Marxiano Melotti
Cultural and Archaeological Heritage.
Use of the past in modern and contemporary societies.
History of tourism and cultural heritage. Educational processes and education to heritage (archaeological sites, museums, living history, edutainment).
Cultural heritage, tourism and governance. Archaeological and cultural tourism. Tourism and local policies. World Heritage Management.
Heritage and Authenticity. Heritage and Globalization. Heritage and Post-Modern Society. Edutainment and Living History.
Tourism, Archaeology and Virtual Reality.
Underwater Tourism. Underwater archaeological Tourism.
Address: skype: marxiano.melotti
google hangouts: Marxiano Melotti
Use of the past in modern and contemporary societies.
History of tourism and cultural heritage. Educational processes and education to heritage (archaeological sites, museums, living history, edutainment).
Cultural heritage, tourism and governance. Archaeological and cultural tourism. Tourism and local policies. World Heritage Management.
Heritage and Authenticity. Heritage and Globalization. Heritage and Post-Modern Society. Edutainment and Living History.
Tourism, Archaeology and Virtual Reality.
Underwater Tourism. Underwater archaeological Tourism.
Address: skype: marxiano.melotti
google hangouts: Marxiano Melotti
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Papers by Marxiano Melotti
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A reflection on a key theme in the sociology of tourism: the complex relationship between tourism, experience and authenticity. The paper, after a theoretical introduction, analyzes some significant cases, such as the themed activities of some Las Vegas resorts and the experiences offered on the Airbnb Experience website. Particular attention is dedicated to the growing importance of storytelling in the construction of tourist experiences and the role of the Travel Experience Designer.
Tra mito e realtà, rappresentazione mediatica e ideologia politica, cinema e archeologia, cultura e turismo, cronaca e politiche urbane e culturali, tanto il Lido di Ostia quanto il Parco Archeologico di Ostia Antica appaiono imprigionati in una complessa dimensione di alterità, liminalità e perifericità, tra immagini che alternano degrado, violenza, morte, divertimento, disimpegno e sessualità.
During its heyday in the 100s and 200s, Ostia was a lively trade and seafaring center with about 50,000 inhabitants. Bread and wine traveled to Rome through Ostia, along with new ideas. Dozens of different nationalities, who practiced about 20 different religions, lived in Ostia. However, the multicultural and multi-religious population seems to have lived in peaceful coexistence.
The exhibition, featuring the latest research results from ancient Ostia, is the result of longstanding international cooperation. The exhibition has been executed jointly with a project funded by the Academy of Finland and the Tampere University, Segregated or Integrated? Living and Dying in the harbour city of Ostia 300 BCE – 700 CE, the Finnish Institute in Rome, and the Parco Archeologico di Ostia Antica researchers.
Objects are on loan mainly from Parco Archeologico di Ostia Antica. Other lenders include Museo della Civiltà Romana and Museo Nazionale Romano (Palazzo Massimo).
Political narratives, based on the importance of enhancing socio-cultural awareness of migration crisis, offer an effective cover to many of these operations. Migrants and refugees, and their bodies, tend to become objects of tourist and media gaze, though their real stories and memories are hardly taken into account.
Ai Weiwei’s sophisticated installations with life jackets and rubber boats in Berlin, Vienna and Florence show the deep interrelation between media, marketing and cultural policies.
In such a context the island of Lampedusa, where thousands and thousands of migrants and refugees strive to arrive by sea, has become the setting of movies, TV serials and documentaries, one of which was even proposed for the Oscar awards. The island also hosted the exhibition “Towards the Museum of the Mediterranean dialogue”, displaying objects of migrants dead during their journey, and an underwater exhibition with photos of migrants and refugees.
In Lanzarote (Canary Islands, Spain) the underwater “Atlántico Museum”, inaugurated in 2016, exhibits the “Rift of Lampedusa”, a huge cement sculpture by Jason deCaires Taylor, representing a rubber boat crowded by migrants fleeing from North Africa. Among them there are also dead bodies.
These cases are “good to think” the difficult relationship between tragedies, tourism and art industry, as well as between spectacularization of the sufferance, tourist gaze and cultural policies.
Expressions such as “the new Italian Renaissance” and “pact of the beauty” help define the new rhetoric of the cultural heritage and become masks of contemporary life, which even mask monuments and art cities.
Michelangelo’s David and the Riace Bronzes have been extensively metabolized by politics, which, according to a well-known practice, uses them to legitimize the power by suggesting a cultural continuity between the present and the past. But, in the post-modern use, this practice mixes the political function of these “masks” with the global imagery of shopping and tourism.
The new “liquidity” of the historic and artistic heritage converges with the new practices interrelating culture, shopping and tourism. It is a global process, marked by the “theming” of cultural heritage and “culturalization” of consumption, which concerns outlets, special events and fashion shows and transforms art cities, monuments and museums.
The paper dwells on some significant cases: an “archaeo-experiential” restaurant in Pompeii, with ancient and modern cuisine, located in a new building in Pompeian style; a series of “events” in Rome, where the visit to an underground archaeological site includes an archaeo-gastronomic aperitif; an initiative in Tivoli, combining a visit to the local excavations with a tasting of ancient Roman cuisine; a winery in Tuscany, inside a real archaeological site, which has set up an archaeological museum in its building, organizes themed tastings and promotes various events in its cellar, designed by a famous architect.
In this context we must remark the formation of a new creative entrepreneurship: young archaeologists, art historians and graduates in communication and cultural heritage "invent" new forms of fruition of the past capable of responding to cultural change, intercepting the new tourist demands and filling the void left by the institutions. These activities also give rise to niche food chains, fostered by the attention to local authenticity. It is a small but promising market not only in countries, like Italy, characterized by rich archaeological heritage, long-standing agricultural production, great culinary tradition and growing cultural and gastronomic tourism.
These forms of experimental archaeology are very important at a time of persistent economic crisis, impoverishment of the system of cultural heritage and, above all, long-term unemployment of many young experts in this field, crucial for the country’s development.
Much time has passed since the glorious age of the eclectic Hearst castle in San Simeon, California, or the Renaissance mansions in Newport, Rhode Island. Heritage is no longer only a tool to invent or enhance the past of the “new world”; it is an instrument to culturalize shopping experiences also in the “old Europe” and almost everywhere is an effective means used to give authenticity to many consumption experiences. Models and copies, going to and fro across the Atlantic Ocean, have blended in new practices intertwining tourism, leisure, shopping and education. Globalization and the spreading of new markets (and new tourists) have much complicated what once was a simple bilateral relation: recently Venice canals and Michelangelo’s David’s statues have appeared even in China.
But what does heritage really mean for the new global trans-Atlantic market? And on which idea of the past are based the new fluid relationships? Post-modernity, globalization and consumerism have not only changed consumers’ and tourists’ behaviour; they have also created new relations with history and education, where de-intellectualization, leisure and edutainment play an important role, worthy of being explored and studied.
The relationship with the past is particularly interesting. The central archaeological area of Rome has become a sort of theme park, owing to the huge flows of tourists that it receives and the process of Disneyization that it has undergone, though – unlike many other Italian heritage towns, such as Venice and Florence – Rome still preserves a significant local identity and an urban life that goes far beyond tourism. The theming is present in its urban context owing partly to tourism and partly to the usual culturalization of consumption (hotels with Roman names, restaurants with Roman menus, resin souvenirs of the Colosseum, T-shirts with gladiators and legionaries etc.). We can single out the theming even in some of its most iconic places. The area of the Colosseum and forums, together with Via dei Fori Imperiali, which crosses and unites them, appears as an invisible and diffused theme park: a specialized district for leisure and cultural consumption where archaeological heritage acts as an attraction. It is not a leisure space themed to archaeology, but an archaeological space used as a theme park. Legionaries and gladiators for pictures and re-enactors act as living attractions.
Other spaces contribute to this process. Cinecittà, the dream machine of a boundless park, has helped to build the image of Rome and to theme the city. Its studios host film sets, which are at the same time a themed environment, an unusual archaeological site and a place where the myth of Rome is continually reshaped. Though distant from the main archaeological area, these studios are tied to it by an invisible thread, since they play an important role in the definition of its image. Outside the city, but inside its territory, there is also a small themed district formed by a Roman-themed outlet, “Castel Romano,” and an amusement park, “Cinecittà World”, themed to the studios that nurtured the golden age of Italian cinema.
Similarly, north of Rome, near Civitavecchia, where giant cruise ships bring huge tourist flows, a group of businessmen is trying to create “Roma Vetus”, a pharaonic theme park with reconstructions of many Roman monuments. In line with the current trends of experiential and sensory tourism, visitors would be allowed to relax in Roman baths, mint coins and grind grain. Groups of re-enactors would give life to the park, but visitors themselves would be enabled to rent costumes of gladiators, centurions and senators. We are clearly in the world of entertainment, far away from the open-air archaeological museums with their reconstructions and living-history activities. Its creators maintain that “Roma Vetus” will be used at the same time as theme park and a set for films and TV series. This park is probably destined to remain the dream of a minor group of daring speculators, but it clearly represents the dynamics at work in our liquid world.
In Italia da alcuni anni stiamo assistendo, da parte delle amministrazioni, degli operatori turistici e dei turisti stessi, alla definizione di un sistema di “narrative turistiche” fortemente tematizzate sul cibo e sul vino. L’Expo 2015 di Milano ha costituito un momento chiave di questo processo. Il suo argomento, “Nutrire il pianeta”, aveva in teoria un respiro globale, che implicava una riflessione più alta, di carattere anche etico-politico, ma l’Expo, di fatto, è stata largamente riconvertita in un grande festival dell’enogastronomia, all’insegna della valorizzazione dei prodotti locali, dell’autenticità territoriale, della “lentezza” e così via. Ciò ha contribuito ad accelerare il processo di “enogastronomizzazione” del turismo, delle politiche locali e della stessa elaborazione scientifica italiana.
L’aspetto paradossale è che questa nuova ricerca dell’autenticità locale, rivolta alla definizione di pratiche turistiche innovative e, in senso più ampio, alla rivendicazione di una specificità territoriale in contrasto con l’uniformità indotta dai nuovi mercati globali, si risolve spesso in attività seriali che tendono a omogeneizzare territori caratterizzati da un’intrinseca diversità.
La promozione del territorio passa di frequente attraverso la “tematizzazione” del patrimonio storico-culturale, che accompagna un processo di “patrimonializzazione” del Paese, in cui tutto diventa, o è presentato, come patrimonio culturale. Stiamo assistendo alla diffusione di una nuova retorica che interconnette patrimonio culturale e mercato. I monumenti storici sono usati per suggerire una relazione tra merce e territorio. Il passato è utilizzato per assicurare autenticità alla merce e il “nuovo” prodotto commerciale è presentato come un elemento costitutivo della “tradizione”. Questo meccanismo, particolarmente efficace per cibo e vino, viene sempre più spesso utilizzato nella comunicazione pubblicitaria.
Il capitolo affronta l’argomento attraverso l’analisi di una serie di casi particolarmente significativi (il vino di Pompei, tematizzato con riferimento al sito archeologico; la proliferazione di eventi enogastronomici tematizzati; il caso eclatante dell’Expo 2015 a Milano; lo sviluppo di pratiche di consumo e di degustazione in aree d’interesse archeologico e in musei; la diffusione delle “strade del vino”; la moltiplicazione di forme di re-enactment e di living history e di eventi in cui la storia diventa uno strumento seriale di promozione del territorio. Non mancano, peraltro, anche forme di “mitopoiesi commerciale creativa”.
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A reflection on a key theme in the sociology of tourism: the complex relationship between tourism, experience and authenticity. The paper, after a theoretical introduction, analyzes some significant cases, such as the themed activities of some Las Vegas resorts and the experiences offered on the Airbnb Experience website. Particular attention is dedicated to the growing importance of storytelling in the construction of tourist experiences and the role of the Travel Experience Designer.
Tra mito e realtà, rappresentazione mediatica e ideologia politica, cinema e archeologia, cultura e turismo, cronaca e politiche urbane e culturali, tanto il Lido di Ostia quanto il Parco Archeologico di Ostia Antica appaiono imprigionati in una complessa dimensione di alterità, liminalità e perifericità, tra immagini che alternano degrado, violenza, morte, divertimento, disimpegno e sessualità.
During its heyday in the 100s and 200s, Ostia was a lively trade and seafaring center with about 50,000 inhabitants. Bread and wine traveled to Rome through Ostia, along with new ideas. Dozens of different nationalities, who practiced about 20 different religions, lived in Ostia. However, the multicultural and multi-religious population seems to have lived in peaceful coexistence.
The exhibition, featuring the latest research results from ancient Ostia, is the result of longstanding international cooperation. The exhibition has been executed jointly with a project funded by the Academy of Finland and the Tampere University, Segregated or Integrated? Living and Dying in the harbour city of Ostia 300 BCE – 700 CE, the Finnish Institute in Rome, and the Parco Archeologico di Ostia Antica researchers.
Objects are on loan mainly from Parco Archeologico di Ostia Antica. Other lenders include Museo della Civiltà Romana and Museo Nazionale Romano (Palazzo Massimo).
Political narratives, based on the importance of enhancing socio-cultural awareness of migration crisis, offer an effective cover to many of these operations. Migrants and refugees, and their bodies, tend to become objects of tourist and media gaze, though their real stories and memories are hardly taken into account.
Ai Weiwei’s sophisticated installations with life jackets and rubber boats in Berlin, Vienna and Florence show the deep interrelation between media, marketing and cultural policies.
In such a context the island of Lampedusa, where thousands and thousands of migrants and refugees strive to arrive by sea, has become the setting of movies, TV serials and documentaries, one of which was even proposed for the Oscar awards. The island also hosted the exhibition “Towards the Museum of the Mediterranean dialogue”, displaying objects of migrants dead during their journey, and an underwater exhibition with photos of migrants and refugees.
In Lanzarote (Canary Islands, Spain) the underwater “Atlántico Museum”, inaugurated in 2016, exhibits the “Rift of Lampedusa”, a huge cement sculpture by Jason deCaires Taylor, representing a rubber boat crowded by migrants fleeing from North Africa. Among them there are also dead bodies.
These cases are “good to think” the difficult relationship between tragedies, tourism and art industry, as well as between spectacularization of the sufferance, tourist gaze and cultural policies.
Expressions such as “the new Italian Renaissance” and “pact of the beauty” help define the new rhetoric of the cultural heritage and become masks of contemporary life, which even mask monuments and art cities.
Michelangelo’s David and the Riace Bronzes have been extensively metabolized by politics, which, according to a well-known practice, uses them to legitimize the power by suggesting a cultural continuity between the present and the past. But, in the post-modern use, this practice mixes the political function of these “masks” with the global imagery of shopping and tourism.
The new “liquidity” of the historic and artistic heritage converges with the new practices interrelating culture, shopping and tourism. It is a global process, marked by the “theming” of cultural heritage and “culturalization” of consumption, which concerns outlets, special events and fashion shows and transforms art cities, monuments and museums.
The paper dwells on some significant cases: an “archaeo-experiential” restaurant in Pompeii, with ancient and modern cuisine, located in a new building in Pompeian style; a series of “events” in Rome, where the visit to an underground archaeological site includes an archaeo-gastronomic aperitif; an initiative in Tivoli, combining a visit to the local excavations with a tasting of ancient Roman cuisine; a winery in Tuscany, inside a real archaeological site, which has set up an archaeological museum in its building, organizes themed tastings and promotes various events in its cellar, designed by a famous architect.
In this context we must remark the formation of a new creative entrepreneurship: young archaeologists, art historians and graduates in communication and cultural heritage "invent" new forms of fruition of the past capable of responding to cultural change, intercepting the new tourist demands and filling the void left by the institutions. These activities also give rise to niche food chains, fostered by the attention to local authenticity. It is a small but promising market not only in countries, like Italy, characterized by rich archaeological heritage, long-standing agricultural production, great culinary tradition and growing cultural and gastronomic tourism.
These forms of experimental archaeology are very important at a time of persistent economic crisis, impoverishment of the system of cultural heritage and, above all, long-term unemployment of many young experts in this field, crucial for the country’s development.
Much time has passed since the glorious age of the eclectic Hearst castle in San Simeon, California, or the Renaissance mansions in Newport, Rhode Island. Heritage is no longer only a tool to invent or enhance the past of the “new world”; it is an instrument to culturalize shopping experiences also in the “old Europe” and almost everywhere is an effective means used to give authenticity to many consumption experiences. Models and copies, going to and fro across the Atlantic Ocean, have blended in new practices intertwining tourism, leisure, shopping and education. Globalization and the spreading of new markets (and new tourists) have much complicated what once was a simple bilateral relation: recently Venice canals and Michelangelo’s David’s statues have appeared even in China.
But what does heritage really mean for the new global trans-Atlantic market? And on which idea of the past are based the new fluid relationships? Post-modernity, globalization and consumerism have not only changed consumers’ and tourists’ behaviour; they have also created new relations with history and education, where de-intellectualization, leisure and edutainment play an important role, worthy of being explored and studied.
The relationship with the past is particularly interesting. The central archaeological area of Rome has become a sort of theme park, owing to the huge flows of tourists that it receives and the process of Disneyization that it has undergone, though – unlike many other Italian heritage towns, such as Venice and Florence – Rome still preserves a significant local identity and an urban life that goes far beyond tourism. The theming is present in its urban context owing partly to tourism and partly to the usual culturalization of consumption (hotels with Roman names, restaurants with Roman menus, resin souvenirs of the Colosseum, T-shirts with gladiators and legionaries etc.). We can single out the theming even in some of its most iconic places. The area of the Colosseum and forums, together with Via dei Fori Imperiali, which crosses and unites them, appears as an invisible and diffused theme park: a specialized district for leisure and cultural consumption where archaeological heritage acts as an attraction. It is not a leisure space themed to archaeology, but an archaeological space used as a theme park. Legionaries and gladiators for pictures and re-enactors act as living attractions.
Other spaces contribute to this process. Cinecittà, the dream machine of a boundless park, has helped to build the image of Rome and to theme the city. Its studios host film sets, which are at the same time a themed environment, an unusual archaeological site and a place where the myth of Rome is continually reshaped. Though distant from the main archaeological area, these studios are tied to it by an invisible thread, since they play an important role in the definition of its image. Outside the city, but inside its territory, there is also a small themed district formed by a Roman-themed outlet, “Castel Romano,” and an amusement park, “Cinecittà World”, themed to the studios that nurtured the golden age of Italian cinema.
Similarly, north of Rome, near Civitavecchia, where giant cruise ships bring huge tourist flows, a group of businessmen is trying to create “Roma Vetus”, a pharaonic theme park with reconstructions of many Roman monuments. In line with the current trends of experiential and sensory tourism, visitors would be allowed to relax in Roman baths, mint coins and grind grain. Groups of re-enactors would give life to the park, but visitors themselves would be enabled to rent costumes of gladiators, centurions and senators. We are clearly in the world of entertainment, far away from the open-air archaeological museums with their reconstructions and living-history activities. Its creators maintain that “Roma Vetus” will be used at the same time as theme park and a set for films and TV series. This park is probably destined to remain the dream of a minor group of daring speculators, but it clearly represents the dynamics at work in our liquid world.
In Italia da alcuni anni stiamo assistendo, da parte delle amministrazioni, degli operatori turistici e dei turisti stessi, alla definizione di un sistema di “narrative turistiche” fortemente tematizzate sul cibo e sul vino. L’Expo 2015 di Milano ha costituito un momento chiave di questo processo. Il suo argomento, “Nutrire il pianeta”, aveva in teoria un respiro globale, che implicava una riflessione più alta, di carattere anche etico-politico, ma l’Expo, di fatto, è stata largamente riconvertita in un grande festival dell’enogastronomia, all’insegna della valorizzazione dei prodotti locali, dell’autenticità territoriale, della “lentezza” e così via. Ciò ha contribuito ad accelerare il processo di “enogastronomizzazione” del turismo, delle politiche locali e della stessa elaborazione scientifica italiana.
L’aspetto paradossale è che questa nuova ricerca dell’autenticità locale, rivolta alla definizione di pratiche turistiche innovative e, in senso più ampio, alla rivendicazione di una specificità territoriale in contrasto con l’uniformità indotta dai nuovi mercati globali, si risolve spesso in attività seriali che tendono a omogeneizzare territori caratterizzati da un’intrinseca diversità.
La promozione del territorio passa di frequente attraverso la “tematizzazione” del patrimonio storico-culturale, che accompagna un processo di “patrimonializzazione” del Paese, in cui tutto diventa, o è presentato, come patrimonio culturale. Stiamo assistendo alla diffusione di una nuova retorica che interconnette patrimonio culturale e mercato. I monumenti storici sono usati per suggerire una relazione tra merce e territorio. Il passato è utilizzato per assicurare autenticità alla merce e il “nuovo” prodotto commerciale è presentato come un elemento costitutivo della “tradizione”. Questo meccanismo, particolarmente efficace per cibo e vino, viene sempre più spesso utilizzato nella comunicazione pubblicitaria.
Il capitolo affronta l’argomento attraverso l’analisi di una serie di casi particolarmente significativi (il vino di Pompei, tematizzato con riferimento al sito archeologico; la proliferazione di eventi enogastronomici tematizzati; il caso eclatante dell’Expo 2015 a Milano; lo sviluppo di pratiche di consumo e di degustazione in aree d’interesse archeologico e in musei; la diffusione delle “strade del vino”; la moltiplicazione di forme di re-enactment e di living history e di eventi in cui la storia diventa uno strumento seriale di promozione del territorio. Non mancano, peraltro, anche forme di “mitopoiesi commerciale creativa”.
Questo libro, frutto di una pluriennale collaborazione con il Centro internazionale di ricerca e studi su Carnevale, Maschera e Satira, cerca di rispondere a queste e ad altre domande, affrontando criticamente una serie di temi chiave per comprendere la cultura postmoderna in cui viviamo e quella post-postmoderna in cui stiamo entrando. Una riflessione insomma sulla società che da "liquida", come sosteneva Bauman, è già diventata "vischiosa".
Marxiano Melotti, Carnevalizzazione e società postmoderna. Maschere, linguaggi, paure, Progedit, Bari 2019
1. L’outlet dell’antico: mobilità, shopping e turismo.
Castel Romano Outlet tra turismo, shopping e archeologia
2. I super-Mercati di Traiano
3. Vini e profumi: turismo archeologico nell’età dello shopping.
Pompei e il vino Villa dei Misteri
1. Una straordinaria opportunità
2. Elitismo gentrificato e slow diving
3. Una pratica virtuale ed educativa
4. Mondo blu e mondo grigio: l’alterità del turismo subacqueo
5. Una cura per un sistema cancerizzato? Il caso di Siracusa
6. La chimera del turismo sostenibile: le Cinque Terre e Capri
7. I percorsi subacquei di Ustica: turismo e archeologia
8. Autenticità e spazi marini: Ustica e Corfu
9. Turisti, archeologi o pirati? Spot e archeologia subacquea
10. Atlantide e il turismo subacqueo pseudo-archeologico
11. Ustica: il museo delle anfore tra voyeurismo e necrofilia
12. Dal mito alla realtà: i percorsi fantasma di Ustica
13. Il sontuoso mondo di Baia e la nascita del turismo
14. Il parco sommerso di Baia e il Ninfeo di Punta Epitaffio
15. La vendetta del Ciclope: un percorso difficile
The rich network of canals and the large agricultural areas near Milan enable it to become an innovative “blue-green city”. But in its centre most of the canals were covered in the ‘20s and now we witness a lively debate on their reopening. In fact, according to many, the Navigli could play an important role in enhancing the new Metropolitan City of Milan and its tourism. The 5th centenary of the death of Leonardo (2019) might be a good occasion for implementing this project and creating a blue-green metropolitan area.
Nell'ambito del seminario il paper di Marxiano Melotti "Consuming the Past. Roman Taverns and Contemporary Sensory Culture" ("Consumare il passato. Taverne romane e cultura sensoriale contemporanea") sarà dedicato all'attrazione che per il termopolio romano nutre l'industria del turismo archeologico di oggi. Un viaggio nei processi "liquidi" di reinvenzione del passato tra turismo culturale sensoriale e archeologia sperimentale post-moderna
Questa domanda apre una riflessione sui processi di formazione dei paesaggi culturali e sulle dinamiche urbane che legano turismo, shopping e musei tra tematizzazione e culturalizzazione dei consumi.
Il tema dell’interculturalità di forme, simboli e metafore ha una diretta relazione con il tema della comunicazione, considerando questi due ambiti come interdipendenti sia dal punto di vista concettuale che storico-sociale.
I nostri musei e siti culturali si presentano come elementi caratterizzanti della cultura occidentale e quindi la necessità di una comunicazione che vada oltre le frontiere nazionali, senza perdere il sentimento identitario che musei e luoghi di cultura incarnano, è diventata ora ineludibile. Il modo in cui i musei comunicano se stessi influisce sull’idea che vogliamo trasferire alle altre culture e, viceversa, sull’idea che le altre culture si formano della cultura occidentale.
(Laura Longo, direzione Cultura e Sport - Musei Civici Fiorentini)
La relazione prende in esame un aspetto specifico di questo sistema culturale e linguistico: l'utilizzo dei monumenti e del patrimonio storico come maschere in cui l'uso politico finisce per mescolarsi con il linguaggio e l'immaginario globale dello shopping e del turismo.
In questo contesto “made in Italy” e “chilometro zero”, “autenticità locale” e “patrimonio culturale”, “nuovo Rinascimento italiano” e “verybello” diventano retoriche e nuove maschere della contemporaneità.
La lettura delle relazioni emergenti tra turismo, vino, mito e archeologia permette di mettere a fuoco alcuni aspetti significativi del nuovo rapporto che si sta instaurando con il patrimonio storico.
This interest is also related to the new emotional and experiential approach that is becoming more and more important in tourist activities and is reshaping the relationships between heritage, tourism and consumption.
As for cultural and archaeological tourism, a particular aspect of this process deserves attention: the reinvention of “ancient” food and wine, from Minoan soups to Viking beers. This thematization shows the liquid relationships between archaeology, tourism and market in post-modern society.
We have established forms of culturalization and thematization of consumption, where history plays an important role. The fast forms of consumption, typical of the digital culture, have also stirred up new forms of cultural consumption, combining culture with leisure and commerce.
On the other hand, the “Chinese gaze”, based on a peculiar approach to authenticity and history, mixes with the post-modern gaze of Western tourism.
Much time has passed since the glorious age of the eclectic Hearst castle in San Simeon, California, or the Renaissance mansions in Newport, Rhode Island. Heritage is no longer only a tool to invent or enhance the past of the “new world”; it is an instrument to culturalize shopping experiences also in the “old Europe” and almost everywhere is an effective means used to give authenticity to many consumption experiences. Models and copies, going to and fro across the Atlantic Ocean, have blended in new practices intertwining tourism, leisure, shopping and education. Globalization and the spreading of new markets (and new tourists) have much complicated what once was a simple bilateral relation: recently Venice canals and Michelangelo’s David’s statues have appeared even in China.
But what does heritage really mean for the new global trans-Atlantic market? And on which idea of the past are based the new fluid relationships? Post-modernity, globalization and consumerism have not only changed consumers’ and tourists’ behaviour; they have also created new relations with history and education, where de-intellectualization, leisure and edutainment play an important role, worthy of being explored and studied.
Basato su un approccio multidisciplinare, il Master tratterà i diversi aspetti
della Cancel Culture, approfondendo dinamiche la cui comprensione è diventata indispensabile per decifrare la contemporaneità. E lo farà a cominciare dall’analisi delle critiche rivolte a materie e a opere artistiche e letterarie considerate generalmente come l’espressione più alta della cultura occidentale; fino ad arrivare alle richieste di “cancellare” alcune figure storiche dalla memoria collettiva oppure, ancora, al boicottaggio di personaggi pubblici, aziende, brand e persino intere economie nazionali.
Nata come forma di mobilitazione e di attivismo basata sui social media, la Cancel Culture svolge ormai un ruolo fondamentale nelle rivendicazioni identitarie e nei conflitti – generazionali, sociali, culturali, ideologici e internazionali – che attraversano le nostre società. Essa tocca temi importanti, che riguardano le basi stesse delle democrazie liberali, come la libertà di pensiero e di espressione, i diritti delle minoranze e quelli individuali, e le pari opportunità.
Comitato scientifico: Veronica Granata, Alessia Lirosi, Marxiano Melotti, Daniele Paragano.
Docenti:
Guido BOSTICCO, Luca BUSSOLETTI, Marina CAFFIERO, Livio CIAPPETTA, Francesco CIRILLO , Elisabetta CRUCIANI, Giovanni DE LUCA, Paolo DI CANDILO, Antonella GARGINI, Veronica GRANATA, Luciana JACOBELLI, Andrea LANZA, Alessia LIROSI, Alessandro MARTELLI, Marxiano MELOTTI, Daniele PARAGANO, Gabriele ROSATO, Giampaolo SALICE, Francesco Saverio TRINCIA, Giulia VINCENTI