scholarly journals The value of museum communication: the cases of the Paper and Watermark Museum in Fabriano and the Ascoli Piceno Papal Paper Mill Museum in Ascoli Piceno

2018 ◽  
Vol 16 (4) ◽  
pp. 049-058
Author(s):  
Patrizia Dragoni
Keyword(s):  
Cultural Heritage ◽  
Cultural History ◽  
Paper Mill ◽  
Heritage Management ◽  
External Effects ◽  
The Public ◽  
Artistic Value ◽  
History Of ◽  
Landscape Value ◽  
Production Value

Guaranteeing the survival of cultural heritage, increasing its accessibility, both physical and intellectual, and the creation of countless benefits for different categories of stakeholders depends both on a perfect comprehension of the interests and abilities of users to take advantage of what is offered and, above all, on identifying and analysing the various types of value that can be attributed to it. According to Montella, there are three types of value that may be analysed for this purpose: a presentation value, informative in nature and inherent in the historical, cultural and possibly artistic value implicit in the heritage; a landscape value, extended to the context, inherent in the factual information services aimed at supporting policies of preventive and programmed conservation: and a production value, commercial in nature, which concerns the external effects generated by cultural heritage management to qualify the products and the images themselves of the businesses in order to make them stand out from the competition. The aim of this article is to inquire into whether, in what way and to what extent the communication of the Paper and Watermark Museum in Faabriano and the Ascoli Piceno Papal Paper Mill Museum in Ascoli Piceno creates presentation value and therefore leads the public to understand how far paper production has influenced the economic and socio-cultural history of the area in which they are located.

scholarly journals Thirty-Two Years of Integrating Archaeology and Heritage Management in Belize: A Brief History of the Belize Valley Archaeological Reconnaissance (BVAR) Project’s Engagement with the Public

Heritage ◽  
2020 ◽  
Vol 3 (3) ◽  
pp. 699-732
Author(s):  
Julie A. Hoggarth ◽  
Jaime J. Awe ◽  
Claire E. Ebert ◽  
Rafael A. Guerra ◽  
Antonio Beardall ◽  
...  
Keyword(s):  
Cultural Heritage ◽  
Heritage Management ◽  
Archaeological Research ◽  
Cultural Heritage Management ◽  
The Public ◽  
Scientific Investigations ◽  
Heritage Education ◽  
History Of ◽  
Ancient Monuments ◽  
Successes And Challenges

Since its inception in 1988, the Belize Valley Archaeological Reconnaissance (BVAR) Project has had two major foci, that of cultural heritage management and archaeological research. While research has concentrated on excavation and survey, the heritage management focus of the project has included the preservation of ancient monuments, the integration of archaeology and tourism development, and cultural heritage education. In this paper, we provide a brief overview on the history of scientific investigations by the BVAR Project, highlighting the project’s dual heritage management and research goals. This background offers the basis in which to discuss the successes and challenges of the project’s efforts in cultural heritage management and public engagement, particularly in early conservation efforts, in its training and educational efforts, and its ongoing outreach activity. We emphasize the need to train Belizeans as professional archaeologists and conservators, to serve as the next generation of advocates for Belize’s heritage management. We offer some ideas on how research projects can make significant contributions to heritage education and preservation in the developing world.

scholarly journals Museums, museology and cultural heritage studies in Sweden 1993–2017. Some experiences and effects

1970 ◽  
pp. 119-129 ◽  
Author(s):  
Eva Silvén
Keyword(s):  
Cultural Heritage ◽  
Cultural History ◽  
Local History ◽  
Traditional Concept ◽  
History Museum ◽  
The Public ◽  
History Museums ◽  
Heritage Studies ◽  
History Of ◽  
Diversity Issues

In the last twenty-five years, the Swedish museum landscape has expanded and contains today several thousand museums, from the single local history museum to the merged governmental central museum, many of them organized in different networks. During the same period contemporary collecting, diversity issues and difficult matters became both attractive and urgent topics for the public cultural history museums. Also, museology and cultural heritage studies were established at several universities, with professorships as well as basic educational programmes. As a consequence, the perception of museology as research done at museums was replaced by research on museums, often with a critical view of the history of collections and exhibitions. During the last few years, however, a polarized media debate reveals that there might still be a gap between the actual, contemporary museum and the more traditional concept of the museum in (some) people’s minds.

Emotions in performance: Poetry and preaching

2017 ◽  
Vol 54 (1) ◽  
pp. 67-102
Author(s):  
Carla Petievich ◽  
Max Stille
Keyword(s):  
Cultural History ◽  
Rhetorical Analysis ◽  
Cultural Tradition ◽  
Public Performance ◽  
The Public ◽  
Collective Emotions ◽  
Performance Poetry ◽  
Performance Traditions ◽  
History Of ◽  
Modern Nation State

Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of the changing forms of reader address shows how the modern nazm genre has been deployed for exhorting the collective, much-expanded Urdu public sphere. Emphasising the sensory aspects of performance, the analysis of contemporary waʿz mahfils focuses on the employment of particular chanting techniques. These relate to both the transcultural Islamic soundsphere and Bengali narrative traditions, and are decisive for the synchronisation of listeners’ experience and a dramaticisation of the preachers’ narratives. Music-rhetorical analysis furthermore shows how the chanting can evoke heightened emotional experiences of utopian Islamic ideology. While the scrutinised performance traditions vary in their respective emphasis on poetry and narrative, they exhibit increasingly common patterns of collective reception. It seems that emotions evoked in public performances cut across ‘religious’, ‘political’, and ‘poetic’ realms—and thereby build on and build up interlinkages between religious, aesthetic and political collectives.

scholarly journals A Tricky Subject – archaeology in opinion polls on cultural heritage. Recent examples from Poland

2021 ◽  
Author(s):  
Agnieszka Oniszczuk
Keyword(s):  
Cultural Heritage ◽  
Public Perception ◽  
Heritage Management ◽  
Sources Of Information ◽  
Archaeological Heritage ◽  
The Public ◽  
Or Groups ◽  
Subjective Value ◽  
Archaeological Heritage Management ◽  
Opinion Polls

Understanding the public by analysing the wants, interests and expectations regarding their involvement in archaeology is one of the strategic aims of Europae Archaeologiae Consilium (EAC). Cultural heritage has been the topic of several public opinion polls in Poland over the past few years. In 2011 and 2015, the Narodowy Instytut Dziedzictwa (National Institute of Cultural Heritage) carried out two representative surveys. Subsequent polls focusing on more specific issues or groups of respondents were undertaken in 2015, 2017 and 2018. Other data from Poland come from the 2017 Special Eurobarometer survey on cultural heritage. They can be contrasted with archaeology-orientated opinion polls: a Europe-wide survey carried out within the NEARCH project led by Inrap (French National Institute for Preventive Archaeological Research) and several smaller-scale projects, which might be treated as starting points for more representative research. The scope of these surveys includes: public perception of cultural heritage and archaeology, subjective value of cultural heritage, attitudes towards archaeology, relevance of archaeology for the present (also in terms of the socio-economic potential of archaeological heritage), people's interaction with archaeology and archaeological heritage, sources of information about archaeological heritage etc. Comparison of these data will serve to establish the relevance of surveys for archaeological heritage management. The author will also examine if the specific nature of archaeological heritage is reflected in the surveys and how the public feels about its most hidden heritage. Based on the results of her analysis, the author will look at the desired scope of a survey aimed at filling the identified gaps and shaped to fit the needs of evidence-based archaeological heritage management.

HISTORICAL AND ARCHITECTURAL DEVELOPMENT OF THE EXALTATION OF THE HOLY CROSS MONASTERY IN MANYAVA (GREAT MANYAVSKY HERMITAGE) XVII-XX CENTURIES

2021 ◽  
Vol 3 (2) ◽  
pp. 118-126
Author(s):  
Chen L ◽  
Keyword(s):  
Cultural Heritage ◽  
Stages Of Development ◽  
Artistic Value ◽  
Bell Tower ◽  
History Of ◽  
Architectural Development

The article traces the history of the origin of the Manyavsky Hermitage and reveals the stages of development of the monastery from the beginning of its foundation and formation, prosperity to the decline, destruction and revival in our time. In the course of the research, the architectural-spatial and planning structure of the monastery ensemble of the Exaltation of the Holy Cross in Manyava were analyzed. The originality of the ensemble lies not only in the harmonious combination of wooden, brick monastic buildings, surrounded by fortified thick walls with three towers but also in a kind of architectural and spatial combination of the main cathedral, which dominates the cells and other temples, with high dominants - the Treasury Tower and the Bell Tower. Diverse in architectural-compositional and artistic solutions, the material of construction, monastic buildings are organically integrated into the existing landscape environment and form a holistic architectural ensemble. The monastery buildings of the Great Manyavsky Hermitage have architectural and artistic value, belong to the historical and cultural heritage, and are an invaluable spiritual heritage of Ukraine.

scholarly journals From San Francisco to Tōhoku – 111 yr of continuous earthquake recording in Göttingen

2014 ◽  
Vol 5 (1) ◽  
pp. 1-10
Author(s):  
H. Steffen ◽  
W. Brunk ◽  
M. Leven ◽  
U. Wedeken
Keyword(s):  
Cultural Heritage ◽  
San Francisco ◽  
Historic Buildings ◽  
The Public ◽  
Scientific Investigations ◽  
History Of ◽  
University Of Göttingen ◽  
The University ◽  
Observational Record ◽  
Almost Continuous

Abstract. In 1902, the so-called Erdbebenhaus (earthquake house) was built in the garden of the Institute of Geophysics of the University of Göttingen to host and protect the very sensitive and fragile seismographs designed by Emil Wiechert. These instruments were the standard at their time, and they are still in operation today, documenting 111 yr of almost continuous seismological observations. Since 2005, the observatory is owned by the Wiechert'sche Erdbebenwarte Göttingen e.V. (Wiechert's earthquake observatory in Göttingen, registered society). This society aims at extending the observational record and protecting the observatory as a cultural heritage. In this paper we review the history of the observatory in the last 111 yr. Special attention is given to the developments in the last decade, when the observatory and further historic buildings and instruments changed ownership. Due to the efforts by the society, the observatory is still running now and open to the public. In addition, it is a part of the German Regional Seismic Network and, thus, observations can be used for scientific investigations.

scholarly journals Religio-cultural heritage of libation, memory and Obang cultural history, Northwest Cameroon

2020 ◽  
Vol 76 (1) ◽  
Author(s):  
Felix K. Esoh ◽  
Chammah J. Kaunda
Keyword(s):  
Social Change ◽  
Cultural Heritage ◽  
Cultural History ◽  
Cultural Memory ◽  
Cultural Resilience ◽  
Traditional Societies ◽  
History Of ◽  
Northwest Region

This article argues that libation, often associated with the ancestors, artefacts, images and pre-Christian religious devotions, constitutes sources for articulating authentic African cultural history of Obang community in the Northwest Region of Cameroon. It highlights that among traditional memory carriers, the ritual of libation remains trust worthy and pervasive, even among communities challenged by globalisation and colonising effects of Christianity. The article demonstrates the immense potentials of libation as an epitome and stabiliser of cultural memory, and a maxim in cultural resilience in contemporary Africa. Thus, the article calls for revisiting this ancient ritual to expose its potentials as a veritable memory repertoire in cultural–historical studies, especially at a time when social change and modernism continue to challenge the memories of traditional societies.

De cómo el arte se convirtió en el arte

1970 ◽  
Author(s):  
Luis Puelles Romero
Keyword(s):  
Cultural History ◽  
The Public ◽  
Las Casas ◽  
History Of Art ◽  
History Of ◽  
Artistic Theory

RESUMENSe dedican estas pá´ginas a unos pocos comentarios surgidos de la lectura del libro de Larry Shiner "La invención del arte. Una historia cultural" (Barcelona, Paidós, 2004). Además de apreciable por sus contenidos, esta obra destaca por sus implicaciones epistemológicas, no siempre explicitadas, y su capacidad para reunir procedimientos historioráficos y objetos intelectuales de diversas disciplinas afines a lo artístico. Bajo la exigencia de una "historia cultural" Shiner consigue que la teoría estética y la teoría artística, instituidas en la modernidad, se encuentren con otros factores, materiales, como el mercado, el origen del público o la aparición de las casas de subastas, habitualmente poco presentes en los índices de las historias del arte y de la estética de mayor divulgación.PALABRAS CLAVEESTÉTICA-ARTE-MODERNIDADABSTRACTThese pages deal with some reflections upon the book by Larry Shiner "The Invention of Art" (Barcelona, Paidós, 2004). In addition to its remarkable contents, this work is outstanding due to its epistemological presuppositions, not always explicitly mentioned, and its ability to join historiographic devices and intellectual subjects from various diciplines related to the artistic domain.. Under the scope of a "cultural history", Shiner succeeds in making that artistic theory and aesthetics theory, both of them institutionalised in modernity, encounter other material factors such as the market, the emergence of the public or the auction´s houses rarely mentioned in the usual table of contents of books about history of art and aesthetics.KEYWORDSAESTHETICS-ART-MODERNITY

The Body Beyond the Anatomy Lab: (Re)Addressing Arts Methodologies for the Critical Medical Humanities

2018 ◽  
Author(s):  
Rachael Allen
Keyword(s):  
Cultural History ◽  
The Body ◽  
Human Anatomy ◽  
Anatomical Dissection ◽  
The Public ◽  
The Arts ◽  
History Of ◽  
Special Knowledge ◽  
Human Dissection ◽  
Anatomy Lab

Bearing witness to these anatomies ‘in the flesh’ is rooted in the cultural history of human anatomy and dissection: the meeting of artists and anatomists around the dissecting table; the public spectacle of ritualised dissections in Renaissance anatomical theatres; the study of anatomy in institutions; the contentious display of dead bodies in Gunther von Hagen’s Body Worlds, to name a few. Our bodies have commonly been understood by both medical and lay people as a biological machine of sorts and an image ‘embedded in popular culture and sustained in the anatomy lab’. First-hand experience of anatomical dissection has become a guarded professional ritual and a marker of special knowledge that depends on the violation of the taboo (access to the interior of the body and to death): ‘The anatomy theatre lies at the mysterious heart of medicine in the public fantasy and the professional imagination.’ Categorical, turbulent and romantic accounts of human dissection have circulated widely over the centuries, through prose, poetry and the arts, and it is precisely because of the body’s moral centrality that it can be used subversively by contemporary artists today.

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