食物与“美”的生活——旅游场域中“孔雀宴”的审美人类学解读  

Food and the aesthetic life:an aesthetic anthropological interpretation of the Peacock Banquet in the tourism field

作　　者：罗夏梓平 张媛[1] LUO Xiaziping;ZHANG Yuan(School of Foreign Languages, Sichuan Tourism University, Chengdu, Sichuan 610100, China)

机构地区：[1]四川旅游学院外国语学院,四川成都610100

出　　处：《美食研究》2022年第2期34-40,共7页Journal of Researches on Dietetic Science and Culture

基　　金：四川省哲学社会科学重点研究基地——川菜发展研究中心资助项目(CC21G07);四川省社科规划资助项目(SC21BS028);四川省哲学社会科学重点研究基地——数字文化与传媒研究基地资助项目(CDCM202008)。

摘　　要：“孔雀宴”作为云南旅游餐饮的重要组成部分,不仅具有审美价值,还是民族文化符号的象征。从审美人类学的视角探讨旅游场域中“孔雀宴”作为地方饮食文化品牌的形成机制,研究发现:“孔雀宴”作为旅游地经济发展营造的结果,政府、餐饮经营者、当地居民和大众媒体等多方主体参与其文化建构,强化了民族文化符号。孔雀宴不仅满足了游客的审美需求,还加深了游客对云南孔雀文化符号的印象。与此同时,游客的评价间接地构建了孔雀宴新的文化内容。最终,在游客和旅游地的互动中,实现了对孔雀宴的审美认同,从而逐渐形成具有云南特色的饮食文化品牌。As an important part of tourism and catering in Yunnan,Peacock Banquet is not only of aesthetic value,but also one of the national cultural symbols.From the perspective of aesthetic anthropology,the formation mechanism of Peacock Banquet is discussed as a local food culture brand in the tourism field.It is found that as a result of the economic development of tourist destination,the Peacock Banquet has the government,catering operators,local residents,public media and other parties involved in its cultural construction,and the symbol as national culture is strengthened.The Peacock Banquet not only meets the tourists’aesthetic needs,but also deepens the tourists’impression of the peacock cultural symbols in Yunnan.At the same time,the evaluation of tourists indirectly constructs the new cultural content of the Peacock Banquet.In the end,the aesthetic recognition of the Peacock Banquet is realized in the interaction between tourist and tourist destination,and a food culture brand with Yunnan characteristics is gradually formed.

关 键 词：食物景观 审美人类学 孔雀宴 文化符号 

分 类 号：TS972.125.9[轻工技术与工程]