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Strumenti Per La Didattica E La Ricerca STRUMENTI PER LA DIDATTICA E LA RICERCA – 191 – LESSICO MULTILINGUE DEI BENI CULTURALI Comitato Scientifico Annick Farina, Direttrice (Università di Firenze) Christina Samson, Direttrice (Università di Firenze) Sabrina Ballestracci (Università di Firenze) Marco BiffiUniversità ( di Firenze) Elena Carpi (Università di Pisa) Dave Coniam (University of Hong Kong) Christina Dechamps (Universidade Nova de Lisboa) Isabella Gagliardi (Università di Firenze) Marcello Garzaniti (Università di Firenze) Paul Geyer (Universität Bonn) Donata Levi (Università di Udine) Valentina Pedone (Università di Firenze) Federica Rossi (Kunsthistorisches Institut di Firenze) Geoffrey Williams (Université de Bretagne Sud) Comité scientifique de l’ouvrage Philippe Antoine (Université Blaise Pascal), Fabienne Baider (University of Cyprus), Nicholas Brownlees (Università di Firenze), Claudia Buffagni (Università per Stranieri di Siena), Carolina Flinz (Università di Pisa), Sabrina Francesconi (Università di Trento), Antonello Frongia (Università di Roma Tre), David Katan (Università del Salento), Elena Manca (Università del Salento), Rachele Raus (Università di Torino), Paola Salerni (Università di Roma “La Sapienza”), Tiziana Serena (Università di Firenze) Le guide touristique: lieu de rencontre entre lexique et images du patrimoine culturel Vol. II édité par Rachele Raus Gloria Cappelli Carolina Flinz Firenze University Press 2017 Le guide touristique: lieu de rencontre entre lexique et images du patrimoine culturel : vol. II / édité par Rachele Raus, Gloria Cappelli, Carolina Flinz. – Firenze : Firenze University Press, 2017. (Strumenti per la didattica e la ricerca ; 191) http://digital.casalini.it/9788864535142 ISBN 978-88-6453-514-2 (online) Progetto grafico di Alberto Pizarro Fernández, Pagina Maestra snc Immagine di copertina: © Clivewa | Dreamstime.com Volume publié avec le soutien de l’Agence universitaire de la Francophonie (AUF) e du Dipartimento di Lingue, Letterature e Studi interculturali de l’Université de Florence. Certificazione scientifica delle Opere Tutti i volumi pubblicati sono soggetti ad un processo di referaggio esterno di cui sono re- sponsabili il Consiglio editoriale della FUP e i Consigli scientifici delle singole collane. Le opere pubblicate nel catalogo della FUP sono valutate e approvate dal Consiglio editoriale della casa editrice. Per una descrizione più analitica del processo di referaggio si rimanda ai documenti ufficiali pubblicati sul catalogo on-line della casa editrice (www.fupress.com). Consiglio editoriale Firenze University Press A. Dolfi (Presidente), M. Boddi, A. Bucelli, R. Casalbuoni, M. Garzaniti, M.C. Grisolia, P. Guarnieri, R. Lanfredini, A. Lenzi, P. Lo Nostro, G. Mari, A. Mariani, P.M. Mariano, S. Mari- nai, R. Minuti, P. Nanni, G. Nigro, A. Perulli, M.C. Torricelli. La presente opera è rilasciata nei termini della licenza Creative Commons – Attribution 4.0 International (CC BY 4.0: http://creativecommons.org/licenses/by/4.0/legalcode) CC 2017 Firenze University Press Università degli Studi di Firenze Firenze University Press via Cittadella, 7, 50144 Firenze, Italy www.fupress.com Sommaire Préface VII (Rachele Raus) Foreword XVII (Gloria Cappelli) Einleitung XXI (Carolina Flinz) I.LESIMAGESDUVOYAGE 1.Uneîle«àl’écartdutemps»:imagesdupatrimoine sardedanslesguidestouristiquesfrançais 1 Lorenzo Devilla 2.L’immaginedellamonumentalitàravennate fraletteraturaguidisticaedocumentazione graficaefotograficaneisecoliX+VIII-XIX 15 Paola Novara 3.Patrimoinesetpointsdevue:imagesdelaToscane dansquelques GuidesbleusduXXesiècle (éd.1921,1932,1950,1968et1985) 31 Marie-France Merger R. Raus, G. Cappelli, C. Flinz (édité par), Le guide touristique: lieu de rencontre entre lexique et images du patrimoine culturel. Vol. II ISBN (online) 978-88-6453-514-2, CC BY 4.0, 2017 Firenze University Press 4.Tranarrazioneletterariaevisiva: larappresentazionedellaSicilia nellafotografiadelXIXsecolo 47 Monica Maffioli II.L’ARTDANSLESGUIDES 5.ArchitekturkritikundStandmarketing. EinekurzeGeschichtedesArchitekturführers 63 Philipp Meuser 6.Travelguidesandtraveloguesassources toexaminethecollector’sroleinartandheritage preservation.ThecaseofBelgium(ca.1780-1914) 87 Ulrike Müller 7.AntiqueSculpture,Copies,andtheLanguage ofValueinEarlyEighteenth-CenturyGrandTour Guidebooks 103 Hannah Wirta Kinney 8.AufdemWegzumReiseführer. WennKunstkritikEinzuginStadtbeschreibungenhält 121 Dorit Kluge III.LESGUIDESENTREIMAGINAIREETPROPAGANDE 9.Guideindivisa.Guideturisticheemanuali perletrupped’occupazioneneglianniTrenta eQuarantadelNovecento 139 Adolfo Mignemi 10.Lephotobookcommeguidetouristique: lecasd’à travers Israël (1950-1951) 157 Galia Yanoshevsky Préface Celivreestledeuxièmevoletdel’ouvrageconsacréauguidetouristi- queentantquelieuderencontreentrelexiqueetimagesdupatrimoine culturel,ouvrageissuducolloquequis’estdérouléle11et12juin2015à PiseetFlorence. Ce deuxième volume focalise l’attention sur l’image, en tant que représentationduréelmaisaussientantquelieuàpartirduquell’ima- ginationpeuts’exercerenévoquantdesreprésentationsmentales(l’ima- ginaire).Danslesguidestouristiques,l’imageentretientunlienàlafois problématiqueetprivilégiéaveclelexique,telqu’ilapparaîtendiscours. Leurrelationsembleavoirlestraitsd’uneinteractionconstantequi«n’a riendeconflictuel»(Korzillius2009:21).C’estlaraisonpourlaquellenous proposeronsdeparlerd’un«discoursimagé»,lieudetransmissiondespa- trimoinesculturelsdedifférentspaysetdedifférentespériodes. 1. Images et discours dans le discours touristique Larelationentreimageetdiscours,etplusengénéralentreimageet texte,estdepuistoujoursproblématique(Korzillius2009:8):«poserla questiondurapporttexte-image–cequisous-entendleprinciped’unein- teractionseproduisantentrelesdeuxmodesd’expressions–soulèvequan- titéd’interrogationsplusépineuseslesunesquelesautres.[…]laquestion durapporttientintrinsèquementànotrecultureetqu’ellen’estàcetitreni neutreniévidenteensoi».Lelogosimmatérield’uncôtéetl’eikondel’au- tresupposeraient,eneffet,deuxsystèmesdesignesdifférents,l’unliéàla vue/auxyeuxetl’autreàlalangue,etqui,toutengardantleurspropres spécificités,ontdescaractéristiquessimilaires,puisqueladénotationreste utopiqueaussipourlesimages(Barthes1964:46). Nousessaieronsdoncd’observercetteinteractionàpartirdel’analyse dudiscourstouristique,cequid’abordnousporteàposerlaquestionde R. Raus, G. Cappelli, C. Flinz (édité par), Le guide touristique: lieu de rencontre entre lexique et images du patrimoine culturel. Vol. II ISBN (online) 978-88-6453-514-2, CC BY 4.0, 2017 Firenze University Press VIII Préface larelationdel’imageetdulexiqueparrapportauvoyageplusengénéral. Eneffet,l’imagesembleconnaturelleauvoyageetàladécouvertedescul- turesautres,notammentdepuisquel’intérêtcroissantpourladescription réalistelorsdelaRenaissancefontdelavuel’instrumentprivilégiédela connaissance.Entémoignel’incipitdesrécitsdesvoyageursfrançaisdu XVIesiècle,quifontl’éloged’Ulysseparcequ’ilabeaucoupvuetqu’ila doncacquislaconnaissance(Raus2001:103).D’ailleurs,celienétroitse poursuitparlatraditionduvoyage pittoresque,quicaractériseleXVIIIe siècleetquibrouilleladistinctionnetteentrel’écritureetlapeinture.Ce genredésigneautoutdébutdesrécitsquis’accompagnentd’imagespein- tespardesartistes1,aupointquel’imagepouvaitdevenirleprétextepour l’écriture2.ApartirduXIXesiècle,larelationentrepeintureetécriturese renverseetceserontplutôtlesvoyageurs-écrivainsàavoirtendanceàse définir«peintres»,commelefontChateaubriand,Pertusier,Marcellus, LamartineouGautier(Raus2000:336).L’analogieaveclapeinture,qui seuleestcenséeavoirune«efficacitéreprésentationnelle»(Mondada1994: 366),estd’ailleurscequifaitleparadoxedecesécrivains,laissantencore plusémergerlacaractéristiquedurécitdevoyaged’êtreungenrehybride, tantôtlittérairetantôtscientifique(Fiorentino1982).C’estjustementcet- tecaractéristiquequenousretrouveronsdansleguidetouristique,gen- rediscursifàsontourhybride,issu,entreautres,desrécitsdevoyage (Kebrat-Orecchioni2004:134). Leguidetouristique,ilestvrai,serépandsuiteàlanécessitédedoter d’outilsl’industrietouristiquenaissanteetréponddoncàdesobligations communicationnellesdifférentesparrapportaurécitdevoyage.Avanttout lefaitque,commeleditBurgelindanssathéoriedusight-seeing,letouriste vanonpasverslachoseàvoirmaisversl’imagedelachose,cettedernière n’impliquant«nullementquel’objetsoitréduitàsespropriétésoptiquesou plastiques,maisseulementàsespropriétéssymboliques»(Burgelin1967: 69).Celafaitjustementqueleguideacquiert,entreautres,descaractéris- tiquesprescriptives,parexemplelorsdelapropositiond’itinérairesqui offrentautouristel’imagenormalementstéréotypéedel’autreetdeson patrimoine culturel tant matériel qu’immatériel. Il faut pourtant préci- serquelefaitdeproposerdesparcourssousformed’itinérairerecèleen faitlaprésencedurécitdevoyage,genreoùl’organisationspatio-texuel- leprivilégienormalementleparcourslinéaireetnonleparcourscarto- graphique(Mondada1994:405).Demanièresimilaire,laprescription étaitégalementprésentedanslesrécitsduXIXesièclesouslaformed’un «maternage»(Margarito1996:251)quis’exprime(Raus2000:361-362)soit parlapersonne(«nous/vous»)soitparlanonpersonne(«lelecteur/le voyageur»).Etencore,cen’estpasuncassiparfoislespremiersguides 1 Pouruneétudedel’évolutiondumot«pittoresque»,voirWilMunsters(1991). 2 Acesujet,voirFrancescoFiorentino(1982). Préface IX s’appellentjustement«pittoresques»,enrappelantdirectementlescélèbres voyagespittoresquesduXVIIIesiècle(Raus2000:363sv). 1.1 Un «discours imagé»? Malgrélessimilitudes,ilfautpréciserquesileguidepittoresqueen- tendaitdécrireetguiderlelecteurlorsdeladescriptiondesobjetsdu
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