>Woke up this morning and started skimming Barbara Kirshenblatt-Gimblett’s Destination Culture: Tourism, Museums and Heritage (1998). Found some useful material in chapter three, “Destination Museum,” so I sat down to work it into chapter four. I added about 150 words before E woke up and started his incessant chattering.
While perusing Kirshenblatt-Gimblett I came up with a good idea for a small, non-Peer Gynt project on the Ibsen Museum.
Later: up to 523 words by adding an introductory section to the chapter based on Kirshenblatt-Gimblett. Now I need to turn my attention to Nicola J. Watson and define “literary tourism” for the chapter. But I think I’ll read a little further in Kirshenblatt-Gimblett first, to make sure I’m not missing things of major importance. I think I need to read chapter one, “Objects of Ethnography,” where she defines “in situ” display in terms of metonymy and mimesis.
Later still: added a short section to the conclusion, up to 705 words added to the chapter. I found the seven “propositions” (149) that Kirshenblatt-Gimblett bases her argument on really productive. Here they are:
- Heritage is a new mode of cultural production in the present that has recourse to the past.
- Heritage is a “value added” industry.
- Heritage produces the local for export.
- A hallmark of heritage is the problematic relationship of its objects to the instruments of their display.
- Heritage is produced through a process that forecloses what is shown.
- Heritage tests the alienability of inalienable possessions.
- A key to heritage productions is their virtuality, whether in the presence or the absence of actualities.
PAGES/WORDS WRITTEN: 523 words