英文摘要
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This research delves into the representation designs of historic ruins in Rome and Xi'an from a comparative perspective. Italian capital Rome and Chinese Xi'an are both ancient metropolises that possess more than two-thousand-year urban histories and therefore there are abundant ancient relics worthy of conservation. Historic ruins in Rome are prone to be layered vertically underground while heritage sites in Xi'an are horizontally widespread and bound to be displayed in the open fields. It has been widely accepted that "visitability" and visual legibility should be created in order to convey meanings and values of heritage sites to the public. It is especially true to those seriously ruined heritage sites which are less perceptible and intelligible by nature. Virtual reconstruction and multimedia projection techniques seem to be a feasible ways to enhance on-site heritage interpretation, contribute to the sensory representation of the archeological heritage sites, and furthermore provoke visitors' emotion. Then, how were such techniques utilized differently due to the uniqueness of heritage sites in Rome and Xi'an, namely vertically superimposed and horizontally interspersed? Based on empirical studies, this article scrutinizes their differences in mentality, motivation, and practice of employing virtually reconstructive projection designs. This article also points out the ideological shift from displaying to performing cultural heritage which represents heritage sites as spatial-temporal theatres that narrate stories. By projecting imagery on the ruined environment, the Roman design team temporarily got rid of the disturbance of the superimposed and entangled later additions to the ruins while the Xi'an design team rendered imaginative historical atmosphere or reserved the extensive emptiness deliberately. Besides considering heritage sites as tangible storytelling theatres, this article also borrows the mirror-like configuration of theatrical stage metaphorically for reflexive thinking. By looking into the backstage performance, this article analyzes how the protagonists respectively constructed, manipulated, and used the ideology of collective ownership and sponsorship regarding the archaeological discovery, conservation, and representation of the heritage sites.
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