Research On The Cultural And Tourism Landscape Of The Grand Canal(Shandong Section) From The Perspective Of Symbolic Consumption Theory

In the era of cultural industries,cultural and tourism landscapes are carefully designed and packaged,accumulating and constructing symbols,representations,and visual scenes to create emotionally impactful experiences and symbolic consumption spaces for consumers.According to Baudrillard’s "symbolic consumption" theory,tourism activities can be considered as a form of symbolic consumption.In tourism activities,people not only pursue practical services and experiences when choosing destinations and purchasing tourism products,but also value the symbolic meanings and values attached to these products.The current tourism industry has entered the operational platform of symbolic consumption,forming a standardized production and consumption model.Baudrillard’s symbolic consumption theory discusses the relationship between symbols and reality,which can be used to explain and analyze the production and consumption operation logic of cultural and tourism landscapes.According to Baudrillard’s "simulation" theory,the development of symbols reflects its four stages and logical relationships with reality.Therefore,based on this theory,the cultural and tourism landscapes along the Grand Canal(Shandong section)can be summarized into four types: historical landscapes,imitated landscapes,invented landscapes,and pure landscapes.These four types of landscapes reflect the logic of Baudrillard’s semiotics,that is,from the initial symbol as a reflection of reality,to the gradual reversal and concealment of reality by symbols,to the absence of reality masked by symbols,and finally to the symbol not pointing to any reality.This is a process of gradual deconstruction of symbols.In this process,symbols gradually detach from reality,becoming an independent existence,and creating their own logical system.As a production and consumption of symbols,the cultural and tourism landscapes of the Grand Canal(Shandong section)are in line with Baudrillard’s theories of the sequence of symbolic development and symbolic consumption.The construction of the Grand Canal(Shandong section)cultural and tourism landscapes widely employs visual techniques to shape a secondary nature,reflecting the production logic of cultural and tourism landscapes.On the other hand,from a consumption perspective,the consumption behavior of the Grand Canal(Shandong section)cultural and tourism landscapes also reflects the symbolic consumption nature of elements such as the "objects" and services of the landscape.The "proliferation" of symbols will blur the boundary between reality and the virtual,leading people to gradually move away from reality in the "carnivalized" world of symbols.Consumers are increasingly deviating from the real historical and actual situation,and are immersed in more "fictitious" components,making it more difficult to maintain rational judgment in the "hyperreal" symbolic world where reality and the virtual coexist.However,"hyperreality" is itself "real," and the production and consumption of cultural and tourism landscapes in the era of cultural industries may not necessarily follow the pointing relationship of reality.It is the production or even creative behavior of culture in the landscape society,constructing a new cultural world and emotional expression space for contemporary consumers.