Art-aesthetic aspects of the Italian travel advertising

European Scientific e-Journal, 2021

In this article, we will discuss how contemporary advertising becomes the territory where various artistic expressions contribute in a complementary way to the constitution of the meaning of a work. The case study will approach the activity of Oliviero Toscani, and his two decades of collaboration with Benetton materialized in memorable advertising campaigns that rewrote the visual history of contemporary advertising. We will analyze how photographic media provides advertising with one of the most consistent expressive resources, based on the realism of the image, the endless possibilities in managing the visual composition, the premises of reproducibility and, last but not least, the appetite of an audience eager for the technological image. Also, we will try to discuss the creative premises and mechanisms that characterize Toscani's creation, the reading conditions of his advertising works, as well as how his creative strategies combine the expressiveness of the technological precision of press photography, and the appropriation strategies specific to artistic postmodernity.

how is it possible to reconcile the detached attitude that typically characterizes aesthetic appreciation with the nature of everyday routine? In this paper, the dilemma is addressed by considering cultural tourism as a paradigmatic case of aesthetic appreciation of the ordinary. By examining the aesthetic motivations that animate cultural tourism, the study shows that, while seeking authenticity in the 'un-touristed', tourists remain trapped in their own, detached, 'tourist gaze'. The analogy between the dilemma of everyday aesthetics and the aesthetic paradox of tourism allows for the application to the latter of the strategies that have been put forward to solve the former. What emerges is that, whereas approaches that rely on aesthetic detachment reproduce the dilemma, those that insist on the aesthetic value of the ordinary 'as such' offer tourists a way out of the paradox. Nonetheless, effective as they seem in mitigating the risk of frustration that may derive from touristic activities, these approaches appear to reduce the aesthetic to an extremely thin notion, thereby weakening their own theoretical strength.

Arabian Journal of Geosciences

Born from a desire to promote the landscape by integrating its origins and physical aesthetics with its naturalistic, cultural, and artistic heritage, we develop narratives about three locations in central Italy, telling them in the language of popular science, supported by the language of art. The different disciplines of science, poetry, and ancient music are applied to the same sites, producing emotional experiences where the encounter and interplay between different representations, and combinations of representations, become an expression of a place. The research introduces three geosites from the Marche Region, central Italy: I Sassi Simone e Simoncello, La Grotta della Beata Vergine di Frasassi, and the Infernaccio Gorge, in order to propose our multidisciplinary approach to the international public. These have been chosen for their value and charm, for their different processes of genesis and evolution, and for the cultural context and feelings they evoke. In a new approach ...

M. Kozak and N. Kozak (eds.), Tourist Behavior. An Experiential Perspective, Springer, Berlin, 2018, 2018

Florence is one of the major tourist destinations in Italy and its tourist tradition dates back to the Gran Tour time. The Grand Tour played an important role in the construction of its image and still exerts an influence on today’s political and tourist narratives. In Florence, and in other Italian towns, we can discern an advanced theming process: history and heritage are largely used to culturalize consumption. The Grand Tour approach to beauty and history, which was mainly emotional and open to reinvention, has been converted into a postmodern rewriting of the past where even art masterworks are used to transmit emotions and transform consumption into a cultural experience. The centre of Florence has become a specialized tourist district where visitors can perform a complete consumption activity. Tourism is also an important economic driver and the success of Florence had enhanced political discourses emphasizing its role for the country.

2019

Print advertisements are a good ground for studying phenomena of textual and visual diversity. As a combination of text and image, the advertisements represent a large number of varieties of social and commercial reality through which they reproduce and reinforce specific ideologies and correspondingly imaginative ones. Advertising is a reason for the commodity society and the mass culture that it entails, and as such defines textual (linguistic) behavior in the sense that it aligns the projected with linguistic and visual homogeneity and consequently stereotypes resulting from this. The aim of this article is to record and visualize the textual and visual signs in the printed advertisements concerning the way of showing Greece as a tourist destination between 1920 and 2019. The theoretical framework of this reading is based on two theoretical frameworks: first, in polygraphism and secondly in that of destination marketing and place branding.Furthermore, the technical framework prov...

Image has been an important topic in tourism research. It is one of the key factors in the travel selection process. The image of a tourist destination is the sum of all perceptions tourists and potential visitors hold of that destination. In tourist advertising materials it is represented through verbal and pictorial elements. The focus of this research is to find out pragmalinguistic elements in tourist destination image formation. This paper especially concentrates on some typical pragmalinguistic elements forming the image of Croatia as a tourist destination. Key words: image of a tourist destination, language of tourism, pragmalinguistic elements, tourism advertising materials.

2012

The human being is a long time traveler whenever there is a sense to do so. Tourism is the way to rid war like instincts -not himself- found in the other, to live the experience of others as their own. The story does not have a certain sense it goes somewhere, to a sense that we discover as we travel the historic river. According to Marc Boyer a thread of Ariadna tourist events that appear to be [...] Stories of tourists organized dialectically that seems to tell us who follow in their tourism logic that there is a dialectical movement, namely: inventions of distinction (of places and practices) are followed by the consecration by hegemonic cultural groups, to be later imitated by the next social layers, ending with the appropriation. [1] Tourist travel has become the undisputed practice within the current global flow. We are in the presence of the "general touristification of existence". Traveling for business, work or personal reasons also set aside a time to go, do a read a passage through those sites, whose strangeness implys gratification. However, tourism has not always existed. The traveler phenomenon The trip was long a feature. Some elite institutions like parliaments or universities had long breaks called vacances -vacíos- this allowed their territorial income beneficiaries to precisely monitor the planting of their crops in their garden. The tourist phenomenon was contaminated by the modernity of the sixteenth century with the anticipation of travel diaries, as is the recognized case of Montaigne. During the time of the religious wars, Montaigne, from 1580 to 1581, traveled through France, Germany, Austria, Switzerland and Italy, keeping a detailed diary describing various episodes and differences between regions traversed. This paper was only published until 1774 under the title Travel Journal. In the second half of the nineteenth century impressionist painting primarily dedicated to landscape, as well as the emergence of photography. Its immediate link to the first traveling practices, extraordinarily diffuse aesthetic values attributed to the territory. The aspiration to travel to remote places is widespread in societies with an average of high incomes and equal social layers, providing even less abundant economic resources, decrease or sacrifice other needs to use for this practice .

CHALLENGES OF TOURISM AND BUSINESS LOGISTICS IN THE 21ST CENTURY »ISCTBL 2022

У н и в е р з и т е т " Г о ц е Д е л ч е в "-Ш т и п Ф а к у л т е т з а т у р и з а м и б и з н и с л о г и с т и к а G o c e D e l c h e v U n i v e r s i t y S h t i p F a c u l t y o f T o u r i s m a n d B u s i n e s s L o g i s t i c s Петта Меѓународна Научна Конференција Fifth International Scientific Conference ПРЕДИЗВИЦИТЕ ВО ТУРИЗМОТ И БИЗНИС ЛОГИСТИКАТА ВО 21 ВЕК CHALLENGES OF TOURISM AND BUSINESS LOGISTICS IN THE 21ST CENTURY ЗБОРНИК НА ТРУДОВИ CONFERENCE PROCEEDINGS У н и в е р з и т е т " Г о ц е Д е л ч е в "-Ш т и п Ф а к у л т е т з а т у р и з а м и б и з н и с л о г и с т и к а G o c e D e l c e v U n i v e r s i t y S h t i p F a c u l t y o f T o u r i s m a n d B u s i n e s s L o g i s t i c s

2017

(abstract in Italian and English) EXHIBIT! esplora lo sfaccettato panorama della mostra di moda da diversi punti di vista − socioculturale, storico, estetico − con particolare attenzione alle contaminazioni tra arte e mercato. La prima parte del libro è dedicata alla storia, alla teoria, ai diversi approcci al curating di moda e alle sue recenti trasformazioni nei principali paesi in cui questa pratica si è sviluppata: Europa, con un focus sul caso italiano, Stati Uniti e Asia. La seconda parte del libro propone alcune ipotesi di ricerca sulle relazioni tra lo spazio della mostra e lo spazio della marca, dal negozio, ai cosiddetti “fashion hotel”, fino alle fondazioni d’arte a nome dei grandi marchi del lusso. Nel tracciare un’inedita prospettiva sul consumo culturale, il volume offre al lettore una visione originale della cura della mostra con l’intento di problematizzare sia lo statuto della moda sia quello della marca nel contesto contemporaneo. LUCA MARCHETTI, semiotico di formazione e specializzato sulla moda, è professore a contratto per chiara fama all’Università di Bologna, visiting professor e ricercatore alla HEAD di Ginevra e senior lecturer all'IFM a Parigi, dove lavora anche come curatore e consulente per aziende internazionali. Oltre alle collaborazioni per riviste come Vogue e Domus, è autore di pubblicazioni come Fashion Curating / La Mode Exposée (HEAD – Ginevra, 201 6) e Simplifier (con E. Quinz, it:éditions, 2017). Tra i suoi progetti curatoriali: Object of Ordinary Madness (Kühlraum Gallery, Vienna, 201 4), Foulards (Biennale Internationale de St. Étienne, 201 3), Basic Instincts (con E. Quinz, Berlino, 2011 ; Shanghai, 2012) e Dysfashional (con E. Quinz, Lussemburgo, 2007; Losanna, 2008; Berlino, 2009; Parigi e Mosca 2010; Jakarta, 2011). SIMONA SEGRE-REINACH, antropologa culturale, è professore associato presso l'Università di Bologna. Il suo ambito di ricerca riguarda la globalizzazione e la rappresentazione della moda. Tra le sue pubblicazioni principali si segnalano: Orientalismi (Meltemi 2006), La moda. Un'introduzione (Laterza 201 0), Un mondo di mode (Laterza 201 1 ). Fa parte del comitato scientifico di riviste di moda internazionali, quali Fashion Theory, International Journal of Fashion Studies, Critical Studies on Fashion and Beauty. Ha curato progetti allestitivi e mostre, tra cui 80s 90s Facing Beauties. Italian Fashion and Japanese fashion at a Glance (Rimini Museo della città 2013, curatela) e Jungle. L’immaginario animale nella moda (Torino, Venaria Reale 2017, direzione scientifica e co-curatela). EXHIBIT! explores the multi-faceted field of fashion exhibitions curation from a socio-cultural, an historical and an aesthetic angle. The main features and approaches that characterize this practice internationally are considered within the frame of contemporary popular cultural, with a particular attention given to the contaminations between the art and the market. In the first part of the book the authors discuss the theory and practice of curating, analysing the critical-historical transformations within geographical and cultural variations. Specific relation with art and the museum entails different curation styles in Northern and Southern Europe, the United States and Asia. The second part of the book suggests some innovative research hypothesis on the evolving relation between the art space of the exhibition and branded spaces, such as "shops”, "fashion hotels" and "art foundations" in the name of major luxury brands. Sketching a new perspective on cultural consumption, the book drives the reader's attention on the curation of fashion in space as an emerging practice to explore both the status of fashion the nature of nowadays brands from an original point of view. LUCA MARCHETTI is professor and researcher at the HEAD – Genève (CH), Contract Professor of Highest Repute at the University of Bologna (I) and Senior Lecturer at the IFM Institut Français de la Mode (Paris, FR). Based in Paris, he also works internationally as brand consultant and exhibition curator. Beside his collaborations with magazines such as Vogue or Domus, he regularly contributes to editorial publications on fashion and design. Among his curatorial projects: Blasé (with Hadas Zucker, Shanghai-Bologna, 2016), Tillmann Lauterbach: Object of Ordinary Madness (Vienna, 2014), Foulards (Lyon, 2013). The exhibitions Basic Instincts (Berlin, 2011; Shanghai, 2012), Dysfashional (Luxembourg, 2007; Lausanne, 2008; Berlin, 2009; Paris and Moscow 2010; Jakarta, 2011) and EN:TRANCE (Bolzano 2004, Paris 2007) were co-curated with Emanuele Quinz SIMONA SEGRE-REINACH is a cultural anthropologist and Associate Professor of Fashion Studies at Bologna University. She has written extensively on fashion from a global perspective. in the books such as Berg Encyclopedia of World Dress and Fashion (2010), The Fashion History Reader (2010), Fashion Media. Past and Present (2013), as well as published articles in Fashion Theory, Fashion Practice, Business and Economic History, and Critical Studies in Fashion and Beauty. She is also involved in Fashion Curation Studies. She sits in the Editorial Board of Fashion Theory, Critical Studies in Fashion and Beauty and The International Journal of Fashion Studies. She has done field work in China on Sino-Italian joint ventures contributing to a collaborative study in Cultural Anthropology. In Italy she authored: Mode in Italy. Una lettura antropologica (Guerini 1999), La moda. Un’introduzione (Laterza 2005 and 2010), Orientalismi. La moda nel mercato globale (Meltemi 2006), Un mondo di mode (Laterza 2011). She curated the exhibitions “80s-90s Facing Beauties. Italian Fashion and Japanese fashion at a Glance” (Rimini Museo della città 2013) and “Jungle. The Imagery of Animals in Fashion” (Torino, Venaria Reale 2017).