By D. Medina Lasansky, Brian McLaren
Structure and Tourism examines the connection among tourism and the equipped atmosphere and indicates how images, movie, and souvenirs were deployed to assist mediate and mythologize particular websites. It additionally explores how vacationer itineraries, habit, and literature help greater cultural goals. Drawing upon case reviews within the usa, Cuba, Ghana, Greece, France, Italy, Libya, Mauritius and Spain, structure and Tourism explores the touristic event, illustration and that means of position inside of designated cultural contexts. From the previous websites of the slave exchange at the Ghanean coast to the city renewal of previous Havana and the honeymoon motels within the Poconos, this publication offers provocative insights into the perform of tourism and the belief of position.
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Additional resources for Architecture and Tourism: Perception, Performance and Place
Souvenirs of Rome participated explicitly in Early Modern understandings of the workings of memory. The “art of memory” or “artificial memory” (artificiosa memoria) was known to medieval philosophers through the works of the classical rhetoricians Cicero and Quintilian. 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.
This was a primary purpose of the pilgrim badge, but it was also an ersatz, a stand in for more precious objects that could not be taken away from the shrine. The ultimate source of the souvenir is, in the context of European travel, the holy relic. The conversion of singular relics into reproducible commodities provided a precedent for a similar conversion of Roman art and architecture as interest in antiquities grew in the fifteenth and sixteenth centuries. Nor did the canon of ancient architecture and sculpture emerge out of nowhere.
Since the time of Lafréry, these three had been the focus of Roman souvenir imagery, if not always within the same view. Eighteenth-century viewers would have been further encouraged to see this image as authentic by the inclusion of model tourists within the view (Cooper 1999), who offer by proxy a first-hand visual experience. Like the monuments, the – 19 – Defining a Canon and a Mode of Perception Image not available inhabitants of his cityscape are of different types. Only the wealthy figures, however, seem to pay proper attention to their surroundings (Benson 2002).