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A tourist landscape can be described as constructed through a large number of symbolic and material transformations of an original physical and/or socioeconomic landscape in order to serve the interests of tourists and the tourist industry. Since the early days of tourism, landscape has played an important role in the decision making for holiday destinations. In trying to escape from an ordinary taken-for-granted-world, people of all periods have looked to far-away landscapes in order to re-create. Landscapes are no longer exclusively shaped by the productive claims of agricultural interests. Their forms are increasingly frequently a reflection of the consumer demand and recreation, tourism and even nature conservation combine to model the ‘new aesthetics of nature’ (Wilson, 1992). The media shows people ever more varied images of their surroundings. Commercial broadcast by the World Wide Fund for Nature, vacation folders displayed by the tour operators and tourist boards, and the travel reports published in magazines determine to a large degree how the ideal tourist landscape appearance. The most influential parties come from the new middle class, consisting of individuals and groups who are concentrated in professions like the media and fashion, education, and the arts and sciences. In this context the tourism industry constructs the rural idyll, an understanding of the countryside based partly on reality, but largely on nostalgia and romance: :It is sustained and developed by media images and popular imagination. It portrays a world of unchanging values, traditional and community living which some people feel with regret has been lost forever from their own lives. The heritage industry has developed to meet such expectations. It packages and presents aspect of the heritage in ways which broadly sustain the illusion of unchanging values(The National Trust, 1995, 11). However by this aesthetic appropriation the landscape has become an assemblage of beautiful forms that ignores the basically vital aspects. A related problem is that tourism landscapes are frequently subject to the characteristic problems of common pool resources - a tendency toward overuse and a lack of incentive for individuals to invest in maintaining or improving the resource (Healy, 1994). Scenic landscapes are often the result of active (traditional) land management. The fading away of the pastoral economy in Alpine regions or the traditional orchard economy in parts of the Mediterranean threatens the characteristic scenery of old cultural landscapes. ==The Mediterranean landscape== To the peoples of Northern Europe the Mediterranean landscape represented an ideal that has to be admired, sketched, painted and visited. From the beginning of the nineteenth century on the Mediterranean landscape functioned as a promotional objective of the nascent tourist industry. The presence of celebrities and highly effective publicity campaigns in combination with the work of many artists turned the regional geographical landscape into a tourist landscape, a dream space for the twentieth century. Luginbühl (1992) suggests that tourist publicity posters that appeared toward the end of the nineteenth century were used to represent the Mediterranean landscape and to reinforce the selective view of that landscape held by an elite stratum of society. Characteristic of these posters is the emphasis on the ‘exotic’ in the Mediterranean landscape. Plant life especially is used to symbolise the ideal tourist scenery whilst constructing a landscape that retreats from reality: :The Mediterranean landscape is replaced with a landscape in which the only thing that is Mediterranean is the stuff of the tourist promotion: a beach, a palm-tree, and a couple browning their skin in the sun or letting their hair blow in the wind. The Mediterranean landscape no longer exists, because it has been made palatable to all(Luginbühl, 1992, 227). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Tourist landscape」の詳細全文を読む スポンサード リンク
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