Routes are ап integral part of our lives. Presently, created or adapted as tourism routes of тапу sorts, these itineraries, which тау vary from а simple urban trail to а vast intercontinental journey, are опе of the key elements of tourism development throughout the world. This chapter attempts to make а preliminary discussion of the spatial configuration of tourism routes, based ироп existing literature and оп empirical observations, using various international and national examples. Furthermore, it applies two of these models to the cases of military heritage of Роrtuguese origin in Morocco and Goa, India. Тhe analysis is supported by fieldwork conducted in Goa in 2008, and in Мососсо, especially during 2010 and 2011. ...
Intro -- Contents -- Illustrations -- Acknowledgments -- Dramatis Personae: Participants in the Haida Project -- Preface -- 1 | The Paths Bringing Us Together -- 2 | Preparations for theVisit -- 3 | Moments of Encounter -- Why Go There? An Interlude -- 4 | Reflecting on the Visit -- 5 | Maintaining Relationships into the Future -- 6 | Museums As They Are, and Museums As They Might Be -- Appendix: Conservation Kits -- Notes -- References -- Index.
Access options:
The following links lead to the full text from the respective local libraries:
Abstract Many qiaoxiang in southern Fujian and Guangdong appear derelict, but documenting the material heritage and interviewing people about its social significance reveals another image. The homeland of Overseas Chinese was not only found to be significant for the diaspora but serves as an enduring reminder of a grassroots-based modernity in rural China. The qiaoxiang effectively became a transnational legacy of migration from southern China that has undergone the following stages of transformation: exodus-led emergence of a remittance landscape, sudden abandonment, and sometimes revival. Today, it has become a "repository" or "living museum" where tourists and scholars alike can visit and ponder how humans adapted to post-rural life.
In the context of increasing conflicts over material heritage around the world, this article examines the role digital media play in battles over monuments. The rise of digital media brought significant changes to the cultural dynamics of heritage conflicts, which have not been adequately addressed in existing literature. Bringing together work on monuments, (digital) memory conflicts, and digital activism, we identify three key dimensions of monument battles in which the impact of digital media is most clearly visible: (a) participation, democratization, and deterritorialization; (b) reframing and contestation; and (c) mobilization and the online-offline movement of heritage battles. We illustrate these arguments drawing on a critical discourse analysis of monument battles on the messaging application Telegram in the context of Russia's full-scale invasion of Ukraine, using a sample of 940 posts from both pro-Ukrainian and pro-Russian channels. We demonstrate that despite potentially providing space for alternative memory interpretations, online memory contestations over heritage contributed to the construction of polarized and mutually exclusive worlds.
The fall of communism in Eastern Europe did not bring about a radical and immediate destruction of the material heritage of communist dictatorships in the region. In fact, the process of de-commemoration has been more contested and more protracted than had been anticipated. Thus, what warrants a closer consideration is why this is the case since on the whole public acceptance of the regime change has been very high. This paper considers the case of Poland, the country of the Solidarity movement, which played a major role in the fall of communism in the region. The two-decade-long history of the right-wing nationalists' attempts to legislate street renaming culminating in the so-called de-communization law of 2016 will serve as a lens for investigating the responses that favoured the de-communization of public space. The paper argues that the protracted nature of the remaking of public landscape in Poland has been the result of the country's transitional legacies and different approaches to transitional justice among the former dissident opposition.
An introduction to art and cultural heritage law -- I. Artists' rights -- Freedom of expression -- Copyright -- Moral rights doctrine -- II. Museums, merchants, and markets -- Museums -- Art merchants : auction houses and dealers -- Questions of quality and authenticity -- Recovery and Bars to Recovery of Stolen Art and Cultural Property -- III. Cultural heritage -- Cultural heritage in time of war and in the aftermath of war -- Cultural heritage in the international context -- Cultural heritage of the United States -- Indigenous cultural heritage -- Appendix : Conventions and legislation -- Section A. International and Regional Conventions.
6 pages, 5 figures, 18 references. Electronic Newsletter. CSIC Thematic Network on Cultural Heritage and Network on Science and Technology for the Conservation of Cultural Heritage Instituto de Recursos Naturales y Agrobiología de Sevilla, CSIC, Apartado de Correos 1052, 41080 Sevilla (Spain) ; The field of Cultural Heritage has been actively studied by several research groups in different parts of the world. Within the sixth and seventh Framework Program of the EU, the EU ARTECH project (Access, Research and Technology for the conservation of the European Cultural Heritage) [1], and its successor CHARISMA (Cultural Heritage Advanced Research Infrastructures: Synergy for a Multidisciplinary Approach to Conservation /Restoration) [2], a consortium among 13 internationally distinguished European infrastructures devoted to artwork conservation, offer a coherent set of possibilities to access to the most advanced scientific instrumentations and knowledge on the field of cultural heritage studies. In Spain, particularly in Andalusia, over the past decade, multi-disciplinary research has been carried out in the interface between art, archaeology, biology and solid state science. The Andalusian Government has become involved; they promoted different programs with the aim to support new advances in this area. The Institute for Natural Resources and Agrobiology of Seville, the Fine Arts Schools of the University of Seville, and the University of Malaga are involved in obtaining and developing this interface using new strategies to support the field of cultural heritage. The Cultural Heritage Group at the Materials Science Institute of Seville has an extensive expertise in the advancement of conservation science and the characterisation of materials and alteration processes. A strong effort has been made in the last few years to develop innovative methodologies and techniques using synchrotron radiation sources. These advancements have contributed to the knowledge of cultural heritage and conservation science. ; This work was supported by Ministry of Science and Technology of Spain (MAT 2007- 63234 and MAT2010-20660). ; Peer reviewed
Interpretation of cultural values and cultural heritage is one of the most common types of their development and creative understanding. However, the concept of 'interpretation' remains blurred among related processes, usually without getting much mention. In the field of cultural heritage preservation, interpretation is the main method of human development of cultural heritage objects. The process and results of interpretation, as shown by the long history of preservation of cultural heritage, also affect the preservation of cultural heritage. The proposed material is devoted to the consideration of a museum as an example of one of the most consistent built spaces and tools for the interpretation of cultural heritage. The subject of the research is the methods of museum work considered in the context of mechanisms of interpretation of material cultural heritage. Museum as an instrument of interpretation has been known since ancient times. Human interest in ancient artifacts that act as visible symbols of historical and cultural memory of the past, eventually led to the development of collecting, and then, with the publication of collections, to the emergence of museums. Museum and its activities occupy a special place in the methodology of interpretation. The museum space can set its own special rhythm of historical time and create conditions for comfortable perception of the presented artifacts. No other cultural institution has such a task, and if it is necessary to present an artifact, interested persons in one way or another turn to the method tested on museum sites. As a result of the research, the author identified five stages of museum activities, which are generally typical for the mechanism of interpretation of cultural heritage. Therefore, the main goal of museum activities should be recognized as an interpretation of cultural heritage. In accordance with this goal, the museum's tasks are also implemented, including the preservation, publication and promotion of the collection's artifacts. Thus, the role and place of the museum as a specific space created for the purpose of interpreting cultural heritage is proved. These provisions allow us to look at the theory and practice of museum activities in a different way, in the context of interpreting cultural identity.
