By D. Medina Lasansky, Brian McLaren
Structure and Tourism examines the connection among tourism and the equipped setting and exhibits how images, movie, and souvenirs were deployed to aid mediate and mythologize particular websites. It additionally explores how vacationer itineraries, habit, and literature aid higher cultural goals. Drawing upon case reviews within the usa, Cuba, Ghana, Greece, France, Italy, Libya, Mauritius and Spain, structure and Tourism explores the touristic adventure, illustration and which means of position inside of exact cultural contexts. From the previous websites of the slave alternate at the Ghanean coast to the city renewal of outdated Havana and the honeymoon hotels within the Poconos, this ebook presents provocative insights into the perform of tourism and the notion of position.
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Extra resources for Architecture and Tourism: Perception, Performance and Place
Its tradition of tourism dates back to the Middle Ages, when the aspiration of European Christians was to make the pilgrimage to this holiest of cities, the seat of their Church. In the Renaissance and Baroque periods, the city’s double patrimony of ancient ruins and new monuments presented instead a cultural attraction to artists, architects, antiquarians (early archaeologists), historians, and the first nobles to set out on the Grand Tour from points north. Rome’s transition from pilgrimage to tourist destination was in part a conscious one.
Reproducibility, a defining characteristic of the souvenir in general, has particular importance in the development of souvenirs of Rome. Reproducible souvenirs put in their first appearance by the twelfth century, in the form of cast metal badges that pilgrims brought home from holy sites. Impressed onto the surfaces of the badges were attributes of the saint to whom a shrine was dedicated or schematic representations of saints themselves. Such simplified signs allowed the badge to proclaim its provenance after the pilgrim returned home, proof of the successful completion of a sacred journey.
In his Institutio Oratoria, which would have been familiar to educated Renaissance and Baroque viewers, Quintilian coached his readers in the development of the faculty of memory (XI, ii, 18–21; 1922: 221–223). He proposed an architectonic and topographical method in which the individual was to conjure up a mental map of a house or cityscape to serve as the container for memory. When any series of things was to be memorized, one should simply translate each fact into a striking image and entrust it to the guardianship of a single building, room, sculpture, or other feature of the mental landscape.