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Introduction to Part I
No full textHow have understandings of what constitutes heritage and who controls it, shifted over time? In this opening section, we consider contexts of heritage, both past and present. The first half considers conceptions of heritage during a period when Euro-American perspectives came to dominate global discourse on the subject, particularly through the implementation of international conventions in the mid- to late-twentieth century. It explores the conception of heritage, emerging largely from European contexts, and its codification via various national legislation and international conventions
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Introduction
No full text[About the book]
Heritage’s revival as a respected academic subject has, in part, resulted from an increased awareness and understanding of indigenous rights and non-Western philosophies and practices, and a growing respect for the intangible. Heritage has, thus far, focused on management, tourism and the traditionally ‘heritage-minded’ disciplines, such as archaeology, geography, and social and cultural theory. Widening the scope of international heritage studies, A Museum Studies Approach to Heritage explores heritage through new areas of knowledge, including emotion and affect, the politics of dissent, migration, and intercultural and participatory dimensions of heritage.
Drawing on a range of disciplines and the best from established sources, the book includes writing not typically recognised as 'heritage', but which, nevertheless, makes a valuable contribution to the debate about what heritage is, what it can do, and how it works and for whom. Including heritage perspectives from beyond the professional sphere, the book serves as a reminder that heritage is not just an academic concern, but a deeply felt and keenly valued public and private practice. This blending of traditional topics and emerging trends, established theory and concepts from other disciplines offers readers international views of the past and future of this growing field.
A Museum Studies Approach to Heritage offers a wider, more current and more inclusive overview of issues and practices in heritage and its intersection with museums. As such, the book will be essential reading for postgraduate students of heritage and museum studies. It will also be of great interest to academics, practitioners and anyone else who is interested in how we conceptualise and use the past
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Introduction to Part III
No full textIn this part of the book, we turn to the different strategies and forms through which museums might utilise objects to make representations and to tell stories. It follows on logically from the second part: for although it continues to explore and problematise the role of objects within exhibitionary settings, the previous emphasis on how visitors experience and respond to objects as material things is now complemented with a focus on the different strategies and forms through which museums do, or could, use objects to make representations and tell stories. The diversity of subjects represented in the following chapters - contemporary art museums, historical costume, collector-donors, missing and absent objects, and "relics" of Arctic expeditions - reflect not only a range of museum representations generally, but also the breadth of Susan Pearce's interests and some of the spheres in which her writing and teaching has been influential
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Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties
No full textQingbai ware, or Yingqing ware as it is commonly known, is perhaps one of the most under appreciated ceramics in the Chinese ceramic tradition. It is not one of the wu wei ci, or five classic wares of the Song dynasty. It was not made exclusively for imperial use and its decorative styles and techniques were largely borrowed from other wares such as Ding and Yaozhou wares. With the exception of Jingdezhen, where it was primarily made, it also has not drawn much interest from archaeologists. This is unfortunate because, as we will see, qingbai ware is in fact one of the most successful ceramic types produced in China and was emulated at numerous kilns in many different regions. Very high quality qingbai wares were produced in the Song period which are today some of the finest early porcelains produced in China. Qingbai was also the basis from which Jingdezhen blue and white porcelain was developed and as recent research shows, this ware was noted in ancient records and was buried in hoards and tombs of the Song and Yuan dynasties. In fact, it was considered valuable enough when it was first made that several qingbai wares can be found in the original holdings of the National Palace Museum in Taipei.
The history of this ware is fairly straightforward but has not been presented in monograph form in English before. In order to show the complete picture of qingbai production, the history of its manufacture needs to be reconstructed and its forms, decoration and patronage need also to be illustrated. This volume will present these issues along with over 100 colour illustrations of some of the best and most interesting qingbai wares in collections around the world, many of which have not been published before.
Essays have been contributed from both doctoral students of Chinese ceramics as well as established specialists in the field. Summaries of these essays as well as the catalogue entries have also been provided in Chinese. For reasons of space, this catalogue concentrates on Qingbai ware for the Chinese domestic market and on examples made at Jingdezhen. It is hoped that this catalogue will inspire further research on export wares and the products of other kilns
From Representation to Participation: inclusive practices, co-curating and the voice of the protagonists in some Italian migration museums
No full textThe chapter analyzes the policies of the main Italian migration museums, as well as the mediations strategies designed by them in order to strenghten the social tissue in the community, with a focus on the relationship with migrant audiences
Representing the China Dream: A case study in revolutionary cultural heritage
No full textThis chapter outlines whether the visual representations of the China Dream can, therefore, be described as a manifestation of revolutionary cultural heritage. The China Dream poster campaign features objects and artwork created at 'well known folk art institutions'. A brief look at the aesthetic and iconographic aspects of a small selection of the designs, with consideration of their key influences, will help to situate the visual representations of the China Dream within the historical trajectory of Chinese visual culture under communism. In addition to promoting the revolutionary ideals, there is a pragmatic motive for the official promotion of red tourism. The poster designs assert particular visions of China and the character of the Chinese people generated by the nationalist agenda. They thusly make use of genres and techniques perceived to be uniquely or characteristically China, regardless of their origin in pre-revolution visual culture or post-revolution visual culture
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Afterword: a conversation with Sue Pearce
No full textThe visual culture of the Great Proletarian Cultural Revolution (1966-76), upon which this chapter focuses – has been, I would argue, an active agent in the development of Western perceptions of the People’s Republic of China (PRC).1 Its interpretation may be problematic. Three aspects are key: the tensions inherent in its display (especially outside the temporal, ideological and geographical context of its creation); its role in mediating (sometimes subverting) official and unofficial histories of the Cultural Revolution; and what it represents (both visually and symbolically), challenging the image of contemporary China promoted in the West by the PRC and received images of China and ‘Chineseness’ in the West. With these issues in mind, this chapter takes a critical look at two contemporary British examples of institutions with collections of Cultural Revolution-era visual culture, using aspects of collecting theory theorised by Susan Pearce. I will delimit the extent of contemporary collecting practice within this subject area, and begin to reveal the tension between material of an explicitly propagandist nature, and representations of Chinese art and culture within an orientalising discourse. While recognising that there are highly practical (and pragmatic) influences upon the collection, interpretation and display of this material, among them the challenges of presenting to audiences the Cultural Revolution as a sociopolitical and ideological phenomenon, and the macro political considerations that collecting and displaying institutions have to take into account when entering into high profile and potentially lucrative (in both terms of financial and intellectual return) relationships with the Chinese cultural authorities (for a closer examination of these aspects see Barnes 2009). After a description of the focal collections, this chapter turns to a particular, theoretical aspect: the challenge that the visual culture of the Cultural Revolution presents to deeply entrenched museal representations of China and the traditional Western canon of art
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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