性研究——以长沙文和友为例

Tourists'Existential Authenticity in a Nostalgic Creative Space:A Case Study of Changsha Wenheyou

存在真实性为理解非原真空间的体验提供了新视角。以往文化遗产旅游研究多从客观或建构的角度讨论文化景观修复的原真性,常与舞台化和商品化相联系,存在真实则不再关注客体的真实,强调体验的真实。文章以创意型怀旧消费空间长沙文和友为案例,援引存在真实性理论,采用网络资料、参与式观察和深度访谈等探讨游客在该非原真消费空间中的体验。研究发现,游客在该空间存在真实性的实现是通过身体体验获得扑面而来的年代感,在自我认知的建构中感受形神兼备的阈限空间,因同伴纽带获得个体关系的情感增进,在社群交际的互动中感受真诚与界限。文章不仅丰富了内省真实性与人际真实性的相关实证,也拓展了人们对游客在异地生产的非原真空间中如何产生存在真实性提供新的认知,同时为快速工业化下城市新型消费空间如何打破商品化与原真性的悖论,以文化传承和创新提供新的展演方式。

Existential authenticity offers a new perspective for understanding the experience in a nonauthentic cultural space.It no longer focuses on the authenticity of the object,but emphasises the authenticity as an activity-based approach,concentrating on feelings,emotions,sensations,relationships,and the self.Recent studies on cultural heritage tourism have mostly discussed the reproduction of authenticity from a supply perspective,with less attention paid to tourists'experiences of built cultural spaces.Moreover,these studies have often addressed the original authenticity of cultural landscape restoration in an objective or constructed way,associated with staged authenticity and commodification.Some studies have also noted that authenticity and commodification are not dichotomous,but have failed to show how such authenticity is achieved in the tourist experience,especially in a cultural consumption space that lacks original authenticity.As an alternative to the familiar and globally identical shopping malls,Changsha Wenheyou(Wen and his friends)not only offers consumers a full-scene and immersive dining experience,but also revives the old Changsha city life of the 20thcentury in a six-storey building,inviting them to connect with the past.Obviously as a built space of creative nostalgia,it is a space that lacks objective authenticity compared to previous cultural heritage tourism sites,yet it attracts large numbers of tourists.So why are people willing to go there,knowing that it is an inauthentic space?Do they still care about authenticity?And what kind of experience do they have?Therefore,this study takes the typical case of Changsha Wenheyou as an example to explore how people acquire authentic experiences in a creative nostalgic space.Online information,participant observation,and in-depth interviews were utilized for data collection.A total of 37 in-depth interview samples were obtained from three stages of fieldwork.Thematic analysis was used to analyse the research data.The study found that tourists'realisation of existential authenticity in this space comes from feeling a sense of bygone times through physical experience,gaining liminal experience in the construction of self-perception,achieving emotional enhancement through peer bonding,and experiencing sincerity and boundaries in social communication interactions.It contributes to the theoretical development of an existential authenticity framework by providing empirical evidence on the realisation process of existential authenticity in non-authentic cultural consumption spaces.It extends our understanding of the cultural heritage tourist experience by highlighting how tourists achieve existential authenticity through bodily sensations,perceptual constructs,peer relationships and social interactions.The result is a multifaceted understanding of how tourists experience existential authenticity through integrated interactions between the physical environment,socio-cultural elements,and interpersonal relationships.It also provides a viable approach to resolve the paradox of commodification and authenticity,and offer a novel approach to cultural inheritance in the new urban consumption space.