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By Tim Oakes

This e-book explores how the event of modernization is published in China's newly built vacationer landscapes. It argues that during China's burgeoning ethnic vacationer villages and topic parks may be noticeable all of the contradictions, debasement, and releasing potentials of chinese language modernity. Tim Oakes makes use of the province of Guizhou to ascertain the chinese language vacationer to illustrate of the state's modernization guidelines and the way area people have engaged with those adjustments.

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Extra resources for Tourism and Modernity in China (Routledge Studies in China in Transition)

Sample text

All of them emerge from landscapes which at first glance appear “eternal and immutable,” and yet their stories are of dislocation, alienation, and tragedy. Hardy’s Wessex was, thus, not a stable and enclosed landscape of tradition, but an unstable and ambivalent landscape of modernity, defined less by the organic community than by a tense relationship between that community and its continuous displacement. ” Hardy was driven to write about the profoundly uncomfortable state many were living in as agricultural and industrial capitalism intensified in Britain—a place between dwelling and displacement—and found that to be the condition of modernity (see Entrikin 1991).

To be modern thus entails a search for the authentic, as a place from which one gains a meaningful perspective on the casualty of progress: self-alienation. For this reason, the trope of exile has had particular currency in representing the experience of modernity, especially among modern Euro-American writers such as Conrad, Hemingway, Joyce, and Mann. As Caren Kaplan (1996:34, 45) argues, the trope of exile fosters “a culture of nostalgic melancholia” which is expressed through fantasies of escape, whereby the past is exoticized in a distant, often highly sexualized place and culture.

It colonizes space as well. The invention of tradition in the service of modernity has a distinct geography, as the traveling urban eye casts its aesthetic gaze upon its imagined counterpoint: the countryside of the traditional folk. For Williams, such an urban gaze emerged from the particular “structure of feeling” that accompanied industrialization, and which defined a rural, pastoral landscape in terms of its regretful loss at the hands of progress. The pastoral took on a TOURISM AND MODERNITY 31 meaning that privileged the urban dweller’s need for some beautiful and morally correct place: “Its most serious element was a renewed intensity of attention to natural beauty, but this is now the nature of observation, of the scientist or the tourist, rather than the working countryman” (Williams 1973:20).

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