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, understanding, and explaining the whole field of history, memory, and heritage. Truth, beauty, and goodness Truth, beauty, and goodness are three perspectives that may serve as the starting point of three fundamental motives for understanding the meaning of the past. This triad, with roots in Western philosophy and theology, is useful both in order to obtain an overview of the multiple justifications, motives, values, and opinions about usefulness and in order to understand current conflicts around history, memory, and heritage. The triad of truth, beauty, and goodness is
Heritopia explores the multiple meanings of the past in the present, using the famous temples of Abu Simbel and other World Heritage sites as points of departure. It employs three perspectives in its attempt to understand and explain both past and present the truth of knowledge, the beauties of narrative, and ethical demands. Crisis theories are rejected as nostalgic expressions of contemporary social criticism. Modernity is viewed as a collection of contradictory narratives and reinterpreted as a combination of technological progress and recently evolved ideas. The book argues that while heritage is expanding, it is not to be found everywhere, and its expansion does not constitute a problem. It investigates the World Heritage Convention as an innovation, demonstrating that the definition of a World Heritage site succeeds in creating a tenable category of outstanding and exclusive heritage. The book introduces the term “Heritopia” in order to conceptualise the utopian expectations associated with World Heritage. Finally, it points to the possibilities of using the past creatively when meeting present-day and future challenges.
difficulty, which is coming to an agreement about what is both outstanding and universal; that is, attaining a common human consensus about what is valuable in nature and culture. My truth, beauty, and goodness need not be yours, too. My proposal for World Heritage does not need to be yours as well. What I see as outstanding and universal, you may reject as indifferent, provincial, or perhaps typically Western. When this is combined with questions of nationalism, identity, tourism, growth, and geopolitics, a chasm of potential conflicts opens up. If my or our World
forms of truth, beauty, and goodness, as even the very highest in the state. 73 He concluded: My personal experience with this peculiar class [ sic ] justifies me in saying that they are far less dishonest than they are usually believed to be, and much more
, taking Abu Simbel as its starting point. Chapter 2, “Truth, beauty, and goodness”, considers reasons, motives, and values involved in preserving the past. Chapter 3, “Chronic nostalgia”, discusses (mis)use of the past and crisis theories, all of which have one feature in common: they regard interest in the past as a compensation for phenomena in the present. Chapter 4, “The faces of modernity”, analyses central concepts such as time, change, permanence, progress, and decay, and it presents a new perspective on modernity. Chapter 5, “Heritage in the present”, examines
reflection [provides the] guiding thread [of modernity]’. 13 It describes a process of the ‘separation of spheres, the becoming autonomous of truth, beauty and goodness from one another’. 14 To the extent that modernity is structured around divisions that leave aesthetics bereft of truth, the ‘experience of art as aesthetical is the experience of art as having lost or been deprived of its power to
Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema.
Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.