O espetáculo turístico do Patrimônio Cultural da Humanidade: preservar para atrair os consumidores de passado.

Abstract

The process of tourist spectacularization of World Cultural Heritage, resulting phenomenon from programs and productions political-economic-aesthetic on space of historic towns is the central object of this thesis. It starts with the thesis that all universal patrimonialization process implemented by UNESCO (UNESCO) has purposes and economic consequences through the tourist market. As modern technologies of government, patrimonialization and tourism congregate, productive and strategically to attendance a consumer market eager for products and processes that exalt the image of the past. And the projection of heritage tourist destinations - in this case, urban sets politically legitimize a historic town - supports itself on modern production mechanisms of the past. These mechanisms capitalize reality from the formation of an image that translates as real but that nothing more is than a universal spectacularization produced and conducted by representatives of emergency ethnology - patrimonializadores - that legitimized by the state and associated with industry tourism consolidate heritage cities of humanity as open-air-museums, worthy of preservation, but with pragmatic perspectives of attraction. The dialectic reality of heritage tourism is determined also by the historical condition of modern human need by displacement and by contact and consumption of everything that refers to an antique. That is, the interpretation of the unreal reality of heritage tourism is based on the understanding that this phenomenon, as well as the elements that form it - heritage and tourism - is a simulation of a time-spatial process simulated. For everyone involved in the spectacular production of the heritage tourism there is an ideology, an imaginary and illusory interpretation of that heritage is the history and identity and tourism on it, a forged panacea in the temporary possession of the other, the difference, the past. Through the Methodology of regressive-progressive dialectics, we sought here, identify, characterize, analyze and explain the elements (categories) that contribute, socially and historically, to the process of tourist spectacle of World Cultural Heritage. That is, what measures adopted by governments, tourist projection phases, which the profile of travelers, which needs and structural conditions, production, promotion and marketing bolster this process and what are its social, economic, cultural and political results. In this dialectical process, it resulted that the tourist spectacularization of the World Cultural Heritage depends on a strategic set of political and governmental actions, historical and social conditions and market resulting that converge in the heart of modern society, to materialize a complex and spectacular production of heritage tourism.