Search results

You are looking at 1 - 10 of 4,522 items for :

  • Refine by access: All content x
Clear All
Open Access (free)
Jes Wienberg

Heritage is everywhere David Lowenthal’s classic The Past is a Foreign Country opens with the sentence “The past is everywhere”, and he used exactly the same words three decades later when he revisited that country (Lowenthal 1985 : xv; 2015: 1). The Heritage Crusade and the Spoils of History begins in much the same way, but here the past has been limited to heritage: “ALL AT ONCE HERITAGE IS EVERYWHERE – in the news, in the movies, in the marketplace – in everything from galaxies to genes” (Lowenthal 1997 : ix). The phrase “Heritage everywhere” is

in Heritopia
Jes Wienberg

Heritopia UNESCO’s salvage campaign in Nubia, with the temples of Abu Simbel as its main attraction, was described as a great success both at the time and afterwards. The Aswan High Dam’s threats to the ancient monuments could be averted. The temples of Pharaoh Ramses II were saved from the rising water level of the Nile by being cut up, moved, and reassembled in a new and safer place. Heritage had been threatened by Egypt’s modernisation, but it was salvaged in an international campaign that employed the rational organisation, finances, knowledge, and

in Heritopia
Jes Wienberg

World Heritage Convention The focus of the inquiry will now shift to World Heritage and to the temples of Abu Simbel and other sites. Focusing on World Heritage means that the inquiry’s questions about the past and its history, memory, and heritage will now be given precise coordinates: why, then, identify, examine, document, protect, preserve, mediate, and also develop World Heritage? Is it not a Sisyphean – an absurd or meaningless – task to try to protect and preserve World Heritage for the unlimited future? So, why even bother to define a special category

in Heritopia
Abstract only
James Chapman

5 Heritage heroes Robin of Sherwood would be the last major swashbuckling series for two decades: not until the BBC’s Robin Hood in 2006 did the costume adventure return in a weekly series format. While the swashbuckler was no longer a regular feature of the terrestrial television schedules, however, it persisted in the form of one-off, made-for-television films. This trend began in the mid-1970s, when Richard Chamberlain starred in a brace of Alexandre Dumas adaptations for US television – The Count of Monte-Cristo and The Man in the Iron Mask – and then

in Swashbucklers
Abstract only
Guy Austin

Filming and funding the heritage genre The quality costume drama of the 1980s and 1990s has been termed the ‘heritage film’ (Higson 1993 ). In France it is a genre closely related to la tradition de qualité (see chapter 1 ), although chronologically it parallels the British trend for nostalgia initiated by Chariots of Fire in 1981. Classical in form, historical or literary

in Contemporary French cinema
Murray Stewart Leith and Duncan Sim

Introduction This chapter explores the relationship between Scotland’s heritage and its large and significant tourist industry. We will discuss how tourism has developed in Scotland, how the country ‘sells’ itself, the relevance of the imagery associated with Scotland (tartan and the like) and the various elements that make up the tourist industry. The chapter builds on some of the topics we have already discussed elsewhere, such as Scotland’s imagery ( Chapter 4 ), diaspora and what might be termed ‘roots’ tourism ( Chapter 10 ) and aspects of the country

in Scotland
Housing and collective identity before 1979
Ali Mozaffari and Nigel Westbrook

3 Heritage in the everyday: Housing and collective identity before 1979 Introduction One of the most tangible cases where heritage, place, and collective identity are construed and constructed on an everyday basis is in the design of collective housing. In this chapter we examine a particular case of engagement with the past through the architectural design of group housing, Shushtar Now (New Shushtar) by Kamran Diba, a project that arose out of the 1974 Persepolis congress as an exemplary model for future mass housing in Iran. Such mass housing fulfilled both

Re-enacting Angkorian grandeur in postcolonial Cambodia (1953–70)
Michael Falser

, urbanism and architecture. As Garry correctly surmised, Cambodia’s ‘renaissance from decadence’ and its development towards an independent kingdom and modern ‘Khmer nation’ was also completely embedded in, and justified through, a social and political rhetoric of cultural heritage. This cultural heritage was founded upon a collective‘inheritance [ héritage ]’ of

in Cultures of decolonisation

This book analyses the use of the past and the production of heritage through architectural design in the developmental context of Iran. It is the first of its kind to utilize a multidisciplinary approach in probing the complex relationship between architecture, development, and heritage. It uses established theoretical concepts including notions of globalism, nostalgia, tradition, and authenticity to show that development is a major cause of historical transformations in places such as Iran and its effects must be seen in relation to global political and historical exchanges as well as local specificities. Iran is a pertinent example as it has endured radical cultural and political shifts in the past five decades. Scholars of heritage and architecture will find the cross-disciplinary aspects of the book useful. The premise of the book is that transposed into other contexts, development, as a globalizing project originating in the West, instigates renewed forms of historical consciousness and imaginations of the past. This is particularly evident in architecture where, through design processes, the past produces forms of architectural heritage. But such historic consciousness cannot be reduced to political ideology, while politics is always in the background. The book shows this through chapters focusing on theoretical context, international exchanges made in architectural congresses in the 1970s, housing as the vehicle for everyday heritage, and symbolic public architecture intended to reflect monumental time. The book is written in accessible language to benefit academic researchers and graduate students in the fields of heritage, architecture, and Iranian and Middle Eastern studies.

The formation of a collective imagination
Ali Mozaffari and Nigel Westbrook

Introduction Development, architecture, and heritage: The formation of a collective imagination This book examines the relationship between development, architecture, and the (re)production of the past through architectural design in Iran, from the early 1970s to the 1990s. It will show that this relationship is entangled in larger historico-cultural processes, many of which originated from outside Iran in European Enlightenment and post-Enlightenment intellectual discourses. This relationship between architectural design and the production of the past in the