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  1. Tourism Art and Souvenirs: The Material Culture of Tourism
  2. Tourism Art and Souvenirs: The Material Culture of Tourism by David L. Hume
  3. 1st Edition
  4. Recommended For You
  5. Routledge Advances in Tourism

One type of cultural tourism destination is living cultural areas.

Tourism Art and Souvenirs: The Material Culture of Tourism

Visiting any culture other than one's own such as traveling to a foreign country. It has been shown that cultural attractions and events are particularly strong magnets for tourism. In order to understand properly the concept of cultural tourism, it is necessary to know the definitions of a number terms such as, for example, culture, tourism, cultural economy, cultural and tourism potentials, cultural and tourist offer, and others. As the issue of globalization takes place in this modern time, the challenge of preserving the few remaining cultural communities around the world is becoming hard.

In a tribal-based community, reaching economic advancement with minimal negative impacts is an essential objective to any destination planner. Since they are using the culture of the region as the main attraction, sustainable destination development of the area is vital for them to prevent the negative impacts i.

The needs, expectations, and anticipated benefits from tourism vary the money is good there. This is clearly exemplified as local communities living in regions with tourism potential destinations develop a vision for what kind of tourism they want to facilitate, depending on issues and concerns they want to be settled or satisfied. It is important that the destination planner take into account the diverse definition of culture as the term is subjective.

The quality of service and destination, which does not solely depend on the cultural heritage but more importantly to the cultural environment, can further be developed by setting controls and policies which shall govern the community and its stakeholders.

Tourism Art and Souvenirs: The Material Culture of Tourism by David L. Hume

While satisfying tourists' interests and demands may be a top priority, it is also imperative to ruminate the subsystems of the destination's residents. The plan should incorporate the locals to its gain by training and employing them and in the process encourage them to participate to the travel business. Travellers should be not only aware about the destination but also concern on how to help it sustain its character while broadening their travelling experience.

International tourism changes the world. More Details Other Editions 2.


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Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Tourism Art and Souvenirs , please sign up. Be the first to ask a question about Tourism Art and Souvenirs. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. All Languages. More filters. Sort order. Tiffany Ng marked it as to-read Apr 16, My next move is to scrutinise the collecting motive of the anthropologist as the proto-tourist.

Here I discovered that the anthropologist and the tourist have much in common; both spend prescribed periods of time away from their usual environment, immerse themselves in exotic environments and cultures, and seek to record their experiences by the collection of exotic ma- terial goods.

Moreover, it is in the collection of the art and craft of other cul- tures that the habits of the tourist and anthropologist are most closely re- lated. It has been pointed out, during this research, that many anthropologists dis- regarded tourist art as a genuine cultural artefact, specific to the subject of their inquiry. It was not until nineteen seventy six that Graburn recognised the value of tourist art as a signifier of cultural change and adaptation.

1st Edition

To achieve this I examine the structure of the fetish in the belief that souvenirs operate in much the same manner. Here I detected five common elements. Fetish objects, like souvenirs, are frag- ments of an experience from which the whole subject of the experience is imaginatively reconstructed. Secondly, the projection of the whole from the fragment permits the placa- tion and integration of a difficult memory, such as the end of the holiday period. The collection of souvenirs not only helps to sustain the holiday ex- perience, but the holiday anecdote is made more credible if it can be anchored to a material form.

The idea that the fetish object, embodied in the souvenir, could have mean- ing to anyone other than the collector presented a problem for my ensuing study and called for a re-assessment of the way in which the narrative, at- tached to the fetish object, functions. This is achieved by tracking the sub- sequent reception of, one-time, fetish objects and artworks, from objects of furtive and personal satisfaction, to their current public display within the museogallery system.

Surplus value is the next common element that I deal with. This has to do with the way the meaning of certain artefacts is communally authorised. I have shown that the souvenir not only has the ability to conjure the entire holiday experience and, as such, is invested with a surplus value by the tourist, but also that this capacity is inherent in the price the tourist is prepared to pay for the souvenir. The final common element, shown to exist between the fetish object and souvenir, is the serial nature of both objects. Within this research, this is interpreted as a communal fetish for same or similar objects, which, in turn, supports the notion that the fetish object has meaning beyond the furtive and deeply personal.

This interpreta- tion of the fetish is not confined to the study of souvenirs alone, but may also be applied to the study of museogallery collections, with respect to the altered reception of artefacts, due to changing economic and social condi- tions. The serial production of souvenirs is investigated, more closely, in chapter five where I cite a number of examples and trace the development of tradi- tional style and its application to tourist art and souvenirs.

Through ex- amples drawn from ethnographic collections of Australian Aboriginal and Canadian First Nations artefacts, Here I show how design and style may be adapted from traditional purpose and applied to the production of canonical artefacts, made for the purpose of satisfying the tourist gaze.

Souvenir, Art, or Anthropology?

For instance, I argue that the monochrome linear representation of events, traditional to the Koori people of the Southeastern Australian mainland, has been applied, through the pokerwork technique, to the decoration of souvenir artefacts. From this I am able to establish a typology of the visual language of souvenirs, through which the expression of all souvenirs may be assessed. The language of souvenirs is found to be comprised of five main compon- ents. They are: a Medium b Makers mark c Relational d Invitational e Iconofetish Each of these narrative components is present, to some degree, in the ex- pression of all souvenirs.

By assessing the degree to which each narrative component exists in individual souvenirs I have been able to map the ex- pressive patterns of numerous souvenir objects and artefacts. In the development of this typology I have, in chapter six, analyzed a con- siderable number of souvenirs and other artefacts and objects to demonstrate how their expression may be read as a type of language. Like language, most, if not all, of the examples I have cited have developed organically from the heritage of the people and place that the artefacts have come to rep- resent.

Likewise, the Dombrovskian school of landscape photography developed out of a sensitiv- ity toward the Tasmanian environment that emerged in the nineteen seven- ties and matured with the world-wide campaign to save the Franklin River during the early nineteen eighties. The same may be said of other souvenirs, such as Tasmanian woodcrafts and similar artefacts cited in this project, in- cluding those from the First Nations of the Canadian West Coast. Some, like the boomerang, are steeped in thousand year traditions, others, such as the Dombrovskian style of landscape photography, are less en- trenched but equally symbolic of the social system and culture of the period and place that produced the artefacts.


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They are ghosts with substance, or the body of the past. From my initial qualification of the Crafted category I show that the me- dium, from which the souvenir is constituted, is the primary criterion of this group of souvenirs. This is recognised in the assessment of the medium from which the souvenir is produced and plotted graphically along the Me- dium axis. To that end, I have allocated a numeric value of ten 10 to a souvenir whose expression is generated solely from its raw mater- ial in its natural form.

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In contrast, the souvenir made from a generic medium is situated at the other end of the scale, while a souvenir crafted from an en- demic material is plotted in the middle of the scale. However, an enticing form, articulated from a robust substance, is shown to produce a souvenir of enhanced narrat- ive qualities, bearing significant invitational features. This may be extended further when utility and play are among those qualities.

Through play mean- ing and understanding are enhanced and made easier to appreciate; they are brought closer to the viewer and their function more easily understood and integrated. This interactive capacity of the souvenir is plotted along the Invitational axis. Meaning is bound up in narrative and within the structures of this typology it is discussed first as inherent meaning: what or whom the artefact relates to through its substance and form.

Routledge Advances in Tourism

In the case of artefacts made from rare tim- bers, examined in this project, the raw material is specific to the site. A more complex critique comes with a study of the status of that meaning and how it is propelled or sustained. Most souvenirs are born out of herit- age, growing and mutating organically through human interpretation and imagination that is initiated by contact with other cultures and systems of visual communication. Over time the successful souvenir comes to be taken as the immutable symbol of the culture and place of its origin.