By Bella Dicks
“a welcome boost to a turning out to be physique of scholarly writing… a entire serious survey of the literature on cultural historical past and tourism and linked matters within the fields of cultural and media reviews over the former decade. those suggestions and matters are essentially offered and exemplified within the case reports of diverse websites of cultural display…” - Southern Review
• Why is tradition so largely on display?
• What are the most important features of up to date cultural display?
• what's the courting among cultural demonstrate and key positive aspects of up to date society: the increase of consumerism; tourism; ‘identity-speak’; globalization?
• What can cultural reveal let us know approximately present family of self and different, right here and there, now and then?
Culture on reveal invitations the reader to go to tradition. Reflecting at the modern proliferation of web sites exhibiting tradition in visitable shape, it deals clean methods of pondering tourism, rest and heritage.
Bella Dicks locates various exhibitionary destinations inside of wider social, financial and cultural modifications, together with modern practices of tourism and commute, techniques of monetary improvement, the staging of identities, globalization, interactivity and family of consumerism. particularly, she significantly examines how tradition turns into remodeled whilst it's wear exhibit inside of those contexts. In every one bankruptcy, key theoretical problems with debate, similar to authenticity, commodification and illustration, are mentioned in a full of life and available manner.
This is a crucial booklet for undergraduate and postgraduate scholars of cultural coverage, cultural and media reports and sociology, in addition to educational researchers during this box. it's going to even be of substantial price to scholars of sociology of tradition, cultural politics, arts management and cultural administration.
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Additional resources for Culture on Display: The Production of Contemporary Visitability (Issues in Cultural and Media Studies)
Interactivity, for example, has been theorized as a mode of address fully consonant with the kind of knowledge-power relations required by technological, consumerist capitalism (Barry 1998). Clearly, this opens up questions about how cultural and economic processes reinforce each other in the proliferation of display. The next section examines further the role of consumption in cultural display by looking at its economic uses. The cultural economy of visitability The first point to note is the fact that we live in a society dominated at many levels by the banal, routine ubiquity of exhibition and symbolic display.
Hannerz (1990) distinguishes between ‘cosmopolitans’ and locals, noting the emergence of a highly mobile class of culturally literate consumers who can navigate their way (literally and metaphorically) around global cultures. They are a minority, however, compared to the world’s ‘locals’. These latter, being largely confined to their immediate environment, are by necessity pre-occupied with it. And large sections of the global working class (such as those without work or in casual, intermittent employment) are non-participants in the games of lifestyle consumption and tourism.
They have thus made it legitimate, worthy of serious comment and not simply dismissable by the intellectual class. The role of intellectuals, in the process, has become reduced to interpreting trends, rather than legislating on matters of taste (Bauman 1987). Above all, NCIs do not promote one particular style but a general attitude which sees style as all important. This fascination with the ‘melting pot’ of style is a key ingredient in the proliferation of cultural display today. A CULTURE OF DISPL AY Exclusions and inequalities The above analysis of class is not intended to suggest that cultural display belongs to the service class alone, nor that it is invisible or marginal to other class horizons.