Download Industrial Heritage Tourism by Philip Feifan Xie PDF

By Philip Feifan Xie

This ebook examines the complicated interaction among commercial background and tourism. It serves to stimulate significant discussion concerning the socioeconomic values of business websites and using tourism for the expansion of the artistic economic climate, and to higher know the way the collective social reminiscence and native id attached to those websites were formed by way of assorted social teams over the years. the amount provides a conceptual framework underpinned through case experiences drawn from Asia, North the USA, Australasia and Europe and advocates the construction of mixed-use areas and stakeholder collaboration to increase tourism at commercial historical past websites. those theoretical and useful views might be of use to researchers and scholars of background tourism, city and local making plans and tourism advertising.

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The prominent consequences of these assessments has been an increase in the profile of industrial heritage across the world and a growth both in the number of inscribed World Heritage Sites and in the number of sites on the Tentative Lists of many countries (Oglethorpe, 2011). Another defining aspect of the second Industrial Revolution is the growing awareness of, and concern with, environmental degradation and preservation on the part of both the experts and the general public. Kirkwood (2001) calls industrial heritage ‘manufactured sites’ from which efforts to address the legacy of contaminated and derelict lands that have been left by past industrial activity have emerged in recent decades.

The economy of the market is associated with the functional value of practical use; while the economy of art is grounded on cultural values such as beauty and meaning. However, the economy of memory is personal and cultural which is grounded on an identity value that provides the criteria of relevance for what is remembered and what is forgotten (Assmann, 2002). Objects that are collected and exhibited have a function as ‘semiophores’ which are carriers of meaning. Given the conflicting nature of values, the rubbish in the old system of the market may be rediscovered as new in the system of art.

Borrowing French historian Fernand Braudel’s term, longue durée, heritage stands for an idea of present-centeredness that can be conceptualized as the result of the interaction among three historical factors: (1) the intellectual and cultural traditions that frame all our representations of the past; (2) the memory makers who selectively adopt and manipulate these traditions; and (3) the memory consumers who use, revise or transform such artifacts according to their own interests (Kansteiner, 2002).

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