Résumé : Stachelberg used such advertisement gimmicks appealed to elitism and snobbery, a favorite way to lure smokers to buy a particular brand. Imported Havana cigars were, of course, associated with a luxury since fine quality cigars were too expensive for the average smoker until they were produced in the United States.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa
14th Street
19th Avenue

Droits : All rights reserved. 2005.
C24-05396

Résumé : When Henry B. Plant brought the railroad to Tampa in 1884, he opened the door for many businesses to locate and flourish here. The railroad was at the center of the city's economy. From downtown it went to Port Tampa where one could board a Plant steamship to Jamaica, Cuba, New Orleans, Bermuda or other destinations. A spur of the rail line brought the train up to the west front of the hotel so guests could depart the train and walk directly into the lobby. The Tampa Bay Hotel cost approximately 2.5 million dollars to build and $500,000 to furnish. Consisting of 511 rooms, some of which were suites of 3-7 rooms, it provided a degree of luxury never before seen in Tampa. Most of the rooms had their own baths and all had electricity and telephones. In addition, guests were surrounded by a varied collection of furniture, porcelains, Venetian-style mirrors, and sculptures gathered by Mr. and Mrs. Plant in their travels in Europe. The Tampa Bay Hotel opened in 1891 amid wide fanfare and celebration. Henry Plant's dream was now a reality. The newspapers of the day described it as "brightly illuminated, filled with sumptuous decorations, thrilling music and graced with turrets, domes and minarets towering heavenward and glistening in the sun." It was a Victorian palace. The hotel was a lively place with balls, tea parties, and organized hunts during the winter social season. It was open seasonally from December to April in the 1890's. Once a guest arrived at the hotel, he needed to be entertained. Guests went wild game hunting as well as fresh and salt-water fishing. Water sports were also included like sailing, rowing, and canoeing. For the less adventuresome, there were bicycles, carriages, and rickshaws to ride you around the property. The hotel also offered golf, tennis, shuffleboard, billiards, and even a racetrack.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
D20-007

Éditeur(s) : HAL CCSD Université des Antilles
Résumé : International audience
Within thirty years, the small island of Saint-Barthelemy (25 km²) is out of its secular isolation to be among major luxury tourism destinations in the world. In this study, the idea is to identify structural element and different cyclical factors that help to understand Saint-Barthelemy tourism situation. The small size of the territory itself can be seen as a fundamental handicap or, conversely, as a considerable asset. Everything depends on development project. It is necessary to know how to take advantage of specific characteristics of this type of territory. In Saint-Barthelemy case, scarcity is coveted; this coveted rarity is accessible only for rich people. The coveted rarity leads to luxury. Isolation is relative: this destination is not accessible to the jumbo jets. The airline market is controlled essentially by two small local companies and the airspace is open to charter flies and private aircrafts. Some other companies provide more or less regular flights from nearby airports of San Juan (Puerto Rico), Sint-Maarten and Guadeloupe. Luxury cannot be decreed, it is not planned. Luxury tourism is the election of a territory by elites who gather there to enjoy away from the rest of the world.
En l’espace de trente ans, la petite île de Saint-Barthélemy (25 km²) est sortie de son isolement séculaire pour s’imposer parmi les grandes destinations du tourisme de luxe dans le monde. Dans le cadre de cette étude, l’idée est d’identifier les éléments structurels et les différents facteurs conjoncturels qui permettent de comprendre la situation touristique de Saint-Barthélemy. L’exiguïté du territoire en lui-même peut être perçue comme un handicap fondamental ou, inversement, comme un atout considérable. Tout dépend du projet de développement. Il faut savoir tirer profit des spécificités du territoire considéré. Dans le cas de Saint-Barthélemy, l’exiguïté favorise la rareté et cette rareté convoitée n’est accessible qu’aux personnes les plus argentées. La rareté convoitée conduit au luxe. L’isolement est relatif : cette destination n’est pas accessible aux avions gros porteurs, l’essentiel du marché aérien est contrôlé par deux petites compagnies locales et l’espace aérien est ouvert aux petits avions privés. Le luxe ne se décrète pas, il ne se planifie pas. Le tourisme de luxe, c’est l’élection d’un territoire par des élites qui s’y retrouvent pour jouir de leur fortune à l’écart du monde.
ISSN: 1779-0980

Droits : http://creativecommons.org/licenses/by-nc/
hal-01364775
https://hal.univ-antilles.fr/hal-01364775
https://hal.univ-antilles.fr/hal-01364775/document
https://hal.univ-antilles.fr/hal-01364775/file/L%27%C3%AEle%20de%20Saint-Barth%C3%A9lemy%20une%20destination%20du%20tourisme%20de%20luxe.pdf
DOI : 10.4000/etudescaribeennes.6831

Résumé : When Henry B. Plant brought the railroad to Tampa in 1884, he opened the door for many businesses to locate and flourish here. The railroad was at the center of the city's economy. From downtown it went to Port Tampa where one could board a Plant steamship to Jamaica, Cuba, New Orleans, Bermuda or other destinations. A spur of the rail line brought the train up to the west front of the hotel so guests could depart the train and walk directly into the lobby. The Tampa Bay Hotel cost approximately 2.5 million dollars to build and $500,000 to furnish. Consisting of 511 rooms, some of which were suites of 3-7 rooms, it provided a degree of luxury never before seen in Tampa. Most of the rooms had their own baths and all had electricity and telephones. In addition, guests were surrounded by a varied collection of furniture, porcelains, Venetian-style mirrors, and sculptures gathered by Mr. and Mrs. Plant in their travels in Europe. The Tampa Bay Hotel opened in 1891 amid wide fanfare and celebration. Henry Plant's dream was now a reality. The newspapers of the day described it as "brightly illuminated, filled with sumptuous decorations, thrilling music and graced with turrets, domes and minarets towering heavenward and glistening in the sun." It was a Victorian palace. The hotel was a lively place with balls, tea parties, and organized hunts during the winter social season. It was open seasonally from December to April in the 1890's. Once a guest arrived at the hotel, he needed to be entertained. Guests went wild game hunting as well as fresh and salt-water fishing. Water sports were also included like sailing, rowing, and canoeing. For the less adventuresome, there were bicycles, carriages, and rickshaws to ride you around the property. The hotel also offered golf, tennis, shuffleboard, billiards, and even a racetrack.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
D29-009

Éditeur(s) : HAL CCSD Université des Antilles
Résumé : International audience
There are a number of tourism destinations which wish to be part of the luxury destination market; with their new and modern infrastructures, they believe they are considered as luxury. But, luxury is not decreed. Luxury is all about a system of production of specific offers. Only “one-of-a-kind” accommodation enrolled in the exceptional frameworks (nature or historical), sometimes in the heart of major capitals for exclusive enjoyment “between-ourself”, can be considered as luxury. The objective of this study is to identify luxury in the tourism field, to define its indicators and to identify the necessary conditions of luxury tourism through accommodation, attractions and destinations specialized in luxury tourism propaganda!
Nombre de destinations se réclament du tourisme de luxe ; vantant les mérites des nouvelles constructions ex nihilo, elles imaginent s’imposer dans le champ du tourisme de luxe sans en connaître les fondements. Or, le luxe ne se décrète pas. Le luxe s’inscrit dans un système de production de l’offre spécifique. Il privilégie des établissements singuliers inscrits dans les cadres exceptionnels (nature ou historique) parfois au cœur des grandes capitales pour une jouissance exclusive entre-soi. L’objectif de cette étude est de cerner le luxe dans le champ du tourisme, de définir des indicateurs, d’identifier les conditions nécessaires au tourisme de luxe à travers des établissements, des lieux, des destinations spécialisés.
ISSN: 1779-0980

Droits : http://creativecommons.org/licenses/by-nc/
hal-01364467
https://hal.univ-antilles.fr/hal-01364467
https://hal.univ-antilles.fr/hal-01364467/document
https://hal.univ-antilles.fr/hal-01364467/file/Le%20luxe%20dans%20le%20champ%20du%20tourisme.pdf
DOI : 10.4000/etudescaribeennes.7470

Résumé : When Henry B. Plant brought the railroad to Tampa in 1884, he opened the door for many businesses to locate and flourish here. The railroad was at the center of the city's economy. From downtown it went to Port Tampa where one could board a Plant steamship to Jamaica, Cuba, New Orleans, Bermuda or other destinations. A spur of the rail line brought the train up to the west front of the hotel so guests could depart the train and walk directly into the lobby. The Tampa Bay Hotel cost approximately 2.5 million dollars to build and $500,000 to furnish. Consisting of 511 rooms, some of which were suites of 3-7 rooms, it provided a degree of luxury never before seen in Tampa. Most of the rooms had their own baths and all had electricity and telephones. In addition, guests were surrounded by a varied collection of furniture, porcelains, Venetian-style mirrors, and sculptures gathered by Mr. and Mrs. Plant in their travels in Europe. The Tampa Bay Hotel opened in 1891 amid wide fanfare and celebration. Henry Plant's dream was now a reality. The newspapers of the day described it as "brightly illuminated, filled with sumptuous decorations, thrilling music and graced with turrets, domes and minarets towering heavenward and glistening in the sun." It was a Victorian palace. The hotel was a lively place with balls, tea parties, and organized hunts during the winter social season. It was open seasonally from December to April in the 1890's. Once a guest arrived at the hotel, he needed to be entertained. Guests went wild game hunting as well as fresh and salt-water fishing. Water sports were also included like sailing, rowing, and canoeing. For the less adventuresome, there were bicycles, carriages, and rickshaws to ride you around the property. The hotel also offered golf, tennis, shuffleboard, billiards, and even a racetrack.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa
Lafayette Street

Droits : All rights reserved. 2005.
D20-008

Résumé : When Henry B. Plant brought the railroad to Tampa in 1884, he opened the door for many businesses to locate and flourish here. The railroad was at the center of the city's economy. From downtown it went to Port Tampa where one could board a Plant steamship to Jamaica, Cuba, New Orleans, Bermuda or other destinations. A spur of the rail line brought the train up to the west front of the hotel so guests could depart the train and walk directly into the lobby. The Tampa Bay Hotel cost approximately 2.5 million dollars to build and $500,000 to furnish. Consisting of 511 rooms, some of which were suites of 3-7 rooms, it provided a degree of luxury never before seen in Tampa. Most of the rooms had their own baths and all had electricity and telephones. In addition, guests were surrounded by a varied collection of furniture, porcelains, Venetian-style mirrors, and sculptures gathered by Mr. and Mrs. Plant in their travels in Europe. The Tampa Bay Hotel opened in 1891 amid wide fanfare and celebration. Henry Plant's dream was now a reality. The newspapers of the day described it as "brightly illuminated, filled with sumptuous decorations, thrilling music and graced with turrets, domes and minarets towering heavenward and glistening in the sun." It was a Victorian palace. The hotel was a lively place with balls, tea parties, and organized hunts during the winter social season. It was open seasonally from December to April in the 1890's. Once a guest arrived at the hotel, he needed to be entertained. Guests went wild game hunting as well as fresh and salt-water fishing. Water sports were also included like sailing, rowing, and canoeing. For the less adventuresome, there were bicycles, carriages, and rickshaws to ride you around the property. The hotel also offered golf, tennis, shuffleboard, billiards, and even a racetrack.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
D29-014

Résumé : When Henry B. Plant brought the railroad to Tampa in 1884, he opened the door for many businesses to locate and flourish here. The railroad was at the center of the city's economy. From downtown it went to Port Tampa where one could board a Plant steamship to Jamaica, Cuba, New Orleans, Bermuda or other destinations. A spur of the rail line brought the train up to the west front of the hotel so guests could depart the train and walk directly into the lobby. The Tampa Bay Hotel cost approximately 2.5 million dollars to build and $500,000 to furnish. Consisting of 511 rooms, some of which were suites of 3-7 rooms, it provided a degree of luxury never before seen in Tampa. Most of the rooms had their own baths and all had electricity and telephones. In addition, guests were surrounded by a varied collection of furniture, porcelains, Venetian-style mirrors, and sculptures gathered by Mr. and Mrs. Plant in their travels in Europe. The Tampa Bay Hotel opened in 1891 amid wide fanfare and celebration. Henry Plant's dream was now a reality. The newspapers of the day described it as "brightly illuminated, filled with sumptuous decorations, thrilling music and graced with turrets, domes and minarets towering heavenward and glistening in the sun." It was a Victorian palace. The hotel was a lively place with balls, tea parties, and organized hunts during the winter social season. It was open seasonally from December to April in the 1890's. Once a guest arrived at the hotel, he needed to be entertained. Guests went wild game hunting as well as fresh and salt-water fishing. Water sports were also included like sailing, rowing, and canoeing. For the less adventuresome, there were bicycles, carriages, and rickshaws to ride you around the property. The hotel also offered golf, tennis, shuffleboard, billiards, and even a racetrack.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
D29-0015

Résumé : When Henry B. Plant brought the railroad to Tampa in 1884, he opened the door for many businesses to locate and flourish here. The railroad was at the center of the city's economy. From downtown it went to Port Tampa where one could board a Plant steamship to Jamaica, Cuba, New Orleans, Bermuda or other destinations. A spur of the rail line brought the train up to the west front of the hotel so guests could depart the train and walk directly into the lobby. The Tampa Bay Hotel cost approximately 2.5 million dollars to build and $500,000 to furnish. Consisting of 511 rooms, some of which were suites of 3-7 rooms, it provided a degree of luxury never before seen in Tampa. Most of the rooms had their own baths and all had electricity and telephones. In addition, guests were surrounded by a varied collection of furniture, porcelains, Venetian-style mirrors, and sculptures gathered by Mr. and Mrs. Plant in their travels in Europe. The Tampa Bay Hotel opened in 1891 amid wide fanfare and celebration. Henry Plant's dream was now a reality. The newspapers of the day described it as "brightly illuminated, filled with sumptuous decorations, thrilling music and graced with turrets, domes and minarets towering heavenward and glistening in the sun." It was a Victorian palace. The hotel was a lively place with balls, tea parties, and organized hunts during the winter social season. It was open seasonally from December to April in the 1890's. Once a guest arrived at the hotel, he needed to be entertained. Guests went wild game hunting as well as fresh and salt-water fishing. Water sports were also included like sailing, rowing, and canoeing. For the less adventuresome, there were bicycles, carriages, and rickshaws to ride you around the property. The hotel also offered golf, tennis, shuffleboard, billiards, and even a racetrack.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.

Résumé : When Henry B. Plant brought the railroad to Tampa in 1884, he opened the door for many businesses to locate and flourish here. The railroad was at the center of the city's economy. From downtown it went to Port Tampa where one could board a Plant steamship to Jamaica, Cuba, New Orleans, Bermuda or other destinations. A spur of the rail line brought the train up to the west front of the hotel so guests could depart the train and walk directly into the lobby. The Tampa Bay Hotel cost approximately 2.5 million dollars to build and $500,000 to furnish. Consisting of 511 rooms, some of which were suites of 3-7 rooms, it provided a degree of luxury never before seen in Tampa. Most of the rooms had their own baths and all had electricity and telephones. In addition, guests were surrounded by a varied collection of furniture, porcelains, Venetian-style mirrors, and sculptures gathered by Mr. and Mrs. Plant in their travels in Europe. The Tampa Bay Hotel opened in 1891 amid wide fanfare and celebration. Henry Plant's dream was now a reality. The newspapers of the day described it as "brightly illuminated, filled with sumptuous decorations, thrilling music and graced with turrets, domes and minarets towering heavenward and glistening in the sun." It was a Victorian palace. The hotel was a lively place with balls, tea parties, and organized hunts during the winter social season. It was open seasonally from December to April in the 1890's. Once a guest arrived at the hotel, he needed to be entertained. Guests went wild game hunting as well as fresh and salt-water fishing. Water sports were also included like sailing, rowing, and canoeing. For the less adventuresome, there were bicycles, carriages, and rickshaws to ride you around the property. The hotel also offered golf, tennis, shuffleboard, billiards, and even a racetrack.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.

Résumé : Julius B. Annis was born June 4, 1890 in Luvno, Hungary. At present there is nothing known of his parentage, or when he emigrated to the United States. It is known that he registered for the draft during World War One and at that time he was residing at Brooklyn, New York. He married Minnie Brosow before 1917 and had at least one child, Morton Lawrence Annis Sr. It is evident that Julius became affiliated with one of the larger and well known cigar companies, "Sanchez and Haya" in New York City. A brief history of this cigar company and it's founders is in order, so that the evolution of the company can be seen in regards to "J. B. Annis". "Fact & Fancy About Cigars and Tobacco", by Morton L. Annis Sr. (1967) In 1867, Senors Ignacio Haya and Serfino Sanchez, natives of Spain came to New York City with $1000.00 in capital and started what was to become one of the most successful cigar manufacturies in the world. In 1886 they moved their operations to Tampa, Florida and they received the U.S. Revenue designation of "Factory No. 1". Tampa soon became the cigar manufacturing industry giant and Sanchez & Haya retained it's leadership roll. The company ultimately acquired and merged with many of the old-line Tampa producers, such as Morgan Cigar Co., Schwab-Davis y Cia. and many more. By 1892, both Senor Haya and Sanchez were leaders of the Spanish community and their financial ability, philanthropy, and industry were legendary. J. B. (Bunny) Annis began as a "drummer", or cigar salesman, who traveled from coast to coast selling his wares to Tobacconist and cigar merchants. "Dapper, loquacious, true bon vivants of the era .. perhaps the original American Salesman." Julius Annis, was at this time a guiding spirit and became partners in what is now known as Gradiaz, Annis or "Gradiaz y Annis", and was the Dean of these legendary "Knights of the Panetela." In 1963 Gradiaz Annis became a Division of General Cigar Co., Inc. Julius Benjamin Annis died the following year (June 1964) in Tampa. His son, Morton Lawrence Annis Sr. (1917-1979), President of Gradiaz, Annis, wrote about his father in 1967: "My father had a basic compelling motivation for excellence of product which was, in truth, his religion and his way of life. His love for tobacco and fine cigars was sacrosanct and so traditional in concept that he vigorously opposed all modern technological advances, preferring to create cigars in the great classic style of his youth." Gradiaz, Annis is still known world wide as "World Leader in Luxury Cigars".
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
R01-10928

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : L’objectif de ce numéro de la Revue Etudes Caribéennes est d’ouvrir une réflexion sur le concept de luxe, d’investir le luxe dans tous ses états. Il s’agit d’interroger les fondements du luxe, de la théorie à la matérialité, de la fabrication à la consommation, entre distinction provocante et esthétisation des genres de vie. Dans le cadre de ce numéro thématique, le luxe est envisagé dans une approche pluridisciplinaire, de la philosophie à la sociologie, de l’économie à l’aménagement du territoire … Les contributions pourront aborder le luxe sous un angle spécifique (économie du luxe, le luxe à travers l’histoire), traiter une dimension particulière du luxe, à travers un produit emblématique ou la construction de territoires singuliers (les territoires du luxe). Une attention particulière sera portée à l’industrie du luxe avec ses grandes marques et ses logiques de création et de production. Enfin, le luxe existe à travers la construction de ses légendes qui sont autant de signes distinctifs qui stimulent les consommateurs occasionnels et exclusifs. Les thématiques privilégiées seront : 1. Le concept du luxe à travers les différents champs disciplinaires (« consommation ostentatoire », « distinction provocante », « esthétisation des comportements », « marché-jugement ») 2. Le luxe dans le temps (entre sacré et ostentatoire, la signification du luxe, les mythes du luxe) 3. Le luxe et la création (les objets qui consacrent le luxe, de la création à la construction de la légende) 4. L’industrie du luxe (haute couture, joaillerie, spiritueux … griffes et grandes marques du luxe) 5. L’économie du luxe (le luxe en période de crise, l’économie des singularités) 6. Le luxe dans le champ du tourisme (l’hôtellerie de luxe, les destinations du tourisme de luxe) 7. La durabilité du luxe, entre renouvellement et éternité This issue of “Revues Etudes Caribéennes” aims to reflect upon the concept of luxury, to invest the luxury in all its states. It comes to question the foundations of luxury, from the theory to the materiality, from the manufacture to the consumption, between provocative distinction and aesthetization in all walk of life. Within the context of this thematic issue, luxury is envisaged a multidisciplinary approach, ranging from philosophy to sociology, from the economy to the development of the territory... Imputs may approach luxury a specific angle (economics of luxury, the luxury throughout history). They can treat a particular dimension of luxury, through an emblematic product or construction of luxury territories. Special attention will be paid to the luxury industry with its brands and its logic of creation and production. Finally, luxury exist through the construction of its legends which are formed from many distinctive indicators that stimulate both the casual and the exclusive consumers. The priorities themes will be: 1. The concept of luxury across the different disciplinary fields ('conspicuous consumption', 'provocative distinction", 'aestheticization of behaviour', and 'market-judgement') 2. Luxury in time (between the sacred and ostentatious, the meaning of luxury, the myths of luxury) 3. Luxury and Creation (objects dedicated to luxury, from the creation to the construction of the legend) 4. Luxury industry (haute couture, jewelry, spirits... claws and luxury brands) 5. The economy of luxury (luxury during economic crisis, and the economy of singularities) 6. Luxury in tourism (luxury hotels, luxury destinations) 7. The sustainability of luxury, between renewal and eternity El objetivo de este número de la Revista Estudios Caribeños es de abrir una reflexión sobre el concepto de lujo, de invertir el lujo en todos sus estados. Se trata de interrogar los fundamentos del lujo, de la teoría a la materialidad, de la fabricación a la consumición, entre distinción provocativa y formas de esteticismo de la vida. En este número temático, el lujo está considerado en un enfoque pluridisciplinar, de la filosofía a la sociología, de la economía a planificación del territorio…Las contribuciones podrán abordar el lujo sobre un ángulo específico (economía del lujo, el lujo a través de la historia), tratar una dimensión particular del lujo, a través de un producto emblemático o la construcción de territorios singulares (los territorios del lujo). Una atención particular será llevada a la industria del lujo con sus grandes marcas y lógicas de creación y de producción. En fin, el lujo existe a través de la construcción de sus leyendas que son tantos signos distintivos que estimulan los consumidores ocasionales y exclusivos. Los temas privilegiados serán: 1. El concepto del lujo a través de los diferentes campos disciplinarios (« consumación ostentosa », « distinción provocadora », « estetización de comportamientos, «juicio del mercado « ) 2. El lujo en el tiempo (entre sagrado y ostentatorio, el significado del lujo, los mitos del lujo) 3. El lujo y la creación (los objetos que consagran el lujo, de la creación a la construcción de la leyenda) 4. La industria del lujo (alta costura, joyería, espiritoso… uñas y grandes marcas del lujo) 5. La economía del lujo (el lujo en período de crisis, la economía de las singularidades) 6. El lujo en el campo del turismo (la hostelería de lujo, las destinaciones del turismo de lujo) 7. La duración del lujo, entre renovación y eternidad

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.7310
http://journals.openedition.org/etudescaribeennes/7310

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. They are organized by geographical location.
In the 1950s, Ingalls Shipbuilding in Pascagaula, Mississippi, began building luxury passenger liners. On September 4, 1958, the S.S. Brasil, at the time the largest ocean liner ever built in the Deep South, was delivered to Moore-McCormack Lines. Ingalls also constructed its sister ship the S.S. Argentina. In August 1972, the S.S. Brasil was purchased and operated by Holland America Lines and renamed Volendam III. The ocean liner passed to many owners until it was scrapped in late 2004. The M.S. Renaissance can be seen in the background. Slide labeled 2d Ship Renaissance Barbados.
Barbados -- Caribbean region -- Bridgetown, Saint Michael

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@ucf.edu
CFM1972_01a
Sheet 21: 7
http://ufdc.ufl.edu/AA00019204/00001

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : Nombre de destinations se réclament du tourisme de luxe ; vantant les mérites des nouvelles constructions ex nihilo, elles imaginent s’imposer dans le champ du tourisme de luxe sans en connaître les fondements. Or, le luxe ne se décrète pas. Le luxe s’inscrit dans un système de production de l’offre spécifique. Il privilégie des établissements singuliers inscrits dans les cadres exceptionnels (nature ou historique) parfois au cœur des grandes capitales pour une jouissance exclusive entre-soi. L’objectif de cette étude est de cerner le luxe dans le champ du tourisme, de définir des indicateurs, d’identifier les conditions nécessaires au tourisme de luxe à travers des établissements, des lieux, des destinations spécialisés.
There are a number of tourism destinations which wish to be part of the luxury destination market; with their new and modern infrastructures, they believe they are considered as luxury. But, luxury is not decreed. Luxury is all about a system of production of specific offers. Only “one-of-a-kind” accommodation enrolled in the exceptional frameworks (nature or historical), sometimes in the heart of major capitals for exclusive enjoyment “between-ourself”, can be considered as luxury. The objective of this study is to identify luxury in the tourism field, to define its indicators and to identify the necessary conditions of luxury tourism through accommodation, attractions and destinations specialized in luxury tourism propaganda!

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.7470
http://journals.openedition.org/etudescaribeennes/7470

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : Se analiza críticamente al lujo como «concepto» para comprenderlo dentro de la ontologización del sujeto que lo consume y lo ostenta en la actualidad. Estas dos categorías (consumo y ostentación) permiten distinguir al sujeto en dos sentidos: primero, como alguien que busca satisfacer necesidades creadas a partir de relacionar el consumo con la estetización tanto del sujeto como del mundo que lo rodea (el objeto desde un sentido estetizante); segundo, como alguien para quien el lujo es motivo justificante de relación y de des-relación con los otros. Esto a partir de analizar su forma de «hablar» ambivalente (bidireccional): el lujo dice, pero también calla; sugiere, pero no deja de imponer; abre y cierra constantemente; limita y extiende a la vez; en fin, su manera bivalente de comprender la realidad hace que sea más que una simple forma de estar en el mundo. Lo anterior nos permite explicar el por qué de la dicotomía del lujo: para algunos resulta innecesario o superfluo; para otros, en cambio, el lujo es una forma constante de afirmarse como constructo imaginario. De esto se desprende un análisis del lujo como «objeto» y como «idea de objeto»; viendo, así, la forma en que se vuelve base movible de una estetización de comportamientos ambivalentes. En otras palabras, se trata de mirar al lujo pero sin dejar de mirar al sujeto que vive «en» y «desde el lujo».
Analysed critically to the luxury as a “concept” to understand it within the ontologising of the subject that consume it and currently holds it. These two categories (consumption and ostentation) distinguish the subject in two ways: first, as someone who seeks to meet needs created from relate consumption to the aestheticisation of both the subject and the world that surrounds it (the object from a sense aestheticizing); second, as someone for whom luxury is supporting reason of relationship and des-relacion with each other. This starting to analyze his form of “speak” ambivalent (bi-directional): luxury says, but also silent; it suggests, but it doesn't impose; opens and closes constantly; limits and extends at a time; in the end, his bivalent way of understanding reality makes it more than a simple way of being in the world. This allows us to explain the reason for the dichotomy of luxury: for some it is unnecessary or superfluous; for others, on the other hand, the luxury is a constant form of asserting itself as imaginary construct. That is clear from an analysis of the luxury as «object» and «idea of object»; watching, well, how that becomes an aestheticisation of ambivalent behaviour movable base. In other words, it is the luxury look but stop looking at the subject who lives «in» and «luxury».
L’analyse critique du luxe comme « concept » pour comprendre le luxe dans l'ontologisation du sujet qui le consomme et l’occupe actuellement. Les deux catégories (consommation et ostentation) distinguent le rapport à l'objet de deux façons : tout d'abord, comme quelqu'un qui cherche à répondre aux besoins créés dans une relation de consommation et d’esthétisation à la fois du sujet en lui-même et du sujet dans son rapport au monde (l'objet d'une esthétisation de sens) ; deuxièmement, comme quelqu'un pour qui le luxe soutient la construction des relations et non-relations avec les autres. Cela commence dans l’analyser sa forme de « parle » ambivalent (bidirectionnel) : ce que le luxe dit mais aussi les silencieux ; il suggère, mais il n'impose pas ; ouvertures et fermetures ; limites et extensions ; et finalement, son mode bivalent de compréhension de la réalité qui est plus qu'une simple manière d'être au monde. Ceci nous permet d'expliquer les raisons de la dichotomie de luxe : pour certains c'est inutile ou superflu ; pour d'autres, le luxe est une forme constante d'affirmation de soi-même comme construction imaginaire. Il ressort de cette analyse le luxe en tant "objet" et "idée de l'objet"; observant l'observation comment il devient une esthétisation d’un comportement ambivalent évolutif. Autrement dit, il s’agit d’étudier le luxe, mais sans négliger le sujet qui vit dans et à travers le luxe.

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.7315
http://journals.openedition.org/etudescaribeennes/7315

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : Les consommateurs des services touristiques, en particulier les touristes fortunés, sont aussi des consommateurs de services hôteliers de luxe. Dans le cas d’Haïti, la nouvelle orientation de l’hôtellerie haut de gamme semblerait augurer un tel principe. Cependant, notre analyse montre qu’à ce stade, et pour des raisons essentiellement socio-institutionnelles, il n’est pas exact de parler d’une industrie du luxe, même s’il y a de plus en plus d’hôtels haut de gamme dans le pays.
Consumers of tourism services, especially wealthy tourists, are also consumers of luxury hotel services. In the case of Haiti, the new orientation of the upscale hotels seems to augur such a principle. However, our analysis shows that at this stage, mainly for socio-institutional reasons, it is not correct to consider the fact that there are more and more top hotels range in the country a luxury industry.
Haïti

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.7397
http://journals.openedition.org/etudescaribeennes/7397

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : Cette réflexion propose d’étudier le luxe à travers une approche pluridisciplinaire, de la philosophie à la sociologie, de la psychologie à l’économie. Tout d’abord, il s’agit d’identifier les fondements de luxe avec les travaux de Veblen (consommation ostentatoire), de Bourdieu (distinction et habitus) et Lipovetsky (esthétisation), et de définir les contours du luxe. Le luxe s’inscrit dans une construction historique, il est associé à « l’excellence matérielle, symbolique et sociale » (Karpik). Raffinement, quête intériorisée, distinction, plaisir de la créativité et de l’innovation, le luxe est un ensemble composite, matériel et immatériel. Sur le plan économique, le luxe relève de l’économie de singularité (Karpik). La valeur monétaire du lien est le principal indicateur mesurable qui permet de distinguer le marché du luxe.
This discussion proposes to study luxury through a multidisciplinary approach, from philosophy to sociology and from psychology to economy. First of all, it is to identify the foundations of luxury with the work of Veblen (conspicuous consumption), Bourdieu (distinction and habitus) and Lipovetsky (aesthetical), and to define the contours of luxury. Luxury is part of a historic building. It is associated with “perfection” (Karpik). Refinement, internalized quest, distinction, pleasure of creativity and innovation, luxury is a combination of tangible and intangible composite. On the economic front, luxury is the economy of singularity (Karpik). The price is the main measurable indicator that distinguishes the luxury market.

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.7505
http://journals.openedition.org/etudescaribeennes/7505

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : Este trabajo indaga en la forma de componer la apariencia femenina hacia el inicio del siglo XX, como signo altamente valorado de un estilo de vida. Se hará hincapié en la moda para el ocio en la playa. En el marco de una práctica insipiente, se priorizó la necesidad de exaltar la distinción por sobre la vivencia de las sensaciones que podrían provocar el contacto con la naturaleza. Se entiende que para esto fueron decisivas las pautas tipológicas, tecnológicas y funcionales del vestir. Los atributos como forma, materialidad, modos de confección y de uso trascendieron su rol técnico para volverse condicionantes de las formas de comportamiento e interacción social y para comunicar los modos que podía asumir el gusto por el lujo.
Ce travail de recherche est consacré à la construction de l'apparence féminine, au début du xxe siècle, comme style de vie jouissant d’une grande considération. L’accent est mis sur le développement de la mode sur les plages, dans un cadre d’oisiveté. Dans le cadre de l’émergence de ces pratiques naïves, la priorité fut l’exaltation d’un besoin de distinction plutôt que la recherche de sensations au contact de la nature. De nouvelles normes émergent en combinant les types, les technologies et la fonctionnalité de l’habillement. Les attributs comme la forme, la matérialité, la confection et l’usage constituent des éléments déterminants dans les formes de comportement et les interactions sociales et ils illustrent les différentes manières d’assumer le goût du luxe.
This work investigates in the way of composing the feminine appearance to the beginning of the 20th century, as sign highly valued of a way of life. It will be emphasized in the mode used for the leisure in the beach. In the frame of an ignorant practice, there was prioritized the need to exalt the distinction for on the experience of the sensations that might provoke the contact with the nature. There is understood that for it were decisive the guidelines typological, technological and functional of to dress. The attributes like form, materiality, confection and use, came out his technical role to become determining of the forms of behavior and social interaction and to communicate the manners that the taste could assume for the luxury.

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.7348
http://journals.openedition.org/etudescaribeennes/7348

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : In this paper, we consider the consolidation of consumption as prime stage of the production process and the diffusion of new forms of commerce in the city, as foundations for analyzing the urban space reproduction process in the contemporary period. Having as research place the metropolis of Sao Paulo - Brazil, we conducted an analysis and some thoughts on the place of commerce and consumption of luxury goods in the urban space reproduction process, analyzed from the perspective of the extended reproduction of capital.
En este trabajo, consideramos que la consolidación del consumo como etapa primaz del proceso de producción y la difusión de las nuevas formas de comercio en la ciudad, están en la base para analizar el proceso de reproducción del espacio urbano en el período contemporáneo. La metrópolis de São Paulo – Brasil, es el local de los análisis y reflexiones sobre el lugar del comercio y el consumo de bienes de lujo en la reproducción del espacio urbano, considerando la reproducción del capital.
São Paulo

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.7378
http://journals.openedition.org/etudescaribeennes/7378

Résumé : When Henry B. Plant brought the railroad to Tampa in 1884, he opened the door for many businesses to locate and flourish here. The railroad was at the center of the city's economy. From downtown it went to Port Tampa where one could board a Plant steamship to Jamaica, Cuba, New Orleans, Bermuda or other destinations. A spur of the rail line brought the train up to the west front of the hotel so guests could depart the train and walk directly into the lobby. The Tampa Bay Hotel cost approximately 2.5 million dollars to build and $500,000 to furnish. Consisting of 511 rooms, some of which were suites of 3-7 rooms, it provided a degree of luxury never before seen in Tampa. Most of the rooms had their own baths and all had electricity and telephones. In addition, guests were surrounded by a varied collection of furniture, porcelains, Venetian-style mirrors, and sculptures gathered by Mr. and Mrs. Plant in their travels in Europe. The Tampa Bay Hotel opened in 1891 amid wide fanfare and celebration. Henry Plant's dream was now a reality. The newspapers of the day described it as "brightly illuminated, filled with sumptuous decorations, thrilling music and graced with turrets, domes and minarets towering heavenward and glistening in the sun." It was a Victorian palace. The hotel was a lively place with balls, tea parties, and organized hunts during the winter social season. It was open seasonally from December to April in the 1890's. Once a guest arrived at the hotel, he needed to be entertained. Guests went wild game hunting as well as fresh and salt-water fishing. Water sports were also included like sailing, rowing, and canoeing. For the less adventuresome, there were bicycles, carriages, and rickshaws to ride you around the property. The hotel also offered golf, tennis, shuffleboard, billiards, and even a racetrack.
(Funding) Funded in part by the Institute for Museum and Library Services (IMLS), Ephemeral Cities Project.
Tampa |z 1271000 |2 ceeus
Hillsborough County |z 12057 |2 ceeus
United States of America -- Florida -- Hillsborough County -- Tampa

Droits : All rights reserved. 2005.
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