715 resultados para Documentary heritage
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Urban Conflicts: Ethno-national divisions, States and Cities conference
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The targeted destruction of heritage sites in recent conflicts in Syria, Iraq and Mali has tragically illustrated how the treatment of heritage, as the tangible manifestation of the identity of the ‘other’, can be a symptom of the nadir to which group relations can descend. In a world in which the nation-state remains the primary means of identification, the following overarching research question was investigated: How do nation-states narrate their pasts in the built form? Drawing upon the conceptualisation of heritage as a present-orientated and political construct that is utilised to represent the values of the “dominant political, social, religious or ethnic groups” (Graham, Ashworth & Tunbridge 2000: p.183), this paper discusses the role that heritage interventions can play in both emphasising gulfs and building bridges in divided post-conflict societies (Fojut 2009).
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The World Heritage List (WHL) is widely considered a powerful tool for national tourism campaigns. Sites inscribed on the WHL by the United Nations Educational, Scientific, and Cultural Organization (UNESCO) are commonly treated as catholicons in promoting the tourism industry, which in turn helps to promote economic growth and development. This study analyzes local community perceptions of the importance of the World Heritage Site (WHS) classification of the historic center of the Portuguese city of E ́vora. The research also includes an analysis of the local residents’ perceived tourism impacts on the municipality of E ́ vora. The methodology consists of quan- titative research based on a self-administered survey applied to convenience sam- ples of local residents of the municipality of E ́ vora in the beginning of 2014. The local residents’ perceptions of the level of importance of the WHS classification to the municipality and its impact in the increase of tourists is analyzed. Positive and negative tourism impacts are then ranked and a principal components factor analysis is employed separately to the two groups of impacts in order to identify underlying dimensions associated with residents’ perceptions on tourism develop- ment. Based on the results of the factor analysis, independent sample t-tests are used to investigate differences regarding positive and negative tourism impacts between residents that live near and far from the historic center, and between residents who work/have worked in the tourism sector and residents that work/ have worked in other sectors.
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This report documents the results of the field inventory and evaluation of the nominated routes. Data is provided describing the visual and heritage character of the nominated routes and locations important to this character. Graphs, displays and maps were produced using the rating system described in the Iowa Scenic Byway Designation Guide. Discussions of specific inventory procedures and evaluation techniques can be found in two reports, Iowa Scenic Byway Evaluation, December 1992, and Iowa Scenic Byway Evaluation, November 1995.
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This report documents the results of the field inventory and evaluation of the nominated routes. Data is provided describing the visual and heritage character of the nominated routes and locations important to this character. Graphs, displays and maps were produced using the rating system described in the Iowa Scenic Byway Designation Guide. Discussions of specific inventory procedures and evaluation techniques can be found in two reports, Iowa Scenic Byway Evaluation, December 1992, and Iowa Scenic Byway Evaluation, November 1995.
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Conventional descriptions place conservation activities between the two poles of active restorative intervention and passive abandonment. This paper proposes that site stewards at mining heritage sites often follow presentation strategies that sit outside this neat dualism. Drawing on material presented in the form of three case studies, this paper identifies the actions these strategies entail and considers the results in terms of an aesthetic of decay. To consolidate the argument, a new overarching term is introduced to describe this strategy: contrived dereliction, in order to foreground its essential features. The paper then outlines the advantages, limitations and requirements of contrived dereliction as a heritage management and presentation practice.
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As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company staged a production of Much Ado About Nothing set in India. Shakespeare’s Messina in sixteenth century Italy was transposed to twenty-first century Delhi and with a company of actors who were all of Indian heritage. The casting of individual British Asian actors in mainstream UK productions of Shakespeare is no longer unusual. What was unprecedented here, however, was that not only was the entire cast ‘Asian’ but the director was not, as is standard practice, a leading member of the white British theatrical establishment. Instead the director, Iqbal Khan, is the son of a Pakistani father who migrated to England in the 1960s. I use the term ‘Indian heritage’ with great caution conscious that what began under the British Raj in nineteenth century India led through subsequent economic imperatives and exigencies, and political schism to a history of migratory patterns which means that today’s British Asian population is a complex demographic construct representing numerous different languages and cultural and religious affiliations. The routes which brought those actors to play imagined Indian Shakespeare in Stratford-upon-Avon in July 2012 were many and various. I explore in this chapter the way in which that complexity of heritage has been brought to bear on the revisioning of Shakespeare by British Asian theatre makers operating outside the theatrical mainstream. In general because of the social, economic and institutional challenges facing British Asian theatre artists, the number of independent professional companies is comparatively small and for the most part, their work has focused on creating drama which interrogates thorny questions of identity formation and contemporary cultural practices within the ‘new’ British Asian communities. Nevertheless for artists born and/or educated in the UK the Western classical canon, including of course Shakespeare, is as much part of their heritage as the classical Indian narratives and performance traditions which so powerfully evoke collective memories of the lost ‘home’ of their elders. By far the most consistent engagement with Shakespeare has been seen in the work of Tara Arts which was the first British Asian theatre company set up in 1977. The artistic director Jatinder Verma brings his own ‘transformed and translated’ heritage as an East African-born, Punjabi-speaking, English-educated, Indian migrant to the UK to plays as diverse as A Midsummer Night’s Dream, Troilus and Cressida , The Tempest and The Merchant of Venice. I discuss examples of Tara productions in the light of the way Shakespeare’s plays have been used to forge both creative synergies between parallel cultures and provide a means of addressing the ontological ruptures and dislocations associated with the colonial past.
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The identification of archival records depends on description, being this last process summed up in designation. The title given to dif-ferent groups of documents will have a great incidence in archival func-tions. Taking this premise as our starting point, this paper presents theo-retical contributions made in Spain related to designation of documen-tary types, series and units. The status of the issue presented here tries to delimitate the concept of “documentary typology”, essential for Ar-chival Science.
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Hospitals from ancient Seville had an important heritage for survival of the institution and its patients. In order to keep this heritage, the officialdom settled down several control mechanisms that would serve to manage a profitable management of their income and rights. For this purpose, they developed devising instruments able to preserve their possessions and put them into operation. This article attempts to identify the defining elements of these books, called “protocolos de bienes” (protocols goods), indicating their characteristics and evolution from archaic models until the final form. This final form was reached late sixteenth and early seventeenth century, at which time devoted use main codex of hospitality. To do this, we used the documentary collec-tions of Seville, preserved in different archives of the city, from where they have taken several significant examples showing the changes that occurred in both its internal structure and its mate-rials manufacturing, underlining the participation of official, booksellers, illuminators and calligraphers. Similarly, it has high-lighted the multifaceted and multifunctional character of this ins-titutions that became also a corporate identity. The multiplicity of hospitals in Sevilla had different types and features of protocols, which were modificated according to the different needs of each institution.
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Presentation from the MARAC conference in Pittsburgh, PA on April 14–16, 2016. S4 - Culture in Transit: Digitizing and Democratizing NYC’s Cultural Heritage.