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Social Networks Analysis of the Landscape of the City for Cultural Tourism Luciano Torres Tricárico, University of Vale do Itajaí, Brazil Diva de Mello Rossini, University of Vale do Itajaí, Brazil Carlos Alberto Tomelin, University of Vale do Itajaí, Brazil Tania Beisl Branches, University of Lisbon, Portugal Abstract: The study enhances the method developed by Rossini in 2012, applying the analysis of social networks, which generates sociograms that indicate the interrelations among categories in order to analyze the landscape of the city. This matrix becomes a new method that, when applied, will indicate built differentials and potentials for the development of cultural tourism. It will also help society to understand the importance of the material patrimony as an opportunity to preserve and recover the memory and identity of the past so that future generations can experience them. Keywords: Memory, Identity, Analysis of Social Networks, Cultural Tourism Introduction T he results of research have given rise to new questions, generating other studies that move the gears of the production of knowledge. The development of this study, which is no exception to the rule, was prompted by the need to review and refine the method developed by Rossini in 2012. The method uses some of the categories for analysis of the landscape of the city that were published in A imagem da cidade [The Image of the City] by Lynch ([1960] 1997), in Paisagem urbana by Cullen ([1961] 1971), and in A arquitetura da cidade[The Architecture of the City] by Rossi ([1966] 1995). Also the first work that indicated the built heritage of the city as it attributes of the urban tourism landscape can be seen in the book published by Boullón (2002), a construct based mainly on the concepts of Lynch. In order to once again justify the research, the theoretical and scientific foundations of two more scholars were associated with the research.Their selection criterion was of sharing scientific affinities with the other authors of the study, a fact pointed out by Argan in the work A Historia da Arte como Historia da Cidade [The History of the Art as History of the City] (1998) and Portas with the publication A cidade como Arquitetura [The City as Architecture] (2011).In these works, the authors discuss the concepts of the Italian School of Architecture, basing their discussion on experience of the architects mentioned in Rossini’s (2012) method to expound their theoretical references. All these academics experienced the social changes that occurred in Europe during the period of implantation and development of the modernist movement at the beginning of the twentieth century. This researchand its methodological tools analyzed social networks, a procedure that makes use of qualitative data for the construction of sociograms, which graphically demonstrate the actions of each of the authors and their interrelations, the categories of analysis of the landscape, and their connections. It also evidences the hierarchy of these categories and the degree of centrality of the actors (Norman and Alejandro 2005). These are relevant data that indicate the creation of a new method from a pre-existing one. This new method signals the categories of analysis of the primordial landscape so that the historical built differentials can indicate or identify a site as a potential center for the development of cultural tourism. It is worth emphasizing that obtaining data by scientific methods ensures the accuracy of the information, an essential fact for the success of any endeavor. This is because the peculiarities of Journal of Tourism and Leisure Studies Volume #, Issue #, 20##, www.tourismandleisure.com © Common Ground Research Networks, Luciano Torres Tricárico, Diva de Mello Rossini, Carlos Alberto Tomelin, Tania Beisl Branches All Rights Reserved, Permissions: [email protected] ISSN: 2470-9336 (Print), ISSN: 2470-9344 (Online) JOURNAL OF TOURISM AND LEISURE STUDIES each site and society have recently become a differential for the development of tourist activities. These specificities have become magical attractions that cause the visitor to dream and return to the past, imagining remote times and feeling like an agent in this context rather than a mere observer (Marques 2005). Theoretical Background to Rossini’s Method Rossini (2012) developped her method from categories of city's analyse, brought by authors of international recognition. These categories identify the layers that were being deployed in the cities throughout time, and which still remain in the urban space. These layers are compoused by edified patrimony elements that recorded events of diversified natures, whether having a socioeconomic or a cultural caracter, produced in remote times. The singularity of the data obtained by means of these categories grant the urban spaces some diferentials, potentialities that can contribute to the developpement of actions regarding the cultural tourism. Kevin Lynch (1997) in “The Image of the City” The publication A Imagem da Cidade [The Image of the City] ([1960] 1997) is the result of a study by Lynch in which he examines how the innate human sense of time affects the way we see and how we change our surroundings, especially in the cities. This work, inspired by the theories of psychology of Gestalt, enhances the images generated by a space, viewing them as mental pictures that can be shared by a large number of people who live in the same urban area. It considers that an environmental image can be analyzed according to three determining factors: identity, structure, and meaning. Identity relates to the capacity of an object to distinguish itself from other things, presenting itself as a separate entity. Structure expresses the spatial relationship or standards that are established from the object for the observer, as well as for other objects. Meaning emanates from a practical or emotional relationship between the object and the observer. It also examines the image of the city and its elements, i.e., the path, the edge, the district, the node, and the landmark. All these elements have, as reference, a relationship between object and observer. The roads are channels for circulation along which the observer moves in the habitual way, occasionally or potentially. The boundaries are linear elements corresponding to permeable borders between different areas or regions that interrelate. The districts, medium-sized or larger regions of a city, are recognized as having something in common and identifiable. The hubs are intersections, strategic points, or places of the city and intensive foci to which the observer travels. Landmarks are accentuated points that serve as external references for the observer. None of the element types cited above exists independently, isolated from reality. The districts contain crossroads; they are demarcated by boundaries, crossed by roads and dotted with landmark features. In other words, the elements overlap and interconnect constantly. There is an interrelationship of parts to the whole in a superficial way, creating a vivid image. As they assume functions, these parts of the whole acquire distinguishing features and stand out in the landscape of the city among the other elements. Therefore, clarity of structure and uniqueness of identity are considered strong symbols for the readability of a city represented by iconic elements, landmarks. The configuration of urban spaces has attributes that enable them to inform their users, with greater or lesser ease, about where they are and how to move around with awareness to other places because the landscape is composed of a set of elements that go beyond what can be immediately seen and heard. Furthermore, the perception and interpretation of the spaces are directly related to the past experiences of the observer, which are imprinted on their memories. TRICÁRICO ET AL.: SOCIAL NETWORKS ANALYSIS FOR CULTURAL TOURISM A particular visual quality is readability or imageability, which demonstrates the apparent clarity of the cityscape, i.e., the ease with which the parties can be recognized and organized into a coherent structure. Thus, a readable city would be one whose parishes, boundary signs, or roads are easily identifiable and verifiable and can be grouped into overall structures. Thomas Gordon Cullen (1971) in the Urban Landscape Cullen influenced the field of urban planning, developing the term that gave rise to the book of the same name, Paisagem Urbana [Urban Landscape] ([1961] 1971). This book is regarded as one of the most original works on urban planning. Cullen created the concept of serial vision, which defines the urban landscape as an interrelated series of spaces. His aesthetic approach to urban design was based on sketches and drawings with a high-pictorial quality, almost like the paintings of the Impressionist artists, in which the visual aspects of the landscape were highly valued. He admitted that issues of visual perception serve as the basis for any observation and refers to the observer’s memory to defend the idea that the “vision has the power to invoke our reminiscences and experiences, with all the corollary of emotions” (Cullen 1971, 10). In this sense, it presents three fields of reflection that have to do with the discovery, localization, and specificity of each place: Discovery is based on the idea of a route by means of which a succession of images is mentioned. These images are always sustained by appeal to the memory. The author calls this concept “serial vision,” which leads, in turn, to another fundamental element of perception of the place, which is the ability of the observer to focus, i.e., the ability to locate himself or herself physically and psychologically in a space. This location depends on the possibility of appropriation of the space, at first unknown, but then identified, experienced, related to the memory of each one, and, in this sense, personified. Therefore, the perception of vision is not a simple photograph but a process of a relationship between the observer, whether an inhabitant or not, and each place. For Cullen, there are three key aspects to consider:“Perspective: […]the urban landscape, in the majority of cases, as a succession of surprises or sudden revelations, which is what is meant by serial vision; locale is how our body has the habit of relating instinctively and continuously with the environment; the sense of localization cannot be ignored [...]; and content: [...] this latter aspect, relates to the constitution of the city itself, its color, texture, scale, or style, its nature, its personality, and everything that makes it individual” (Cullen 1971, 193). The visual impact of the city, the perspective, or serial vision of its inhabitants or visitors creates a surplus of attractions for the whole collectivity as succession of surprises or sudden revelations. Aldo Rossi (1995) in The Architecture of the City (1st Edition, 1966) In 1966, Rossi published L’Architettura della città [The Architecture of the City] in which he studies the city from the perspective of the historical problems and methods of description of morphology of urban facts, their relations between the local facts and the construction of the city, and also in the identification of the primary forces that act on cities in a permanent and universal way. For Rossi, cities are the text of local history, which is presented by means of facts recorded over time in the buildings and in the urban fabric, parameters of long duration. Thus, the city is the collective memory of the people and is linked to facts and places; it is the “locus.”The relationship between the “locus” and citizens is the predominant image, i.e., the architecture, the landscape, and the great ideas that pervade the city and form its history. An urban fact may be an historical monument, a street, or a district. The uniqueness and individuality of these urban facts make them very similar to a work of art; it is the construction of the material in a unique way, which can be analyzed, but not defined. JOURNAL OF TOURISM AND LEISURE STUDIES To analyze the city, it is important to define the physical site, the place where the urban facts occur, in order to detect them. Therefore, to understand the city and study this set of elements that comprise it, it is necessary to deconstruct it. Defining the study area is to choose a part of the city or its historical features that coincide with an urban fact as it determines a phenomenon. By determining the limits of the urban environment, the growth of the city can be identified, defining the domains of the study area and the emergence of urban facts. The elements for analysis of the city and the urban facts are based on the assertion that the city is a work of art, the product of human action that transforms nature, adapting it to the needs of society. The category is the manifestation of the sentiment and reason of a society, present in architectural facts. It is the principle of the architecture and the city and characterizes the needs that react to the techniques and functions, the style, the collective character, and the individual moment of the architectural fact. To define district, the author uses the theory developed by Lynch (1997), who defines it as a medium-sized or large area of a city, recognizable as having common characteristics and peculiarities of various kinds. The residential area is related to the urban form as it represents the way of life, customs, tastes, and habits of a people, which only changes over very long periods of time. The location of the residence is related to geographical, morphological, historical, and economic factors of the city. The monuments characterize the nations, civilizations, and epochs and are represented by sets of monumental architectures that express power, whether in the name of the state or of religion. They are elements of permanence and become works of art, as they represent a value greater than the memory. The old city, to conceptualize it, refers to monuments and all the urban constructions because they are signs of reference in time and space. The process of transformation causes the old city to give way to the modern, replacing the physical reality of the city as a time of permanence of its political and institutional duty. Roberto Boullón (2002) in the Planning of the Urban Tourism Space Boullón proposes an empirical method for observing and analyzing the space produced by tourism and from systematic procedures, establishing its physical arrangement, in which a ourism center is represented by the whole urban agglomeration that “has its own territory, or within its radius of influence, tourism attractions of sufficient type and importance to prompt a tourist trip” (Boullón 2002, 69). The work Planificacíon del espacio turístico [Design of Tourist Space] (1985) is used to guide studies through the model of supply and demand and is focused on the tourism market. The tourism space is the result of the presence and territorial distribution of the tourist attractions. According to Boullón (2002, 79), “The tourism heritage, plus the enterprise and tourism infrastructure, are sufficient to define the tourism space of any country.” To define the qualities and guide the reading of the urban landscape by the tourist, and for the tourist to understand the differences of each place, capture its beauty, and form value judgments of what they have just seen, Boullón (2002) requires the use of the elements of analysis of the city landscape defined by Lynch (1997). As part of the principle that not all cities have the same degree of difficulty to capture their urban landscape, the Boullón indicates that the reading is linked to the dimensions, outlines, topography, and type of architecture. He identifies the buildings and open spaces as focal points, observing the relationship that exists between them in terms of organization and graphical representation or physical layout. He classifies the focal points into public areas, which correspond to the paths and nodal points of Lynch (1997); these are open or covered spaces for public use, to which the inhabitants of the city and the tourist can come and go freely. He differentiates the paths of the nodal points by the nature of the connection, such as an intersection of streets or a corner. He identifies the element landmarks as urban artifacts or buildings that, due to their size or the quality of their form, stand TRICÁRICO ET AL.: SOCIAL NETWORKS ANALYSIS FOR CULTURAL TOURISM out in the landscape and act as point of reference for the observer, e.g., a huge building, a monument, a fountain, a propaganda poster, a church, or a public information kiosk. For Lynch (1997), districts are spaces of a city with a two-dimensional extension. For Boullón (2002), they are relatively large sections of the city to which tourists can enter and move around; sectors, meanwhile, are smaller parts of the city than the districts, but with the same characteristics. These spaces are the remaining parts of an old district, whose original buildings have been replaced by modern ones; their borders are an element that divides two different districts, defining the extremes or margins of part of a city, corresponding to the limits of Lynch (1997). The routes define the roads for circulation, selected for the tourist traffic of vehicles and pedestrians in their trips to visit the tourist attractions, as well as entering and leaving the city. Their main function is to structure the tourist complex, i.e., the vehicle routes are those that must be selected as part of the city tours, and the pedestrian routes are those that connect the nearby tourism attractions and define circuits within the neighborhoods. New Theoretical Foundations The insertion of concepts by Portas (2011) and Argan (1998) is due to the fact that the ideas of both are linked to the School of Venice, which addresses the elements that comprise the city, and the preeminence of perpetuation of the memory and the social identity contained in the built space. In addition, both express in their works the problems experienced by architecture and urbanism in the post-war period as well as the influences of the modern movement in the European cities. Nuno Portas in the City as Architecture Portas wrote A Cidade como Arquitetura [The City as Architecture] in 1968, a time in which the author made use of part of the categories of analysis of the city by Rossi ([1966] 1995) to study the physical environment and the changes that it has undergone over time due to the need for new infrastructures. Portas considers that the elements that make up and form the cities are bestowed not only with functions but alter the morphology of the landscape as they promote the emergence of visual, tactile, and shadowy information. These changes are guided by attractiveness, the need of the workforce to travel, or the agents of unidirectional development. By starting the process of appropriation of the space, information about the environmental and historical preexistences is important. This is because the adoption of this attitude ignores the dilapidation of the patrimony and real estate exploration based on profit. These relations that define the architecture of the city are not based only on urban planning but also on the urban architecture, which defines the streets, the land lots, and implantation of buildings of public interest. The areas planned to comprise the most extensive and stable spaces of the city have the problem of habitat, where the typological and representative choices of these units correspond to what is called area-residence, dominated by the function of a residential territory. The complex and structuring bodies, the centers, are the primary elements of Rossi ([1966] 1995), since they are key to the composition of the city. It is in the center where the distributing elements or the elements of internal or external circulation are concentrated. They are the organized sets of public or private, much more changeable than the residential areas. The spaces of territorial units, by similarity, that maintain the balance between the residence and the center are the “districts” of Rossi ([1966] 1995). They are the zones that provide a balance between the center and the residence. The classification of the city into large elements is corroborated by Aldo Rossi ([1966] 1995), where the city is structured by a large backbone, with places that remain throughout the JOURNAL OF TOURISM AND LEISURE STUDIES changes, keeping the structure recognizable, “the theory of permanence,” of spatial continuity, that pervades the time and can accelerate or cross time, such as the monumental buildings. The old town had a process of spontaneous design, the day-to-day, deciding on the architecture of the city by the architecture of the building. This makes the entire city a monument. When writing about the importance of maintaining the old areas, Portas (2011) stated: “Preserve by renewing, or restore by revitalizing.” Portas was not only writing of those already consolidated as historical, but also of those that have valuable typologies, albeit not monumental. As a result of the pressures exerted by large real estate developers, devastation occurred in various cities around the world. Buildings were decimated to make way for wide avenues and luxurious constructions; they were preserved only in monumental or typical areas, alongside the renovation. The value of an old area is not only in the buildings, but in the location and the centrality for those who live and work there. There are conflicts between the vehicles that need to circulate alongside the commerce and offices—the roads are not wide enough and were not built for this purpose. This generates a framework that tends to drag these centers to decadence. Applying solutions such as reserved roadways has led to good results, although they often generate conflict with the traders by prioritizing pedestrians. It is worth pointing out that Portas is emphatic when referring to the old areas as living spaces, subject to change, and not “dead” museums. Therefore, to safeguard the urban life, it is essential to create public policies that will enable the specific urban plans of the cities and ensure the survival of their historical patrimony. Giulio Carlo Argan in the History of Art as the History of the City In this work, Argan (1998) emphasizes the need to preserve the works of art, including the city, so as not to separate them from life or remove them from men’s consciences. This view is based on the principle that the center of a city must be understood as an historical reality, with social content and plurality of functions. Asite that cannot be immobilized or its functions violated. As an admirer of the Venetian School, Alberti (1966) cites and argues that the architecture is an artificial body inserted in the mass of natural bodies. He considers them artificial in that they are produced by the mind and human action, so that its categories are formed with the reflection, definition, and classification of phenomena. Alberti appropriates the concepts discussed by Rossi ([1966] 1995) in his publication A Arquitetura da Cidade [The Architecture of the City], and also of categories for analyzing the landscape of the city, such as “locus,” monuments, area-residence, old area, lots, and urban space. Both Rossi and Argan developed research on the issues involving the urban spaces and their problems. In his work, Rossi ([1966] 1995) writes about urban facts, which are in permanent and universal action within the cities, and the historical problems linked to these urban facts. He also writes on the private memory that is reflected in the daily life of the cities. It is worth emphasizing the importance of understanding that the city should be maintained as a whole and not as parts, as an urban zone and a rural zone, or as an “historical” zone and a “modern” zone, because these spaces are part of the whole urban environment. For Rossi ([1966] 1995) the urban facts, such as churches, private homes, monuments, and squares, are natural, singular, and unique. They are parts that make up the city. They divide these facts into area-residence and primary elements, i.e., a particular sphere and a private sphere. Argan (1998) and Rossi ([1966] 1995) affirm that particular forms are works produced by human hands and testify to the memory and values. As such, they constitute artistic object and fact. The city is something human. TRICÁRICO ET AL.: SOCIAL NETWORKS ANALYSIS FOR CULTURAL TOURISM They understand the process of dynamization of the city as continuity, where the development of the historical city and that of the modern city occur simultaneously. The old town should not become obsolete and stagnant; its monuments should be seen as artistic facts even though they are outside of the museum. Thus, the new town is not opposed to the historic city. The Method This research was grounded on Hakanson’s published works from 1987, which define social networks as a set of elements tied down by means of specific relations. These relations are structured in defined roles, attributions, and relationships between actors. On the other hand, the structured net power is characterized by the structuration process, heterogeneity, hierarchy, and externalization. This study dialogue with the social network analysis theories, which derived from social psychology researches, has been used to evaluate the child behavior as a context and social patterns product (Freeman 1996). In order to analyze individuals and groups behavior, Freeman (1996) separates the centrality concept into categories, such as centrality of level (number of bonds between the network participants), centrality of proximity (distance between participants), and centrality of intermediation (intermediate bonds between authors indirectly). There are other perspectives over the relationship between centrality and power. However, the basic principle of network theories is related to the position of an agent inside the social structure, the impact over his behavior and well-being, as well as over the other subgroups in the network. To authors such as Burt (1987), the network analysis may be relational or positional, stating that the relational models are grounded on the identification of regions connected within the totality or the most part of agents is connected between themselves. The positions are grounded on algebraic techniques whose objective is the identification of agents structurally equivalents, pair of agents connected to other parties. Some proponents of the aggregation techniques agree that members of specific groups— clicks—must present similar attitudes and behavior. The graphic-theoretical clicks are based on direct bonds between agents, whereas the blocks, cohesion models, and other positional groups are based on structural equivalence. Both models conduct to different previsions concerning the sources of influence and of interpersonal similarities. The relations between the clicks start from the coherent bonds between agents. The blocks, which are mostly used by network analysis, tend to influence one another. Burt (1987) suggests that structurally equivalent agents, because they take the same places in social structures, compete for the favors of other fellow. Due to that competition, they tend to mimic the acts of their structurally equivalent pairs. Some of the vast examples that support the cohesion model are the studies of Moore (1979), Friedkin (1984) and Laudmann and Knoke (1987). Therefore, the network analysis is considered an instrument of critical evaluation of the structures or structural ambients and its relation with actors, because it handles with relational data, which express connections between objects, us, individuals, or diversified groups whose focus disregards individual attributes (Wasserman and Faust 1994; Hanneman 2001). The Analysis of Social Networks The elements of analysis selected for this study were grouped in Table 1, which shows the relationship of the authors with their respective categories of landscape analysis.It is worth JOURNAL OF TOURISM AND LEISURE STUDIES emphasizing that Table 1 shows the categories of Rossini’s (2012)method and of the new authors added to this study. Table 1: Relationship of the Authors with the Categories of Landscape Analysis Authors and Categories Selected for the Study Category Review of Landscape Foundations Rossini’s (2012) Method New Foundations Cullen Lynch Rossi Boullón Portas Argan Perspective X Location X Contents X Landmarks X Nodes X Urban Fact X X Public Space X Route X Streets X X Tracks X Paths X Streets X X Tracks X Paths X Locus X X X Districts X X X X Monuments X X Building of Public Interest X Limits X X X Borders X X X Residential Area X X X Old Area X X X Study Area X X Lots X X X Sectors X Urban Space X X Source(s): Developed by the Authors, 2014, Based on the Works of Cullen (1971), Rossi ([1966] 1995), Lynch (1997), Argan (1998), Boullón (2002) and Portas (2011) The categories of analysis, listed above, have been represented in network through sociograms, where they appear positioned in the network by means of links or connections. In the sociogram network, the black dots represent authors and the gray dots represent the categories of analysis. They are shown in Figure 1, positioned in the network by means of links or connections that have been established at which time it was possible to graphically represent these connections. TRICÁRICO ET AL.: SOCIAL NETWORKS ANALYSIS FOR CULTURAL TOURISM Figure 1: Presentation of the Network Formed by Connections of the Authors in Their Respective Categories of Analysis. Transcription of the Terms of the Sociogram: landmark (marco); nodes (pontos nodais); urban fact (fato urbano); public space (logradouro); route (rota); street (rua); track (arruamento); path (caminho); locus (local); district (bairro); monument (monumento); building of public interest (ed. de interesse público); limit (limite); border (borda); residential area (área residencial); old area (área antiga); study area (área de estudo); lots (lotes); sectors (setores); urban space (espaço urbano); perspective (ótica); location (roteiro); content (conteúdo) Source: Developed by the authors, 2014 These two groups led to a “two mode” network matrix or network of “affiliation.”It allows the interpretation and reading of the sociogram, which considers the ratio of relationships of authors with the categories of analysis and also the affinity between the authors. In Figure 1 showing the sociogram network, the blacks dots represent authors, the gray dots the categories of analysis, and the red dots the categories of review that relate to more than one author. It is also possible to see the categories of analysis that indicate the conceptual ties between the authors, i.e., this sociogram highlights the categories that serve as links between the authors. Analyzing the position that each author occupies in the network (not in terms of place, but in terms of connections established between the authors), it is read who the author is (also referred to as actor) that provides the largest number of connections and thus presents a greater influence on the other actors. The actor who has the largest number of connections, regardless of the source of the information, is the one who can choose between several alternative forms of access to obtain the information of interest to him or her. This situation is associated with the degree of centrality of the actor. In this research, the actor that assumes greater importance before the number of connections established with the other is Rossi ([1966] 1995). Rossi proposes a greater number of categories to analyze the landscape of the city, which are referenced in the works of some of the actors of this research. He also makes use of the categories cited in works prior to his own, creating a network of more complete bonds. The categories that are most in evidence, and the presence of theses in the site analysis, indicate potential areas for the development of cultural tourism, namely: border, content, location, perspective, district, limit, study area, residential area, locus, and land lots. JOURNAL OF TOURISM AND LEISURE STUDIES Figure 2: Two-Mode Sociogram Network Showing the Connections between Historians through the Categories of Research Analysis. Transcription of the Terms of the Sociogram: landmark (marco); nodes (pontos nodais); urban fact (fato urbano); public space (logradouro); route (rota); street (rua); track (arruamento); path (caminho); locus (local); district (bairro); monument (monumento); building of public interest (ed. de interesse público); limit (limite); border (borda); residential area (área residencial); old area (área antiga); study area (área de estudo); lots (lotes); sectors (setores); urban space (espaço urbano); perspective (ótica); location (roteiro); content (conteúdo) Source: Developed by the Authors, 2014 In the sociogram in Figure 3, we see that Rossi ([1966] 1995) is the actor who has the greatest degree of centrality of this network. Figure 3: Measurement of the Connections between the Authors in the Network, According to the Degree of Centrality. Transcription of the terms of the sociogram: landmark (marco); nodes (pontos nodais); urban fact (fato urbano); public space (logradouro); route (rota); street (rua); track (arruamento); path (caminho); locus (local); district (bairro); monument (monumento); building of public interest (ed. de interesse público); limit (limite); border (borda); residential area (área residencial); old area (área antiga); study area (área de estudo); lots (lotes); sectors (setores); urban space (espaço urbano); perspective (ótica); location (roteiro); content (conteúdo) Source: Developed by the Authors, 2014 Conclusions and Recommendations With this research, it was possible to identify the author whose theoretical reference exerts a greater influence on all those who were elected to compose the theoretical body of this article. Thus, the research indicated the categories of landscape analysis that are essential for reading the TRICÁRICO ET AL.: SOCIAL NETWORKS ANALYSIS FOR CULTURAL TOURISM tourism potential and that comprised the built landscape of historical centers, a theme that was also discussed during the drafting of Rossini’s (2012) method. This matrix of categories of landscape analysis, which constitutes a new method, when applied, will indicate built differentials, once abandoned or forgotten. It will also help society to understand the importance of appropriating material goods as an opportunity to preserve and recover the memory of the past, so that future generations can experience them, both to understand the cultural characteristics of other peoples and to keep alive the identity of these societies from the past that have contributed to the construction of the future. The accuracy of historical facts has become raw material for tourism entrepreneurs. The landscape that was being changed by urban facts that have taken place over the time, which left their marks and configure the present urban environment, came to be considered a work of art. Thus, the place, the image, and the identity came to be fundamental parts for the operationalization of the dissemination and promotion of local culture.In addition, the consolidation of this scenario will instigate the preservation of the built patrimony, valuing them and promoting an understanding that these signs record the past in order to connect tourism with the immaterial culture and the city. Therefore, it is a fact that the cities that still preserve their individual characteristics may emerge on the world scene. This is because the cultural tourism segment looks for these unique differentials, attractions, which can contribute to the construction of new cultural facilities. It is also noted that the Italian School of Architecture, here represented under the auspices of the work of Rossi ([1966] 1995), exercised a great influence on the scholars who permeated the modernist movement worldwide. It is recommended that the works developed in the past can be revised, supplemented, and updated so that they can be improved, because the scientific product is dynamic; the paradigms of today will not be the same tomorrow. Acknowledgement This work arose out of research funded by the CAPES, Brazil. REFERENCES Alberti, L. B. 1966. De Re Aedificatoria [About the building]. Texto em latim na edição de G. Orlandi, 1966. Milão: II Polifilio. Argan, Giulio Carlos. 1998. A Historia da Arte como Historia da Cidade [The History of the Art as History of the City]. São Paulo: Martins Afonso. Boorman, S. A., and H. C. White. 1981. “Social Structure from Multiple Networks II.”American Journal of Sociology 63 (3): 309-330. Boullón, R. C. 1995. 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