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系,很明顯,通過(guò)視覺(jué)刺激來(lái)評(píng)價(jià)性向目的地過(guò)程是情緒和動(dòng)機(jī)兩個(gè)相關(guān)的和基本的方面。隨著動(dòng)機(jī)和渴望的游客越來(lái)越更復(fù)雜的并被吸引越來(lái)越變成后臺(tái)的現(xiàn)實(shí),消費(fèi)者需求生產(chǎn)的圖片那暴露更多的親密,甚至有爭(zhēng)議的現(xiàn)實(shí)當(dāng)?shù)氐纳?作者)。在目前的研究中對(duì)案例旅游的目的地這似乎是來(lái)說(shuō)尤其如此。作為這些結(jié)果一個(gè)實(shí)際的后果,比較同一目的地的圖片可以幫助旅游經(jīng)理在發(fā)展新的旨在促進(jìn)阿曼泰阿作為旅游目的地的營(yíng)銷戰(zhàn)略。圖片之間的關(guān)系、情感、動(dòng)機(jī)代表一個(gè)重要的因素,旨在滿足游客的需求和定義一個(gè)投資組合的新旅游景點(diǎn)(作者)。這個(gè)研究的結(jié)果也反映出那些先前的研究旨在分析照片的角色,他的發(fā)現(xiàn)表明,攝影表示在旅游通??僧a(chǎn)生標(biāo)準(zhǔn)化目的地圖片(作者)。圖片也應(yīng)該有助于開(kāi)發(fā)有競(jìng)爭(zhēng)力和可持續(xù)的旅游目的地,通過(guò)提供信息在多元化的潛力地方。因此,給定的交際的重要性的圖片,他們的選擇代表一個(gè)依據(jù),確定最佳實(shí)踐促進(jìn)各種各樣的目的地的吸引力和資產(chǎn)。第二個(gè)類別中的圖片目前不用于宣傳目的。結(jié)果表明,它們可能代表新的感知刺激并有助于改善當(dāng)?shù)氐穆糜螛I(yè)。我們認(rèn)為,擬議的案例旅游目的地在和許多其他幾個(gè)代表特色的旅游吸引物旅游地但支持傳統(tǒng)大量旅游被忽視有共同點(diǎn)(例如,陽(yáng)光和海洋旅游)。歷史的地方像教堂和紀(jì)念碑中視覺(jué)表現(xiàn)的舊城鎮(zhèn)發(fā)揮重要作用主要是因?yàn)閷?duì)有生活經(jīng)驗(yàn)的人們是很重要的。第一次潛在游客可能會(huì)在數(shù)以百計(jì)的宣傳冊(cè)看到第一個(gè)類別圖片和不被鼓勵(lì)深化知識(shí)目的地。然而,不能稱從旅游的角度來(lái)看一些目的地形象沒(méi)有價(jià)值。但他們通常使用的促銷的觀點(diǎn)建設(shè)模式化目的地的形象,它隱藏當(dāng)?shù)仄渌臐摿臀ΑT谶@樣的框架下,旅游經(jīng)理對(duì)地方的熟悉可能消極影響最佳促進(jìn)活動(dòng)識(shí)別。出于這個(gè)原因,我們強(qiáng)調(diào)涉及游客選擇作為宣傳目的圖片的重要性。這項(xiàng)研究的結(jié)果表明,游客的初步評(píng)估增加目的地形象感知的價(jià)值。然而,我們知道,目前的研究結(jié)果是不自由的的局限性。從概念的角度來(lái)看,我們認(rèn)為只有幾個(gè)旅游變量盡管在事實(shí)上,旅游目的地形象的形成是一個(gè)復(fù)雜的研究領(lǐng)域。事實(shí)上,邏輯回歸分析只包含了一些變量。因此,其他的研究是需要的這些研究問(wèn)題的調(diào)查通過(guò)涉及其他目的地和其他圖片。從方法論的角度來(lái)看,這項(xiàng)研究只涉及意大利課題和研究?jī)H限于相同的旅游目的地兩類圖片的分析。此外,我們只考慮了代表特定客群戶游客的意見(jiàn)。然而,未來(lái)的調(diào)查應(yīng)該被引入更大的和廣義樣品。上述變量影響的泛化了研究結(jié)果。這個(gè)案例旅游目的地允許結(jié)果只將參與者和用作研究的刺激類型泛化。開(kāi)始從以往形象認(rèn)知研究上,通過(guò)不同的市場(chǎng)細(xì)分(例如年齡、地理和文化的起源)將幫助您了解如何優(yōu)化旅游目的地促銷,強(qiáng)調(diào)特殊情感和動(dòng)機(jī)。然后,因?yàn)閳D片僅代表宣傳小冊(cè)子和網(wǎng)站復(fù)雜結(jié)構(gòu)的一個(gè)元素,未來(lái)的研究可以調(diào)查旅游手冊(cè)其他可視化方面的認(rèn)知, 從情感和認(rèn)知點(diǎn)看像設(shè)計(jì)和顏色。營(yíng)銷影響舊城鎮(zhèn)文化遺產(chǎn)及旅游潛力常常被充分開(kāi)發(fā)。在許多情況下,文化的局限性和熟悉性與地方部分上的本地旅游管理人員可以促進(jìn)本地資源成為成功的旅游發(fā)展構(gòu)成一個(gè)障礙。由于旅游業(yè)是獨(dú)特的視覺(jué),照片被認(rèn)為是派拉蒙,成功地創(chuàng)造和交流旅游目的地(作者)。視覺(jué)圖片具體創(chuàng)建一個(gè)一致的形象,尤其是當(dāng)目的地是未知的和個(gè)人并不熟悉的地方。包括文化景觀案例,追求新奇是最重要的旅游激勵(lì)因素。因此,采用古板的圖片可能會(huì)導(dǎo)致創(chuàng)建一個(gè)困惑或司空見(jiàn)慣的最初的目的地形象的形成。它是一個(gè)可取旅游經(jīng)理,不同的目標(biāo)市場(chǎng)的意見(jiàn)和需求是主要考慮的促銷計(jì)劃避免的概括的發(fā)展。增強(qiáng)目的地文化特征主要提供海水—沙灘—陽(yáng)光,旅游景點(diǎn)將允許一個(gè)分化的旅游供給和吸引新的市場(chǎng)領(lǐng)域。圖片不能完全與目的地形象的形成相一致,因?yàn)榇黉N工具在小冊(cè)子和網(wǎng)站像消息和設(shè)計(jì)是眾多而復(fù)雜的。然而, 為每個(gè)特定的目的地選擇合適的和準(zhǔn)確的形象無(wú)疑是旅游信息搜索后續(xù)階段的一個(gè)至關(guān)重要的元素。應(yīng)答作者要對(duì)這兩個(gè)匿名裁判和主編克里斯瑞恩他們有用的評(píng)論和在本文早期版本的一個(gè)建議表示感謝。通常的免責(zé)聲明適用。第四篇:英語(yǔ)論文翻譯 Analysis of the tangled emotions of fear and love from the perspective of imageryPoetic image is the essential factor and soul of tends to be the carrier of the poetic , the process of creating a poem is a kind of process in which the poet will select suitable concrete objects to be the poetic images, and construct the poetic image language so as to express his subjective feelings vividly.(劉芳:2007)My Papa’s Waltz announces its central image in the title: the waltz, a formal waltz, like other dances, is a prescribed set of steps that organizes movements in time and in space, giving them the poem it was the father who led the dance, who beat time on his son’s was he who established the order of the mother was disapproving but, in the context of the poem, an inactive boy did all he could just to keep waltzing, he states, was not the poem also shows that the father was a force of disorder as was made his son dizzy, caused pans to fall from the shelf, and scraped the boy’s fact that he missed steps suggests that he could not adhere to the order that he himself had a certain sense, we also can make such a inference that the waltz in the title refers not to a dance as it monly understood, but rather it refers to a regularly performed set of disorderly was a unique sort of waltz, a unique sort of order that incorporated was a waltz created and defined by My waltzing ritual is not about dancing。it is about a man who asserts and maintains physical control over his son even as he loses control over process of the boy’s dancing with his father, to some extent, has represented the entire fatherson relationship, in the line “Such waltzing was not easy” suggests that the relationship was difficult, that the boy found it hard to keep up with his father’s perhaps he felt that he could not do what his father did, could not follow the example his father had waltz, there is another important imagery employed in this we all know, imagery is used through our basic senses of touch, smell, and used these very effectively in his we say the image “waltz” is heard through the rhythms of poem lines, then we can say that the “whiskey” is seen by the son’s the first stanza, the word whiskey, as it is described, being on the father39。s breath, gives a negative can ever forget a person who presents themselves with the stench of alcohol about them? The amount was so great that it “could make a small boy dizzy”.As they continue to waltz, the boy “hung on like death”.This image and the strong simile may cause readers to subconsciously decide that the child is in an abusive the third line the word “death” brings out a very negative association with the first stanza then gives negative imagery as it ends with the words “not easy” revealing staggering dance movements around the kitchen./ We can see negative image in the face of the mother, “her countenance could not unfrown itself”.Her disapproval of the father’s drunkenness would be seen as a danger to any small child.“Waltz” as a graceful dance, usually may let us get a joyful contrast, “whiskey” usually may cause people such a kind of association, that is abuse or poet choose such two images that may cause two extremely association in the poem, from which we may also infer that a kind of mixed emotion were pr