Туризм, таълим ва и қ тисодиёт тармо қ лар

 Typologies of the cultural tourist 
In his analysis of the tourist as a metaphor of the social world, G. Dann implies 
that the profile of the postmodern tourist is likely to be closer to that of a psychocentric 
hedonist than to an allocentric ‘traveller’ [Dann, 2002, p. 82].
Just as modernity had its metaphor of ‘the traveller’, seeking the rational goal of 
educational improvement, the moral path of spiritual renewal, the scientific and 
imperialistic exploration of unknown territories, so too did postmodernity seize upon 
the tourist as connotative of a dilettante life of fun in the sun and hedonism ad libitum 
in placeless destinations where the ‘other’ was cheerfully ignored in favour of the 
unbridled pursuit of individualism sans frontiers. 

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On the contrary, M. Bywater defines the cultural tourist profiles as following 
‘culturally motivated’, ‘culturally inspired’ and ‘culturally attracted’ tourists [Bywater, 
1993]. ‘Culturally motivated’ tourists represent a small but commercially desirable 
market segment, since they tend to be attracted to a destination mainly for cultural 
reasons. They are generally high-income visitors who spend several nights at a 
destination (e.g. visitors to the International Music Festival “Sharq taronalari”). 
‘Culturally inspired’ tourists are attracted to internationally renewed cultural and 
heritage sites (such as Samarkand, Bukhara, or Khiva). 
Although some of this group will be ‘culturally motivated’, many tend to spend 
short periods of time visiting major cultural destinations, and are not motivated easily 
to return to the same destination twice, to stay in one place for longer or to visit minor 
destinations instead. 
Unfortunately, for these reasons, this group tends to be chiefly responsible for 
many adverse impacts, especially in terms of the environment, where car- [Cultural 
heritage tourism in Uzbekistan: development and perspectives [69] riding capacity is 
exceeded at major heritage sites. ‘Culturally attracted’ tourists can also pose a similar 
threat, in the sense that they represent a major day-trip market, visiting cultural 
attractions or attending cultural events because they happen to be in the area. However, 
the distinction between these three segments is by no means clear-cut, and at other 
times of the year, ‘culturally attracted’ tourists may fall into one of the other two 
categories of cultural tourist. 
The distinction between people who consider themselves ‘cultural tourists’ and 
those who don’t specify a particular interest in the arts or cultural tourism, are blurring. 
The majority of tourists enjoy some element of cultural tourism during their visit, 
which could range from going to an exhibition in an art gallery or museum, following 
a literary or film trail to enjoying a musical or theatrical performance [British Tourist 
Authority, 2002]. Such blurring creates a challenging issue for cultural heritage site 
stakeholders and sometimes causes the harms.