Linguaggi settoriali Inglese

Stewardship rights can provoke conflicts in heritage tourism. (vedi pag 277)

Representations

Finally,conflicts in heritage tourism may arise due to disagreements over representations of heritage,

especially when this information is potentially controversial or unfavorable. Conflicts over display and

commemoration are common, whether the topic is nationalism ,religion or language. In the united states ,

interest groups have debated for more than a decade how to exhibit the enola gay, the B-29 bomber that

dropped the first atomic bomb on Hiroshima in 1945. An important world wae II relic and part of america’s

military heritage, the plane has had problematic biography. In 1994, the Smithsonian institution’s national

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air space museum attempted to display it as part of an exhibit commemorating the 50 anniversary of the

bombing. As plans for the exhibit were known to the public, military veterans associations argued that the

information displayed with the plane placed too much emphasis on casualties,and provided few reasons

why the attacks were justified at the time. A heated public debate ensued, involving scientists, scholars,

veterans, and politicians, eventually leading to the exhibition’s cancellation. In the end, only the plane’s

fuselage was placed on display in the Smithsonian. After further restoration the enola gay is currently on

exhibit at the new national air and space museum’s steven f. udvar-hazy center near Washington’s dulles

international airport. Only technical information describing the plane is displayed and the relic is well

protected from vandalism.

The city and the text

In Ulysses, james joyce remembers Dublin. In fact Ulysses is an extraordinary portrait of Dublin life. The

final words of the novel are actually reflecting the fact that joyce had set foot in Dublin during the 7 years

the novel took to write. By the time Ulysses was published in 1922, the irish capital had undergone radical,

political, social and physical change; it was now the capital of an independent nation,but a capital that had

suffered large-scale destruction during the 1916 rising and the war of independence. Ulysses was an act of

commemoration. Joyce consulted in fact, directories and maps, asked friends to send him all the shop

names on particular street rendering Dublin as complete and accurate as possible. But if joyce spent his

entire life to remember Dublin, how does his native city choose to remember him? Initially it seemed

inclined to forget him. Ulysses was banned in Ireland and joyce’s exile remained in force long after his

death in 1939. The opening of the james joyce museum in the Martello tower in sandycove, in which the

first chapter of Ulysses is set was really the first attempt to bring joyce home.buet there are more recent

initiatives such as the james joyce centre on north great george’street and the annual celebrations f

Bloomsday,with its uneasy mixture of pantomime and scholarly discussion.also we have the recent statue

of joyce on north earl street, off o’connell street. The first of these projects dates from 1988. The sculptor

robin buick and the curator of the joyce museum, Robert Nicholson inserted into the pavements of the city

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a series of 14 plaques tracing leopod bloom’s movements through the centre of Dublin in the 8 chapter of

the novel, lestrygonians. Nicholson says: the action of Ulysses takes place all over the city and in sandycove,

dalkey,sandymount and glasnevin, so I felt that it would be more cohesive to concentrate on a single

episode in the way that the plaques would fall into sequence as a trail. Few of the episodes actually

conform to the public perception of bloom walking through the streets of Dublin, but one of them is

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admirably suited to his purpose – the 8 episode ,which describes bloom’s lunchtime journey from

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o’connell street to the national museum with a stop at davy byrne’s en route. The 8 episode is also the

chapter that gives us the fullest access to bloom’s consciousness. We are in bloom’s head. At a regular

intervals, joyce slips back to a third-person narration. And again Nicholson says: I felt that we could place

the first plaque at the starting-point of his journey outside the evening telegraph office in abbey street at

the end of the previous chapter. The bronze plaques, each about A3 in size, feature in shallow relief, a

bowler hated bloom and a brief framed quotation. They are small enough to be inconspicuous, and

sometimes you have to make a real effort to find them.

The second project: this time the character is molly bloom, leopold’s wife. In the final chapter of Ulysses

molly lies in bed in the small hours thinking about lovers past and present. Her reverie is presented as a

stream of thought. The chapter formed the basis of a public art project realised by frances hegarty and

Andrew stones in 1997. The artists placed nine fragments of molly’s thoughts in cerise-pink neon around

the city. The fragmentary focus on what they call molly’s humorous and ironic appraisal of the activities of

men. The locations are then chosen for their correspondences with the content of the quotations. They do

not highlight specific references to the city’s detailed geography in the way that the plaques do. The setting

of molly is a bedroom in eccles street, but the artist have relocated this private reverie to the public sace of

the city. The neon lit continuously but it was only at night that they grew more intensively visible.

It is through the art the act of writing that joyce remembers. Memory is something produced rather than

received; it is active not passive. Joyce knows the work of henry bergson who used the image of the search

to explain memory. Memory involves the creative transformation of experience rather than its internalized

reduplication in images or traces construed as copies. Remember: hanri bergson concept of durée or

duration:

Duration is the continuous progress of the past which gnaws into the future and which swells as it

advances.

So the past is a constant, and constantly evolving , presence, pressing against the portals of consciousness.

The past is a constant presence in the novel, so too is the city. Joyce’s Dublin is a memory theatre in which

the most trivial details matter; every detail seems to be connected to the past and, through the past, to

every other detail. Leopold thinks to himself its always flowing in a stream, never the same, which in the

stream of live we trace. Molly bloom occupies a domestic domain associated with the body, with vanity,

insecurity, inner desires and sexual motivations. Molly bloom’s soliloquy is in fact the only time in the book

where you do not stray outside a single consciousness at all. Molly is uninterrupted and undistracted.

From flash art to flash mob

Tate modern

The word spectacle has been used in connection with the display of contemporary art, and in particular to

describe the unilever series installations in tate modern’s turbine hall. The swiss practice Herzog e de

meuron, who won the competition to convert the bakside power station designed by sir giles gilbert scott

into london’s tate modern, have demonstrated a keen interest in designing and participating in

contemporary architectural exhibitions. In an essay by Philip ursprung entitled exhibition architecture ,their

work is traced in relation to a representation of spectacle , in particular addressing the relationship

between object, commodity and desire. The great exhibition held in crystal palace as a representation of a

specific capitalist system which presents a spectacle of consumer goods paraded on show; objects were

imbued with meaning acting as signifiers of taste, culture and class. Crystal palace became a forerunner to

benjamin’s arcades project and then the shopping mall linking the act of consumption to illusion. Ricorda:

heterotopic space, defined by Foucault, within the context of the spectacle. Foucault proposes that

heterotopias can play a positive role in creating new models of space.

Tate modern and cultural regeneration

The establishment of tate modern has proved a dynamic process that has led to the regeneration of

bankside as a successful visitor attraction. Other cultural regeneration projects have been executed, for

example, in paris with its Grand projèts and Vienna’s museumquartier . other example of cultural

regeneration projects include those in berlin an of course Bilbao’s Guggenheim.

The tate modern is a London art gallery housing the uk’s collection of modern and contemporary art from

1990 to the present day. Tate is a name of a family of 4 art galleries of the uk’s collection of british art from

1500 and of international modern art. (tate Britain, tate Liverpool , tatye st. ives ) . the area is bakside.

There are 4.7 million visitors per year. Bankside power station in in the area of London of Borough of

southwark.

The central power station had ceased to operate from 1984 so the idea of her regeneration. (negative

impact that the vacant building had on the area and the lack of life at street level in the borough) The tate

modern is now viwed not only as a principle player in the global contemporary art world but also as a

model for education and community work. To create thi type of museum were used 3 key models:

Moma: new York, establish in 1929 in a series of quasi-domestic artificially lit rooms

The centre pompidou in paris, opened in 1977

Mumlebaek and the Rijksmuseum kroller-mueller, otterlo in the Louisiana

Turbine hall

Herzog e de meuron’s winning entry appeared to modestly work within the structural framework of the

building,extracting the apparatus of its industrial past,creating an enormous void, and introducing into the

void the concept of a covered street. The building will aim to act as a filter. We want to attract people who

aren’t necessarily going to the museum. The intention of the building was to create an urban mesh to link

other enclaves of the city. The tate galleries appeared remarkably minimalist in their execution. The

galleries at the tate modern were designed by sir giles gilbert scott, the architect of battersea power station

in the 199. The tate gallery art at the british national art museum proposed a competition to build a new

building for modern art. In 1995 it was announced that Herzog & de meuron had won the competition with

their simple design. The tate modern is an example of adaptative reuse, the process of finding new life in

old buildings. Herzog wanted to recreate realism artificially through the rendition of natural light using

artificial means. The turbine hall, measuring 155m by 35m, is clearly deemed one of the most successful

elements of the scheme. Tate modern. The first five years published five years after the opening of tate

modern in 2000.

The turbine hall space has been used for a number of events or happenings. Tate organized clap in time.

The action, clap in time, which has its origins in invisible theatre from the 1970s., and drew in non-

performers or spectators was intended to create a sculptural soundsc