Museology and heritage studies Books

Book SynopsisThis book offers a comprehensive account of the audiovisual translation (AVT) of humour, bringing together insights from translation studies and humour studies to outline the key theories underpinning this growing area of study and their applications to case studies from television and film. The volume outlines the ways in which the myriad linguistic manifestations and functions of humour make it difficult for scholars to provide a unified definition for it, an issue made more complex in the transfer of humour to audiovisual works and their translations as well as their ongoing changes in technology. Dore brings together relevant theories from both translation studies and humour studies toward advancing research in both disciplines. Each chapter explores a key dimension of humour as it unfolds in AVT, offering brief theoretical discussions of wordplay, culture-specific references, and captioning in AVT as applied to case studies from Modern Family. A dedicated chapter to audio descriptTable of ContentsTable of ContentsHumour in Audiovisual Translation: Theories and Applications Table of ContentsList of AcronymsFiguresTablesAcknowledgementsIntroductionThe Scope of This Book and its StructurePART I - TheoriesChapter 1 – Humour and Humour Translation1.1 Introduction1.2 Defining Humour and its Markers1.3 Theories of Humour1.4 Script-based Theories1.4.1 SSTH and GTVH1.4.2 The Application of the GTVH and Some Criticism1.5 Conversational Humour1.5.1 Function(s) of Humour in Conversation1.6 Humour in Comedy1.7 On Humour (Un)Translatability1.8 Summing upBibliographyFilms, TV Series and Theatre Plays CitedNotesChapter 2 – Audiovisual Translation and Humour2.1 Introduction2.2 AVT - Reasons and Rationale2.3 Some Theoretical Considerations Regarding AVT2.4 Modes of Audiovisual Translation2.4.1 Revoicing2.4.1.1 Dubbing2.4.2 Captioning2.4.2.1 Subtitling and Fansubbing2.5 AVT in Italy2.6 The AVT of Humour2.6.1 Priorities and Strategies in the AVT of Humour2.7 Summing upBibliographyFilms, TV Series and Theatre Plays CitedNotesPART II – ApplicationsChapter 3 – Humorous Puns in Translation3.1 Introduction3.2 Defining (Humorous) Puns3.2.1 Puns Based on Fixed Expressions and Idioms3.2.2 Puns Based on Verbal and Non-Verbal Text3.3 Punning and Translation3.3.1 A Taxonomy for the AVT of Humorous Puns3.4 Data and Methodology3.4.1 Modern Family3.4.2 Methodology3.5 Data Analysis3.5.1 Punning in Dubbing3.5.2 Punning in Captioning3.5.3 FEI-Based Puns in Dubbing3.5.4 FEI-Based Puns in Captioning3.5.5 Puns Based on Verbal and Non-Verbal Text in Dubbing and Captioning3.6 Findings and ConclusionsBibliographyFilms, TV Series and Theatre Plays CitedNotesChapter 4 – Humorous Culture-Specific References4.1 Introduction4.2 Defining Culture-Specific References (CSRs)4.3 Types and Sources of CSRs4.4 Function(s) of Humorous CSRs4.5 Translating (Humorous) CSRs4.6. Data Analysis4.6.1 Dubbing Humorous CSRs4.6.2 Captioning Humorous CSRs4.7 Findings and ConclusionsBibliographyFilms, TV Series and Theatre Plays CitedChapter 5 – Multilingual Humour in AVT5.1 Introduction5.2 Multilingualism in AVT5.3 Translating Multilingual Humour5.4 Data Analysis5.4.1 Dubbing Multilingual Humour5.4.2 Captioning Multilingual Humour5.5 Findings and ConclusionsBibliographyFilms, TV Series and Theatre Plays CitedNotesChapter 6 – The Audio Description of Humour6.1 Introduction6.2 Audio Description6.3 Hum

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Book SynopsisConservation in the built environment raises fundamental questions which have been debated for centuries - what is worth preserving, how is it possible, why is it important?This book takes a modern approach to the meaning of a heritage structure and its conservation. The historical evolution of conservation is briefly addressed, considering prominent individuals and cases; along with the history of construction, focusing on materials and related structural elements, with insight on the sizing rules adopted by masons. This explains structural decisions made during the construction process and allows comparison of scientific theories from the 18th century to modern understanding of limit analysis. Damage and collapse mechanisms for masonry construction, as the most widespread structural form for historical buildings, is described. Excess permanent loading and settlement is differentiated from environmental and anthropogenic actions such as earthquake or incorrect interveTable of Contents1. Modern understanding of conservation and of heritage structures 2. History of conservation 3. Construction materials and main structural elements 4. Vaulted structures in history and modern structural solutions 5. Ancient sizing rules and limit analysis of masonry arches 6. Damage and collapse mechanisms in masonry buildings

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Book SynopsisAt a time when organized heritage protection in Asia is developing at a rapid pace, Architectural Conservation in Asia provides the first comprehensive overview of architectural conservation practice from Afghanistan to the Philippines. The country-by-country analysis adopted by the book draws out local insights, experiences, best practice and solutions for effective cultural heritage management that will inform study and practice both in Asia and beyond.Whereas architectural conservation in much of the Western world has been extensively documented, this book brings together coverage of many regions where architectural conservation has been understudied. Following on from the highly influential companion volumes on global architectural conservation and architectural conservation in Europe and the Americas, with this book the authors extend their pioneering global examination to the dynamic and evolving field of architectural conservation in Asia.Trade Review‘Architectural Conservation in Asia is remarkable in that it is the first book of its kind that provides a systematic and comprehensive overview of architectural conservation not only across geographical and political boundaries, but also across traditional and contemporary built heritage in Asia. In this regard, it is an invaluable reference for students and enthusiasts of architectural conservation, and it provides the necessary foundation for deeper understanding of the topic.' - Ho-Yin Lee, Head of Division of Architectural Conservation Programmes, The University of Hong Kong'The built heritage of Asia is among the oldest, most widespread, and most diverse in the world. But it is also the most endangered. Wars, rapid urbanization, explosive population growth, antiquities thieves, climate change and other challenges are putting at great risk this heritage which belongs not just to Asia, but to humankind. This new book by Stubbs and Thomson is both timely and critical to generate an international demand for the protection of these irreplaceable assets.' - Donovan Rypkema, President, Heritage Strategies International 'This latest contribution on the histories and current challenges of built heritage conservation by John Stubbs, this time partnering with Robert Thomson, is an important contribution to correcting the overemphasis on Europe, which has shaped how we understand conservation and world history in the modern era. A highly ambitious book, Architectural Conservation in Asia provides a unique overview of how the conservation of built heritage has evolved across the region, tackling debates about the materialities of uncomfortable histories, or how ‘Asian approaches’ to conservation intersect with 19th century colonial practices. I am particularly heartened to see chapters on Central Asia, a long overlooked, yet historically significant, region. This is essential reading for anyone interested in both the global and Asian history of conservation.' - Tim Winter, Research Chair in Cultural Heritage, Deakin University, Melbourne'A remarkable achievement. A magnificent guided tour through Asia’s architectural conservation. Following the success of Time Honored: A Global View of Architectural Conservation and Architectural Conservation in Europe and the Americas, this book continues to offer readers an exceptionally wide and valuable perspective, as well as insights into the diverse practices of architectural conservation in Asia. It has achieved this challenging task with confidence and aptitude. This is a go-to book for anyone who wishes to have an overview of Asia’s architectural conservation history.’ - Yeo Kang Shua, Singapore University of Technology and Design'John Stubbs and Robert G. Thompson have done an excellent job summarizing the current state of architectural conservation practice in Asia. Spanning the whole of the Asian landmass and covering twenty-three countries, Architectural Conservation in Asia addresses both past and present practice; the principal issues and concerns; and the current governmental apparatus throughout the region. The authors also include shorter essays, many commissioned by leading figures in the field of conservation, to provide insights on specific details of contemporary practice...The book is extensively illustrated and well supplied with maps providing even uninformed readers with a strong understanding of the range of sites and conservation practices throughout Asia. The third volume in Stubbs’s comprehensive story of conservation practice throughout the world, this last offering is essential reading for anyone interested in heritage and conservation and especially those involved in practice in Asia.' - William Chapman, Professor and Interim Dean, School of Architecture, University of Hawaii at Manoa, New York, USA‘[This book] is the first comprehensive overview of architectural conservation practice in Asia.…[I]t covers Asia country by country from Afghanistan to Japan, illustrating the rich diversity of the continent in terms both of the heritage and the approaches taken to protecting it.…Stubbs and Thomson see the heritage profession evolving from its earlier focus on the questions "how to conserve?" and "what to conserve?" to take in the more complex issues of "for whom?" and "why?".’ - William Logan, Professor Emeritus, Deakin University Table of ContentsForeword A.G. Krishna Menon Preface General Introduction Part 1: East Asia Introduction 1. Japan 2. The People’s Republic of China 3. Taiwan 4. South and North Korea 5. Mongolia Conclusion Part 2: Southeast Asia Introduction 6. Myanmar (Burma) 7. Laos 8. Cambodia 9. Thailand 10. Vietnam Conclusion Part 3: Southeast Asian Island Countries Introduction 11. Singapore 12. Malaysia 13. Brunei 14. Indonesia 15. The Philippines Conclusion Part 4: South Asia Introduction 16. India 17. Sri Lanka and Maldives 18. Pakistan 19. Bangladesh 20. Bhutan 21. Nepal Conclusion Part 5: Central Asia Introduction 22. Afghanistan 23. Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan & Uzbekistan Conclusion Looking Ahead Glossary General and Additional Readings Index

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Book SynopsisThe accessibility of cultural resources via digital platforms is empowering Vietnamese cultural professionals to promote their culture to local and international audiences. This shortform book investigates the significance of digitization in Vietnamese culture, illuminating how cultural professionals are empowered through the process of digitization. The author shows how digitization is not an entirely comprehensive, ethical, or sustainable solution for the cultural sector in Vietnam, as cultural professionals working at nonprofit art spaces and artists experience both opportunities and challenges in digitizing art and culture. Drawing on new interviews with cultural professionals working in the cultural sector in Vietnam, the book will be of interest to scholars and reflective practitioners involved with the cultural and creative industries in South East Asia and globally.Table of Contents1. Digital Culture and Digitization in Asia and the Global South 2. Digitization and Cultural Professionals in Vietnam 3. Digitization and Digital Platforms in Practice 4. Future Prospects and Concerns for Vietnam’s Culture Sector

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Book SynopsisMummified explores the curious, unsettling and controversial cases of mummies held in French and British museums. From powdered mummies eaten as medicine to mummies unrolled in public, dissected for race studies and DNA-tested in modern laboratories, there is a lot more to these ancient remains than first meets the eye.This book takes you on a journey from Paris to London, Leicester and Manchester, from the apothecaries of the Middle Ages to the dissecting tables of the eighteenth century, and finally behind the screen of today’s computers, to revisit the stories of these bodies that have fascinated Europeans for so long.Mummified investigates matters of life and death, of collecting and viewing, and of interactions – sometimes violent and sometimes emotional – that question the essence of what makes us human.Trade Review‘Who would have thought that Egyptian mummies are alive and well all around us? Angela Stienne’s book helps us to see the ancient mummy in the brown paint of gallery paintings, in anatomy lectures, even in modern discussions of race and ethnicity. This brilliantly written book proves that the mummy has reawakened within our own social spaces as a material link between past and present. A must read.’Kara Cooney, Professor of Ancient Egyptian Art & Architecture, University of California Los Angeles'Mummified is a refreshing take on ancient Egyptian human remains. Inviting readers to reflect on and question the history behind the modern Western fascination with "mummies", it will help museum visitors see them as human beings rather than objects of display.'Dr Heba Abd el Gawad, Egypt’s Dispersed Heritage Project, University College London‘A compelling, captivating and complete book: it takes us on a journey through which we discover, enchanted, what it is about Egyptian mummies that has captured our imaginations and the imaginations of those who preceded us.’Dario Piombino-Mascali, Research Professor in Anthropology, Vilnius University‘Stienne's book is important because it takes seriously the perspective of the observer rather than attempting to reconstitute the ancient person. This results in some fascinating and genuinely insightful reflections on the reception of the ancient Egyptian dead in museums.’Dr Campbell Price, Curator of Egypt and Sudan, Manchester Museum'This rather unusual book is a very personal exploration of a major ethical and philosophical study. [...] The author explores the history of the displacement of ancient Egyptian individuals, always treating each as a real person.' Ancient Egypt magazine -- .Table of ContentsForeword by John J. JohnstonPrologueIntroduction: The mummy1 The mummy as medicine, the mummy in medicine2 The displayed mummy, the displaced body3 Mummies buried in a garden, and other incidents4 The mummy’s foot5 Mummies unrolled6 The White mummy7 The (White) mummy returns8 The mummy of the futureEpilogueIndex

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Book SynopsisGolden Mummies of Egypt presents new insights and a rich perspective on beliefs about the afterlife during an era when Egypt was part of the Greek and Roman worlds (c. 300 BCE–200 CE). This beautifully illustrated book, featuring photography by Julia Thorne, accompanies Manchester Museum’s first-ever international touring exhibition. Golden Mummies of Egypt is a visually spectacular exhibition that offers visitors unparalleled access to the museum’s outstanding collection of Egyptian and Sudanese objects – one of the largest in the UK.Trade Review‘Golden mummies of Egypt presents a rich perspective on Egyptian mummies and western approaches to them. Based around an exhibition of Manchester Museum’s collection and informed by the history of its development, Campbell Price’s treatment, with beautiful photographs by Julia Thorne, offers many new insights into ancient practices and their modern interpreters.’John Baines, Emeritus Professor of Egyptology, University of Oxford -- .Table of ContentsForeword – Esme Ward1 Gold, Sex, Art, Death2 Egypt, Europe and Manchester3 Hawara4 Aegypto Capta: Life in Graeco-Roman Egypt5 Papyri and Provenance – Roberta Mazza6 Scintillating Flesh: The Divine Deceased7 Facing the Dead8 Modern Technology and the Manchester Mummies – Iwona Kozieradzka-Ogunmakin9 Receptions: Between Rapture and RevulsionIndex

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Book SynopsisThis updated new edition is a much- needed guide to marketing for libraries, archives, and museum professionals in the social media age. It is both an introductory textbook and a guide for working professionals who want to go beyond mere promotion to developing and deliberately managing a comprehensive marketing campaign.

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Book SynopsisOver the last two decades, the encyclopedic museum has been criticized and praised, constantly discussed, and often in the news. Encyclopedic museums are a phenomenon of Europe and the United States, and their locations and mostly Eurocentric collections have in more recent years drawn attention to what many see as bias. Debates on provenance in general, cultural origins, and restitutions of African heritage have exerted pressure on encyclopedic museums, and indeed on all matter of museums. Is there still a place for an institution dedicated to gathering, preserving, and showcasing all the world's cultures? Donatien Grau's conversations with international arts officials, museum leaders, artists, architects, and journalists go beyond the history of the encyclopedic format and the last decades' issues that have burdened existing institutions. Are encyclopedic museums still relevant? What can they contribute when the Internet now seems to offer the greater encyclopedia? How important is it for us to have in-person access to objects from all over the world that can directly articulate something to us about humanity? The fresh ideas and nuances of new voices on the core principles important to museums in Dakar, Abu Dhabi, and Mumbai complement some of the world's arts leaders from European and American institutions-resulting in some revealing and unexpected answers. Every interviewee offers differing views, making for exciting, stimulating reading.Table of ContentsPreface and Acknowledgments Introduction The Encyclopedic Museum: A Catchphrase, a Concept, a History Donatien Grau Part 1. Origins and Practice of Encyclopedic Museums 1. Marc Fumaroli 2. Partha Chatterjee 3. Krzysztof Pomian 4. Mikhail Piotrovsky 5. Philippe de Montebello 6. Grayson Perry 7. Thomas Campbell 8. Kaywin Feldman 9. Mari Carmen Ramirez Part 2. Encyclopedic Museums across the Globe 10. Irina Bokova 11. Fiammetta Rocco 12. Zaki Nusseibeh 13. Michael Govan 14. Max Hollein 15. Sabyasachi Mukherjee 16. Henri Loyrette 17. George Abungu 18. Hamady Bocoum 19. Amit Sood Part 3. Methodologies and Potentials of the Encyclopedic Museum 20. James Cuno 21. Jean Nouvel 22. Benedicte Savoy 23. Kavita Singh 24. Anthony Appiah 25. Homi Bhabha 26. Camille Henrot 27. Massimiliano Gioni 28. Bachir Souleymane Diagne Afterword The Encyclopedic Museum: Some Thoughts from 2019 Mary E. Miller Biographical Note on the Editor Index

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Book SynopsisCelebrating the theme ‘Shared heritage’, IKUWA6 (the 6th International Congress for Underwater Archaeology), was the first such major conference to be held in the Asia-Pacific region, and the first IKUWA meeting hosted outside Europe since the organisation’s inception in Germany in the 1990s. A primary objective of holding IKUWA6 in Australia was to give greater voice to practitioners and emerging researchers across the Asia and Pacific regions who are often not well represented in northern hemisphere scientific gatherings of this scale; and, to focus on the areas of overlap in our mutual heritage, techniques and technology. Drawing together peer-reviewed presentations by delegates from across the world who converged in Fremantle in 2016 to participate, this volume covers a stimulating diversity of themes and niche topics of value to maritime archaeology practitioners, researchers, students, historians and museum professionals across the world.Table of ContentsAcknowledgment to Country ; Preface ; Conference Organisation and Acknowledgements ; UNESCO Roundtable ; 1. A Brief Update on Australia’s Consideration and Status for Ratification of the UNESCO 2001 Convention on the Protection of the Underwater Cultural Heritage – Andrew Viduka ; 2. The Belitung Shipwreck Collection and Maritime Archaeology in South-East Asia: What is the Way Forward? – Jennifer Rodrigues ; Current and Future Prospects of UCH Studies and Management in East Asia ; 3. An Rov Can Engage Young People in Community Archaeology – Norimitsu Sakagami and Jun Kimura ; 4. Research on the Wreck Sites, Sea Routes and the Ships in the Ryukyu Archipelago – Chiaki Katagiri, Rintaro Ono, Yumiko Nakanishi and Hiroki Miyagi ; Tying the Knot: Western and Eastern Trade Ships in the Pacific and Indian Oceans ; 5. Wreck Check’s Closing in on the Fortuyn Project – Graeme John Henderson, Andrew Viduka, Alex Moss and James Parkinson ; 6. An Account of Stone Anchors Along the Northern Shoreline of the Persian Gulf – Sorna Khakzad and Ali Moosaie ; Boats in Context and the Study of early Watercraft ; 7. The Social Context of Boats and Maritime Trade in Late Medieval Norway: Case Studies from Northern and Southern Peripheries – Stephen Wickler and Tori Falck ; 8. Logboat Ižanska I (SI-81) from Ljubljana: New Evidence of Iron Age Transportation on the Ljubljana Marshes, Slovenia – Pavla Peterle Udovič and Miran Erič ; 9. ’Know the Ropes’—Boat Representation on 17th and 18th-Century Portuguese Tin-Glaze Ware – Mário Varela Gomes and Tania Manuel Casimiro ; 10. Does an Extended Logboat Drevák from the Notranjska Region (Slovenia) Originate from the Celtic-Roman Shipbuilding Tradition? – Miran Erič, Ljoba Jenče and Zala Erič ; Floating Forests, Submerged Forests: an environmental History of Trees ; 11. The Ribadeo Shipwreck (c. 1600): Can We Identify the Ship Through a Multidisciplinary Approach? – Beñat Eguiluz Miranda, Marta Domínguez Delmás, Koldo Trápaga Monchet, Miguel San Claudio Santa Cruz and José Luis Gasch-Tomás ; 12. Reconstructing Trees from Ship Timber Assemblages Using 3d Modelling Technologies: Evidence from the Belinho 1 Shipwreck in Northern Portugal – Adolfo Miguel Martins, Ana Almeida, Ivone Magalhães, Filipe Castro, Jemma Bezant, Marta Domínguez-Delmás, Nigel Nayling and Peter Groenendijk ; 13. From Forests to the Sea, from the Sea to the Laboratory: the Timbers of the Frigate Santa Maria Magdalena (18th Century) – Ana Rita Trindade, Marta Domínguez-Delmás,Mohamed Traoré, Nathan Gallagher, Sara Rich and Adolfo Miguel Martins ; 14. Maritime Archaeological Timber Sampling: Methods and Results from the Silty Solent – Sara Rich, Garry Momber and Nigel Nayling ; Maritime Archaeology, Capacity Building and Training in the Developing World ; 15. The Maritime Archaeological Survey of Oman—Building Capacity for a Sustainable Future – Lucy Blue, Jeremy Green and Tom Vosmer ; 16. From Try Dive to Wreck Documentation: Archaeological Research and Capacity Building in Saudi Arabia – Michaela Reinfeld and Winfried Held ; 17. Maritime Archaeology in Post-War Lebanon: Trade, Challenges, and Future Prospects – Lucy Semaan ; 18. A Value-Based Model for Capability Building in Maritime Archaeology in the Developing World – Mark Staniforth and Paddy O’Toole ; French Scientific and Exploration Voyages in the Southern Hemisphere: the Making of a Shared Cultural Heritage ; 19. ‘Vive la France’—Louis de Saint Aloüarn and the French Claim to the Western Part of New Holland – Myra Stanbury ; 20. Sailors, Savants, Naming: France and the Knowing of Oceania, 1756–1840 – Bronwen Douglas ; Boats, Trade and Exploration ; 21. Hahotrim, Israel: A Late Second-Millennium BC Group of Metal Scrap Artefacts – Shelley Wachsmann ; 22. Waterlogged Ivory Conservation: Elephant Tusks at El Bajo De La Campana, San Javier, Murcia (Spain) – Milagros Buendía Ortuño ; 23. Shipwrecks and Cargoes. Trade Routes of the Mediterranean Sea as Seen Through the Finds of Hellenistic Moldmade Relief Bowls – Antonella Antonazzo ; Presenting Maritime and Underwater Archaeology in Museums in the 21st Century ; 24. It’s Not About a Ship: Presenting the Mary Rose in a New Museum – Christopher Dobbs ; 25. Underwater Cultural Heritage and Maritime Museums—the Past and the Future – Omaima Ahmed Eldeeb ; 26. Making a Lot with Very Little: the Western Australian Museum’s ‘steamship to Suffragettes’ Exhibit – Nicolas Bigourdan, Kevin Edwards and Michael McCarthy ; 27. Aims and Targets of Maritime Museums and Exhibitions in Europe: Six Case Studies from Germany, Greece and Italy – Marina Maria Serena Nuovo ; 28. Apoxyomenos—Underwater Cultural Heritage and Museum in the Service of the Local Community – Zrinka Ettinger Starčić and Hrvoje Potrebica ; 29. Pursuing Sustainable Preservation and Valorisation of Underwater Cultural Heritage: Okinawa’s Pilot Project for an Underwater Site Museum – Yumiko Nakanish, Rintaro Ono, Chiaki Katagiri, Norimitsu Sakagami and Takashi Tetsu ; Scientific Techniques, Digital Platforms and new Technological Applications for Maritime Archaeology ; 30. Sensing Tidal Landscapes: Remote Sensing for Identification of Underwater Archaeological Heritage in Shallow Waters – Arianna Traviglia and Anna Bernardoni ; 31. Mapping Submerged Stone Age Sites Using Acoustics: Some Experimental Results – Ole Grøn, Lars Ole Boldreel, Jean-Pierre Hermand, Hugo Rasmussen, Antonio Dell’Anno, Deborah Cvikel, Ehud Galili, Bo Madsen and Egon Nørmark ; 32. Archaeology of a Great War U-boat Attack Off Southern Portugal: Development and Adaptation of Methods and Techniques – Jorge Russo and Augusto Salgado ; 33. Digitising Wrecks on the Foreshore: The Case of a Seventeenth-Century Wreck in Brittany, France – Marine Jaouen, Olivia Hulot, Eric Rieth and Sammy Bertoliatti ; 34. How an Amateur Group Produced a Smartphone App for Shipwrecks ‘We wanted to bring History out of boxes’ —and Direct to the Public – Ian Warne ; 35. A Sub-Bottom Profiler and Multibeam Echo Sounder Integrated Approach as a Preventive Archaeological Diagnosis Prior to Harbour Extensions – Philippe Pelgas and Yann Le Faou ; Three-Dimensional Digitisation Techniques and Technologies in Maritime Archaeology ; 36. Seventeenth-Century ‘Glass Wreck’ Research Using Photogrammetric 3d Documentation—the ‘Virtual Open-Air Museum of Wrecks in the Gulf of Gdańsk’ Project – Tomasz Bednarz ; 37. High-resolution Digital Recording Techniques and Taphonomic Trajectories: Multi-image Photogrammetry Applied to a Drowned Late Pleistocene Site in Central Chile (32°s) – Isabel Cartajena, López Patricio, Carabias Diego, Jennifer Pavez, David Letelier, Renato Simonett and Carla Morales ; 38. The Role of 3D Representations in the Interpretation and in Situ Preservation of Archaeological Heritage: The Case of the Building with Porticoed Courtyard of the Portus Iulius in Submerged Baiae (Pozzuoli, Naples) – Barbara Davidde Petriagg, Massimiliano Secci, Luca Sanna, Gabriele Gomez de Ayala and Pier Giorgio Spanu ; 39. The Influence of the Point Cloud Comparison Methods on the Verification of Point Clouds Using the Batavia Reconstruction as a Case Study – Petra Helmholz, David Belton, Nick Oliver, Joshua Hollick and Andrew Woods ; Revisiting Old Sites And Legacy Data Using New Technologies and Approaches ; 40. 3D Reconstruction of the Batavia (1629) Wreck Site from Historical (1970s) Photography – Andrew Woods, Nick Oliver, Joshua Hollick, Jeremy Green and Patrick Baker ; 41. Integrating Legacy Excavation Survey Data with New Technologies—the James Matthews Experience – Trevor Colin Winton ; 42. Reconstruction of a Water Supply System Using Lidar Surveying – Frida Occelli, Micaela Leonardi ; 43. Art and Documentation Serving Underwater Archaeology in the Interpretation of History – Ramon Orrite and Angel Tobar ; 44. A New Look at Old Cannon: Interim Report on the Gun Rocks Site – Peta Danielle Knott and John Kennington McCarthy ; The Final Frontier: Technological Development and the Deep Shipwreck Resource ; 45. Prospecting and Digging to 1100m with an Rov: The 2016 Nuestra Señora De Las Mercedes Campaign – Iván Negueruela Martínez, Patricia Recio Sánchez, Rocío Castillo Belinchón and Juan Luis Sierra Méndez ; 46. The Six Million Dollar Hand: A Robotic Hand for Remotely Operated Deep Archaeology – Denis Degez, Michel L’Hour and Vincent Creuze ; Effective and Sustained Monitoring, in-situ Preservation and Conservation of Underwater Cultural Heritage ; 47. Erosion and Archaeological Heritage—Protection Measures for Lakes Constance and Zurich (central Europe) – Beat Eberschweiler ; 48. In Situ Preservation and Monitoring of a Wooden Shipwreck Discovered in an Intertidal Zone in Korea – Mi Young Cha ; 49. In Situ Preservation of the James Matthews: Past, Present and Future – Vicki Richards and Peter Veth ; 50. A Review of Waterlogged Wood Treatments in Slovenia and a New Approach to the Treatment of a Large Roman Logboat from the Ljubljanica River – Katja Kavkler and Miran Erič ; Maritime Cultural Heritage Management ; 51. An Underwater Archaeology Lesson from Pioneers Echoed in the UNESCO Convention – Elena Flavia Castagnino Berlinghieri and David John Blackman ; 52. Documentation of a Hermitage Submerged in the Reservoir of Buendia (Spain) as an Example of Collaboration Between Divers and Institutions for the Protection of UCH – Rocío Castillo-Belinchón, Rogelio de la Vega-Panizo, Ángel M. Tobar-Escudero, María Elena Labrandero-Pulgar and David Munuera-Navarro ; 53. Balancing Safety and Significance: The SS Dicky Shipwreck – Danielle Wilkinson ; 54. Impacts and Issues of the Commercial Exploitation of the Åland ‘Champagne Schooner’ – Ville Peltokorpi ; 55. Global Database of Early Watercraft: Beginnings, Development and Future Plans – Bojan Kastelic, Miran Erič, Goran Zlodi and Solina Franc ; 56. Late 19th and Early 20th-Century Institutional Wares of the Pacific Steam Navigation Company: Preliminary Assessment of the Valparaiso Fiscal Mole Ceramic Assemblage, Chile – Angela Maria Rodriguez, Valeria Sepúlveda and Diego Carabias ; Cultural Landscapes and Seascapes ; 57. Sensory Navigation in the Roman Mediterranean: the Levantine and Ionian Seascapes – Carmen Macleroy Obied and E. Steven Lopez ; 58. Shipwrecks and Communities: Responses to Shipping Mishaps in Victoria, Australia – Brad Duncan and Martin Gibbs ; 59. An Interdisciplinary and Layered Approach Towards Reconstruction of the Late Medieval Maritime Cultural Landscapes of the Noordoostpolder Region, the Netherlands – Yftinus van Popta ; The Social Archaeology of Ports, Harbours and Watery Places ; 60. Cultural Landscapes at the Urban Waterside: Investigating the Impacts and Effects of the Chelsea Embankment Construction on Working-Class Riverside Residents – Hanna Steyne ; 61. Vado Ligure Bay (Liguria, Italy)—Dredging Through the Long Life of an Ancient Harbour – Frida Occelli and Simon Luca Trigona ; 62. The Adriatic Communication Area: Studies in the Archaeology of Roman Port and Harbour Cities – Julia Daum and Martina Seifert ; 63. Living at the Coast and Working at Sea—Some Aspects of Social Archaeology of a 15th-Century Fishing Settlement Along the Coast of Flanders (Ostend, Belgium) – Marnix Pieters ; 64. Landing Sites—Trading Sites: Maritime Hotspots of the Ancient Mediterranean – Aylin Güngör ; 65. The Limassol Carnayo: Where Maritime and Intangible Cultural Heritage Converge – Maria Ktori ; The Geoarchaeology of Harbours: Current Research and Future Directions ; 66. Forty Years (and More) Since the Colston Symposium: An Archaeologist’s View – David John Blackman ; 67. Tallinn Harbour from the Middle Ages: Studies of the Former and Current Seabed – Maili Roio ; Naval Warfare ; 68. The Maritime Archaeology of Duplex Drive Tanks in the United Kingdom – Thomas Cousins, Thomas Harrison and Dave Parham ; 69. Missing Link—Evidence of the Military Evolution of a Global Empire – Irini Alexandra Malliaros ; 70. The Military Dockyards of the Greek World – Nicol Tollis

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Book SynopsisCurating empire explores the diverse roles played by museums and their curators in moulding and representing the British imperial experience. This collection demonstrates how individuals, their curatorial practices, and intellectual and political agendas influenced the development of a variety of museums across the globe. Taken together, these contributions suggest that museums are not just sites for accessing history but need to be considered as historical sites of significance in themselves. Individual essays examine the work of curators in museums in Britain and the colonies, the historical display and interpretation of empire in Britain, and the establishment of 'museum networks' in the British imperial context. Curating empire sheds new light on the relationship between museums, as repositories for objects and cultural institutions for conveying knowledge, and the politics of culture and the formation of identities throughout the British Empire.Table of ContentsGeneral editor’s introductionIntroduction: Curating empire: Museums and the British imperial experience – Sarah Longair and John McAleer1. The case of Thomas Baines, curator-explorer extraordinaire, and the display of Africa in nineteenth-century Norfolk – John McAleer 2. Visiting the Empire at the provincial museum, 1900–50 – Claire Wintle 3. Carving out a place in the Better Britain of the South Pacific: Maori in New Zealand museums and exhibitions – Conal McCarthy4. Curiosities or science in the National Museum of Victoria: Procurement networks and the purpose of a museum – Gareth Knapman5. Narrative as history, image as memory: Exhibiting the Great War in Australia, 1917–41–Jennifer Wellington 6. ‘The lady curator’s style’: Negotiating curatorial challenges in the Zanzibar Museum –Sarah Longair 7. A Museum for Sierra Leone? Amateur enthusiasms and colonial museum policy in British West Africa – Paul Basu 8. Edgar Thurston at the Madras Museum (1885–1909): The multiple careers of a colonial museum curator – Savithri Preetha Nair 9. Sir William Gregory and the origins and foundation of the Colombo Museum – Philip McEvansoneya 10. Tipu’s Tiger and images of India in British museums, 1799–2009 – Sadiah Qureshi Afterword: Objects, empire and museums – Sarah Longair and John McAleer Index

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Book SynopsisArchaeological heritage conservation is all too often highly conflicted and fraught with pitfalls in part due to a poor understanding of the historical and current underpinnings that guide best practice. When heritage places are managed with international principles in mind the sites stand out as evidencing superior outcomes. The International Scientific Committee on Archaeological Heritage Management expresses concern in the Salalah Guidelines of 2017 with the persistent problems facing archaeological sites that are open to the public. National heritage icons face overwhelming pressure to provide the mainstay of local, national and international tourism economies while in some instances being situated in locations destined for major development or military conflict. Leaders in the field of archaeological heritage conservation, particularly with respect to World Heritage listed properties, assert that economic interests often are at the forefront of management decision making while heritage values are given lesser, if any, consideration. Continuing and future zones of discomfort such as the impact of war, theft of national cultural property, over-development, unconstrained excavation, extreme nationalism, uncontrolled visitation and professionalisation need to be addressed if future generations are to be afforded the same heritage values as are available today.Table of Contents1. Introduction; 2. Archaeology, significance and heritage; 3. Internationalism; 4. Challenges; 5. Sustainability; 6. Economics; 7. Governance and risks; 8. International reflections; References; Appendix 1 International and national instruments; Appendix 2 Salalah Guidelines for the Management of Public Archaeological Sites

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Book SynopsisThe Poole Iron Age logboat, one of the largest surviving prehistoric watercraft in Britain, is today imposingly displayed in the entrance to Poole Museum in Dorset. However, the vessel faced a difficult journey from its first discovery to the amazing artefact we can now see. Recovered from Poole Harbour in 1964, it is impossible to overestimate the international significance of this vessel. But until now it had never been fully recorded and apart from its impressive size, very little was known about it. Its dimensions made it inherently unstable and suggest it was designed for use solely in Poole Harbour. This book is the culmination of significant multi-disciplinary work carried out by a variety of specialists, from conservators to woodworking and boatbuilding experts, exploring not only the craft’s history but also its functionality – or lack of – as a vessel. Digital recording, using the latest technology, has made it possible to test its capabilities. For the first time, prehistorians, nautical archaeologists and lay people alike can understand the story of one of Britain’s oldest boats – the archaeological and historical background, the environmental context, the timber and ship science, and the challenges of conserving such an important vessel.Table of ContentsList of figures; List of tables; List of contributors; Acknowledgements; Foreword – Professor Seán McGrail; Chapter 1: Introduction - Keith Jarvis†; Chapter 2: Environmental and archaeological background to prehistoric Poole Harbour – Eileen Wilkes; Chapter 3: Evidence for the building of the Poole logboat – Damian Goodburn; Chapter 4: The Poole logboat: digital comparisons – Pat Tanner; Chapter 5: The conservation of the Poole logboat – Jeremy Hutchings and James A. Spriggs; Chapter 6: The display and interpretation of the Poole logboat – Katie Morton and David Watkins; Bibliography; Index

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Book SynopsisHow should communities be engaged with archaeological research and how are new projects targeting distinctive groups and deploying innovative methods and media? In particular, how are art/archaeological interactions key to public archaeology today? This collection provides original perspectives on public archaeology’s current practices and future potentials focusing on art/archaeological media, strategies and subjects. It stems from the 2nd University of Chester Archaeology Student Conference, held on 5 April 2017 at the Grosvenor Museum, Chester: Archaeo-Engage: Engaging Communities in Archaeology.Table of ContentsForeword – Sara Perry Introduction: Public Archaeologies as Arts of Engagement – Howard Williams From Archaeo-Engage to Arts of Engagement: Conference to Publication – Howard Williams with Rachel Alexander, Robyn Bursnell, Jack Cave, Aaron Clarke, Afnan Ezzeldin, Jonathan Felgate, Bryony Fisher, Bethan Humphries, Shaun Parry, Hannah Proctor, Mona Rajput, Calum Richardson and Becky Swift The Art of Engagement: Strategies and Debates in Public Archaeology The Benefits of Archaeology – Shaun Parry ‘Dig Society’: Funding Models and Sustainability in Community Archaeology – Matt Beresford Engage thy Neighbour: Perspectives in Community Archaeology – Bethany Humphries An Archaeology of Life on the Streets – Bryony Fisher Dialogues with Early Medieval ‘Warriors – Howard Williams and Rachel Alexander Public Archaeology at Bryn Celli Ddu: Sharing Prehistory – Hijazi, Courtney Mainprize, Maranda Wareham, Sian Bramble, Ben Edwards & Seren Griffiths Evaluating Community Archaeology – Emma Stringfellow Instrumentalised Public Archaeology: Cease and Desist? – Caroline Pudney Arts in Public Archaeology: Digital and Visual Media Archaeodeath as Digital Public Mortuary Archaeology – Howard Williams Comics, Creativity and Community: Graphic Narrative in Public Heritage and Beyond – John G. Swogger Vox Archaeo: Podcasting the Past – Tristan Boyle The Art of Balancing Intrigue and Integrity: The Risks and Rewards of Public Archaeology – Marc Barkman-Astles Being Shaped by Engagement: Reflections on Academic ‘YouTubing’ – Chloë N. Duckworth Archaeogaming as Public Archaeology – Afnan Ezzeldin Art as Public Archaeology Playful Encounters: Engaging Children in Public Archaeology – Aaron Clarke Reaching Communities through the Stories on the Walls: Graffiti Surveys, Participation and Public Engagement – Ellen McInnes Visualising Heritage Complexity: Comic Books, Prehistoric Rock-Art and the Cochno Stone – Kenneth Brophy and Hannah Sackett Dig! Arts Access Project: Finding Inspiration in the Park – Melanie Giles and Karina Croucher Afterword – Seren Griffiths

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Book SynopsisThis timely collection of peer-reviewed papers and short essays seek to bridge the longstanding gap between natural and cultural heritage when it comes to landscape management. To this end, the editors foster a combined approach to both domains by promoting stronger internal cooperation and the systematic engagement of new forms of integrated heritage with the external world. The volume contributes to the debate on the new role of heritage in an ever-changing framework for land use, infrastructural investment and sustainable development at national and international levels. All contributions are based on the papers presented in two sessions at the EAA annual meeting in Maastricht 2017.Table of ContentsForeword – Editorial Board ; Heritage management. The natural and cultural divide – Heleen van LONDEN, Marjo J. SCHLAMAN & Arkardiusz MARCINIAK ; Towards new commons and sharing interests in the landscape, integrating natural and cultural heritage – Bas PEDROLI ; Impact of the CAP on archaeological heritage. Cause and remedy? – Karl CORDEMANS, Emmet BYRNES, Cees van ROOIJEN ; Connecting the dots: Integrating cultural and natural resource management in the United States – Michael HEILEN & Jeffrey H. ALTSCHUL ; Landscape of visions: the Ekolsund manorial estate, Sweden – Åsa AHRLAND ; Heritage - public and expert discourse in the process of heritigization – Kornelia KAJDA ; Participatory practices in natural and cultural heritage – Andrea TRAVAGLIA ; Towards a joint natural and cultural heritage management: modes of interaction – Heleen van LONDEN ; Connecting natural and cultural heritage practices. Is integration always a good idea? – Marjo J. SCHLAMAN ; The culture and nature assets. The current crossovers and the agenda for the future – Arkadiusz MARCINIAK

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Book SynopsisEurASEAA14: Material Culture and Heritage is the second of two volumes comprising papers originally presented at the EurASEAA14 (European Association of Southeast Asian Archaeologists) conference in 2012, updated for publication. The aim of the EurASEAA is to facilitate communication between different disciplines, to present current work in the field, and to stimulate future research. This international initiative aims to foster international scholarly cooperation in the field of Southeast Asian archaeology, art history and philology. This volume focuses substantially on topics under the broad themes of archaeology and heritage, material culture, environmental archaeology, osteoarchaeology, historic and prehistoric archaeology, ethnoarchaeology, and long-distance contact, trade and exchange.Table of ContentsEditorial introduction to EurASEAA14 Volumes 1 and 2 – Helen Lewis ; Ceramics from the Musi riverbed – John N. Miksic ; The social dynamics of porcelain trade in the eleventh to sixteenth centuries CE Philippines: a chemical composition study – Rory Dennison and Laura Junker ; The kilns of Myinkaba – for pottery or glass? – Don Hein and W. Ross H. Ramsay ; The iron smelting technology of the Bujang Valley, Malaysia – Naizatul Akma Mokhtar and Mokhtar Saidin ; Guide to understanding Khmer stoneware characteristics, Angkor, Cambodia – Chhay Rachna, Tho Thon and Em Socheata ; New data on the chronology of Khmer stonewares – Armand Desbat ; The conical rollers of Ban Non Wat, northeastern Thailand – Christina Sewall ; Late Pleistocene/Holocene ecological and cultural transition in the Philippines – Jonathan H. Kress ; Middle Pleistocene sites in Bukit Bunuh, Lenggong, Perak, Malaysia – Nor Khairunnisa Talib, Mokhtar Saidin and Jeffrey Abdullah ; Metabolism, mythology, magic or metaphor? Animals in the rock art of Thailand – Lauren Winch ; Tooth blackening and betel nut chewing at the Early Iron Age sites of Gò Ô Chùa (Vietnam) and Prohear (Cambodia) – Simone Krais, Michael Francken and Andreas Reinecke ; The cultural and biological context of the Song Keplek 5 specimen, East Java: implications for living conditions and human-environment interactions during the later Holocene – Sofwan Noerwidi, Harry Widianto and Truman Simanjuntak ; Probable prehistoric Southeast Asian influences in New Guinea? New archaeological and anthropological approaches to former axioms – Henry Dosedla ; Ancient settlement in the lakes area of East Java Province, Indonesia: the potential for archaeological research with public benefits – Gunadi Kasnowihardjo ; The relevance of archaeology to contemporary concerns: the Department of Agriculture of the Philippines and ancient foodways – Michelle S. Eusebio ; Toward an understanding of cultural heritage and sustainable management: a case study from Phrae Province, Thailand – Mizuho Ikeda ; Bibliography

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Book SynopsisThe German gem-engraver, medallist, and amateur scholar Lorenz Natter (1705-1763), was so impressed by the size and quality of the collections of ancient and later engraved gems which he found in Britain that he proposed the publication of an extraordinarily ambitious catalogue – Museum Britannicum – which would present engravings and descriptions of the most important pieces. He made considerable progress to this end, producing several hundred drawings, but in time he decided to abandon the near completed project in the light of the apparent lack of interest shown in Britain. Only one of the intended plates in its final form ever appeared, in a catalogue which he published separately for Lord Bessborough’s collection. On Natter’s death the single copy of his magnum opus vanished mysteriously, presumed lost forever. All hope of recovering Natter’s unpublished papers seemed vain, and their very existence had come to be doubted. Yet they were to be found more than two hundred years after his death, in Spring 1975, when the classical scholar and renowned expert in gems, Oleg Neverov, chanced upon them at the bottom of a pile of papers in the archives of the State Hermitage Museum in St Petersburg. Neverov and his colleague Julia Kagan carried out the initial research on the Hermitage manuscripts and produced the first published account of this archival treasure. The present volume builds upon their earlier work to produce the first comprehensive publication of Museum Britannicum, offering full discussion in English and presenting Natter’s drawings and comments alongside modern information on the gems that can be identified and located through fresh research. This book is the result of a ten-year collaboration between scholars on the Beazley Archive gems research programme at Oxford’s Classical Art Research Centre and the State Hermitage Museum. It fulfills Natter’s vision for the Museum Britannicum – albeit two and a half centuries late – to the benefit of art historians, cultural historians, curators, and gem-lovers of today.Table of ContentsPreface ; PART 1 ; I. An Anglo-Russian Project ; II. Lorenz Natter. Early Career ; III. Natter in Britain ; IV. Natter in Russia ; V. The Museum Britannicum Rediscovered ; VI. Afterword ; PART 2 ; VII. The Museum Britannicum: the catalogue and drawings ; VIII. The Collectors and their Gems ; IX. Lorenz Natter’s own Collection ; X. Natter’s own Index of the Museum Britannicum ; XI. Natter’s Treatise and miscellaneous drawings ; Index of gem subjects ; Index of inscriptions ; General Index to Part 1, and VIII

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Book SynopsisThe fifth volume of Ex Novo has the pleasure to host Flaminia Bartolini as guest editor for the special issue titled Heritage in the Making: Dealing with Legacies of Fascist Italy and Nazi Germany. This collection of peer-reviewed papers stems in part from the successful workshop held at McDonald Institute for Archaeological Research, University of Cambridge in December 2018 under the aegis of the DAAD-Cambridge Hub. The event gathered several international heritage experts and professionals from both Germany and Italy to explore the complexities of handling Heritage related to Fascism and National Socialism. The selection of papers contribute much to the debate on the shifting conditions of the reception of dictatorial regimes, and more specifically the fate of fascist material legacies from the aftermath of WWII to the present day. The second part of this volume includes an additional contribution by Aydin Abar which keeps in with the broad theme of political reappropriation of the past lying at the core of Bartolini’s collection of papers but strays away from their geographical focus by extending the analysis to the exploitation of Achaemenian material legacies in reinforcing nationalist narratives in nineteenth and twentieth century Iran.Table of ContentsForeword – Ex Novo EDITORIAL BOARD ; PART I: Heritage in the Making. Dealing with the Legacies of Fascist Italy and Nazi Germany – Flaminia BARTOLINI (ed.) ; Introduction. Difficult Heritage and its Making – Flaminia BARTOLINI ; Collecting Mussolini: The Case of the Susmel–Bargellini Collection – Susanna ARANGIO ; Fascism on Display. The Afterlife of Material Legacies of the Dictatorship – Flaminia BARTOLINI ; Edmondo Rossoni and Tresigallo. An Atypical Case of Regime’s Town – Davide BRUGNATTI & Giuseppe MURONI ; Difficult Heritage: The Experience of the Fossoli Camp Foundation – Marzia LUPPI & Francesca SCHINTU ; The Nazi Party Rally Grounds in Nuremberg. A Difficult Heritage and a Public Space – Alexander SCHMIDT ; Berlin Tempelhof: From Heritage Site to Creative Industry Hub? – Dagmar ZADRAZILOVA ; PART II ; Legacy of Teispian and Achaemenian Materiality. The History and the Role of Monuments in 19th - 21st Century Iranian Nationalism – Aydin ABAR ; Costruire storie e raccontare produzioni. Riflessioni a partire da un libro recente – Enrico GIANNICHEDDA ; Interviews & Reviews ; La complessitá del reale e la sua immagine. Conversazione con Daniele Simoni – Martina REVELLO LAMI

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Book Synopsis During the nineteenth century, a change developed in the way architectural objects from the distant past were viewed by contemporaries. Such edifices, be they churches, castles, chapels or various other buildings, were not only admired for their aesthetic values, but also for the role they played in ancient times, and their role as reminders of important events from the national past. Architectural heritage often was (and still is) an important element of nation building. Authors address the process of building national myths around certain architectural objects. National narratives are questioned, as is the position architectural heritage played in the nineteenth and the early twentieth centuries.Trade Review “The book Forging Architectural Tradition is an excellent contribution for anyone interested in the creation of national narratives around architectural buildings. It is suitable for architects, art historians, historians, sociologists, cultural researchers, and the general cultural public, as well as anyone interested in the national narratives of ‘small’ nations. The topics explored in the book should not be viewed as a part of the distant past but as still current as the historical processes described in the book can help us deal with problems related to the politicization of heritage that is still evident today.” • Prostor “The scholarly essays in this book present a sweeping panorama of this fascinating development based on new research, otherwise virtually inaccessible in English.” • József Sisa, Institute of Art History, ELKH Research Centre for the Humanities, Budapest, HungaryTable of Contents List of Figures and Tables Introduction: Forging Architectural Tradition Aleksander Łupienko
 Part I: Architectural Conservation and National Narratives

 Chapter 1. The Cathedral of Citizenship: Race and National Identity in Eugène Viollet-le-Duc’s Work and Discourse Bérénice Gaussuin

 Chapter 2. Identity Written in Stone?: Gothicising Renovation of Estonian Churches at a Second Glance Kristina Jõekalda

 Chapter 3. Architecture as a Weapon: The Gothic and the National Ideal in Nineteenth-Century Polish Discourse Aleksander Łupienko

 Chapter 4. Before and After Emile-André Lecomte du Nouÿ or the Birth of National Style in Romanian Architecture Anda-Lucia Spânu Chapter 5. On the Articulation and Popularization of Christian Built Heritage: Representing National Continuity in Nineteenth-Century Athens Georgios Karatzas Part II: Styles for the Nation and State 

Chapter 6. Creating a Monument to Kaiser Wilhelm I in Berlin: Tensions between National, Prussian and Dynastic Identities Douglas Klahr Chapter 7. History, National Identity and Architecture in the Last Royal Palaces in Europe (1861–1930): Turin, Budapest, Bucharest Paolo Cornaglia
 Chapter 8
. Renaissance Architecture and the Search for the Hungarian National Style in the Late Nineteenth and Early Twentieth Centuries
 Gábor György Papp Chapter 9. Vernacular Versus Historical: National Style(s) in the Architecture of Austro-Hungarian Croatia Dragan Damjanović

 Part III: Appropriation of Heritage(s)

 Chapter 10. Architectural Heritage in the National Discourse of the Nineteenth Century Russia: Kazan Antiquities Gulchachak Nugmanova 

Chapter 11. Hungarian Nation-Building and the Use of Medieval Archaeology: Interpreting the Székesfehérvár Excavations in the Nineteenth Century Andrea Kocsis Chapter 12. Architectural Heritage of Silesia in the Purview of Prussian History (1740–1918) Monika Ewa Adamska

 Chapter 13. Madonna del Pascolo: Ruthenian Heritage in the Baroque Rome and the Development of the National Church of the Ukrainians, 1640s‒1960s Anatole Upart Afterword: For the Glory of Nation: Architectural Heritage in Nineteenth-Century Europe Dragan Damjanović Index

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Book SynopsisUnderstanding and Accessibility of Pre-and Protohistorical Research Issues: Sites, Museums and Communication Strategies presents the papers from Session XXXV-1 of the 18th UISPP World Congress (Paris, June 2018). Museums are increasingly seen as the place where scientific research and heritage education meet, rather than being simply a location for exhibitions. The eight contributions from Italy, the United Kingdom, Senegal, Spain and the Netherlands address the following related issues: the mediation of language from research usage to public usage, making the museum visit an educational experience, universal accessibility, involvement of the local community in the management of the sites and museums, use of media and new technology to bring scientific content to the public.Table of ContentsUnderstanding and accessibility of pre-and proto-historical research issues: sites, museums and communication strategies – Davide Delfino and Valentino Nizzo ; Abandonment, rehabilitation and accessibility of open air sites: the case of El Castillar – Arróniz Pamplona, L., Sirvent Cañada, L.M., Fonseca de la Torre, H.J., Bayer Rodríguez, X., Meana Medio, L., Pérez Legido, D., Calvo Hernández, C. ; Beyond Museum Walls: The Potential of Untraveled Prehistoric Heritage Sites as Archaeotourism Destinations – Patrick M.M.A. Bringmans ; Reality, strategies and projects to Prehistory and Protohistory in the state museums and archaeological sites in the Molise region (Southern Italy) – Viviana Carbonara, Davide Delfino, Annarosa Di Nucci, Leandro Ventura ; Unlocking La Cotte de St. Brélade: making Jersey’s Pleistocene heritage accessible – Peter Chowne, Jonathan Carter ; Parco Archeologico Didattico del Livelet: education, ancient technology and experimental archaeology (Revine Lago, Treviso, Italy) – Marta Modolo, Maura Stefani, Fabio Sartori, Carlo Ingegno, Daniele Magagnin, Angela Bressan, Alessandra Marton, Giulia Conte, Gianmarco Mason, Samantha Rizzotto, Valentina Riva, Francesca Carpené, Carlotta Maniglia, Paola Nardellotto, Marta Meneghini, Erika Follador ; The Temple Machine. A New Communication Model for the Villa Giulia National Etruscan Museum – Valentino Nizzo ; Education, dissemination and new technological approaches for a museum opened behind closed doors: the University Museum of Paleontology and Prehistory ‘P. Leonardi’ – Ursula Thun Hohenstein, Alba Pasini, Alessandra Tarter, Chiara Messana, Anna Scalco, Federica Scali, Chiara Camisani Calzolari, Anna Carla Chiarelli, Giovanni Prencipe, Giorgio Poletti, Marco Bertolini ; La carte de visite. Impact formel, contrainte méthodologique et choix impopulaires pour l’Aire mégalithique du Parc archéologique et Musée de Saint-Martin-de-Corléans à Aosta (Italie) : un cas d’étude – Gianfranco Zidda, Paola Rolfo Arzarello, Francesca Martinet, Luca Raiteri, Massimo Venegoni, Umberto Di Michele

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Book SynopsisAt the beginning of the 20th century, changes in taste and expectations of the public led private museums in Europe and North America to embark on large-scale acquisition of archaeological objects from the Mediterranean and the Near East. John Marshall (1862-1928) was an antiquities expert hired by the Metropolitan Museum of New York as purchasing agent in Europe on behalf of its Department of Classical Art in between 1906 and 1928. His mission was to secure for the Metropolitan a comprehensive collection of antiquities of high aesthetic standards and historical significance. During his agency, John Marshall was an attentive observer of the antiquities trade. Photographs and annotations on more than a thousand ancient objects circulating on the art market at that time have survived in his personal archive, later bequeathed to the British School at Rome and the Ashmolean Library at Oxford. This unpublished and very valuable resource shines light on the secretive world of art dealing and provides information on the history of many masterpieces of ancient and post-ancient art now in the largest museums of Europe and North America. Using information gathered by John Marshall, this book delineates how the trade of art and archaeological objects has impacted the perception of the Classical past in the modern Western world.Trade Review'The more I use the archive, the greater my appreciation for the care that has gone into creating and structuring it. The same is true of the accompanying volume, edited by Guido Petruccioli. The book introduces readers to Marshall, framing him and his activity within social, legal, and scholarly historical contexts. Readers will emerge well-prepared to engage with the Marshall Archive for their own research, but many chapters are valuable stand-alone contributions, including Francesca de Tomasi’s examination of the complex network of laws and regulations that governed the Italian antiquities market at the turn of the century (Chapter 10) and Vinnie Nørskov’s wide-ranging discussion of the use of different types of photography, from casual snapshots to painstakingly staged studio photographs, by collectors and scholars during the period (Chapter 3).' – Erin L. Thompson (2023): Bryn Mawr Classical ReviewTable of ContentsIntroduction – Guido Petruccioli ; Chapter 1 John Marshall – A Biographical Essay – Stephen Dyson ; Chapter 2 Collectors and the Agents of Ancient Art in Rome – Mette Moltesen ; Chapter 3 The Photographs in John Marshall’s Archive – Vinnie Nørskov ; Chapter 4 John Marshall, The Met and the Historiography of ‘Greek Sculpture’ – Guido Petruccioli ; Chapter 5 Faces in Stone: A Case Study of Marble Portrait Sculptures of Roman Date Purchased by The Metropolitan Museum of Art, New York via John Marshall – Susan Walker ; Chapter 6 The Bronzes in the John Marshall Archive – Beryl Barr-Sharrar ; Chapter 7 ­John Marshall’s Dealings with Vases and Terracottas – Vinnie Nørskov ; Chapter 8 ‘Non-antique’ Objects in the John Marshall Archive – Roberto Cobianchi ; Chapter 9 John Marshall’s Trading Network – Guido Petruccioli ; Chapter 10 Cultural Heritage Preservation during John Marshall’s Time: The Export of Antiquities from the Unification of Italy to the 1909 Law – Francesca de Tomasi ; Plates ; Abbreviations and Bibliography

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Book SynopsisThe Public Archaeology of Treasure comprises the select proceedings of the 5th University of Chester Archaeology Student Conference which took place on 31 January 2020 in the lecture theatre of the Grosvenor Museum, Chester and was complemented by an online Twitter conference on the following morning, 1 February 2020. Reflecting on the shifting and conflicting meanings, values and significances for treasure in archaeology’s public engagements, interactions and manifestations, the volume emphasises how education and research cannot avoid the persistent and evocative associations of ‘treasure’ in socio-political discourse and popular culture. This first-ever exploration of ‘the public archaeology of treasure’ thus offers a host of timely themes and perspectives on the public engagement with, and popular receptions of, archaeological artefacts and assemblages written by students, researchers, educators and heritage practitioners.Table of ContentsIntroduction: the Public Archaeology of Treasure – Howard Williams, Samuel Clague, Natasha Carr and James Raine ; Going with the FLO: Personal Reflections on the Portable Antiquities Scheme for England and Wales – an interview with Peter Reavill ; ‘An Unlikely Ally?’ Archaeologists and Metal Detectorists in England and Wales Today – Pauline Magdalene Clarke ; Stór mo chroí - Reflections on Treasure from an Irish Perspective – Sharon A. Greene ; From Golden Eggs to Trampled Treasure: the 2019 Cadbury Chocolate Scandal – Aisling E.P. Tierney ; A National Strategy for Treasure? – an interview with Gail Boyle ; The Staffordshire Hoard Conservation Program – an interview with Pieta Greaves ; Audio Bling: Innovation and Accessibility in the Museum Display of Archaeological Treasures – Edward Antrobus ; Early Medieval Treasures Online: Strategies for Engagement – Caitlin R. Green ; Rest in Pieces: ‘Treasure’ and the Public Perception of Grave Goods in England and Wales – Adam Daubney ; The Public Archaeology of Tomb Treasures in the Media – Sophie Brown ; Destroy the ‘Sutton Hoo Treasure’! – Howard Williams ; Green Bling – Kenneth Brophy

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Book SynopsisThe Royal Institution of South Wales is a very special organisation, one of the few such institutions to survive into the twenty-first century. Founded in 1835, it opened Wales’s first museum in 1841, running it until 1990, and it remains today a thriving centre of culture. RISW’s original lecture theatre, library and laboratory demonstrate its early involvement in scientific research and education. This substantial and richly illustrated book sets the story in context – in local, national and international terms – and presents RISW as a significant contributor to the accumulation and dissemination of knowledge. The book covers the growth of RISW, the notable members it attracted, later challenges it faced and its survival into the world of today. The formation of the museum’s many varied collections is described by leading specialists, including the developing sciences – geology; natural history; botany; archaeology; Egyptology and photography; the decorative arts; historical records; coins; maps; and costume. Table of ContentsNotes on Contributors Acknowledgements Preface Lyndon Morris Introduction Jenny Sabine PART 1 Chapter 1The Swansea Context Louise Miskell PART 2 Foundations and Early Period Chapter 2 Beginnings 2.1 Origins and Ambitions Karmen Thomas 2.2 The BAAS meeting 1848 John Tucker 2.3 The Role of Women in the RISW Jenny Sabine 2.4 The Lectures Programme Gerald Gabb and Helen Hallesy 2.5 Education 1835-1939 Gerald Gabb Chapter 3 Swansea Museum 3.1 Planning and funding the building Helen Hallesy 3.2 Uses of building and extensions Gerald Gabb PART 3 The Collections Chapter 4 Sciences Introduction Iwan Morus 4.1 Geology Ronald Austin 4.2 Botany Kevin Davies 4.3 Other Natural Sciences Emma Williams 4.4 Photography Katy Williams Chapter 5 Artefacts and Records 5.1 The Archives Andrew Dulley 5.2 The Library Gerald Gabb 5.3 Maps and Charts Phil Treseder 5.4 Local Historians Gerald Gabb 5.5 Art Helen Hallesy 5.6 Ceramics Helen Hallesy 5.7 Archaeology Gerald Gabb 5.8 Egyptology Caroline Graves-Brown 5.9 Numismatics Alan and Noel Cox 5.10 Costume Deborah Griffiths 5.11 Miscellaneous Phil Treseder PART 4 Later developments Chapter 6 Introduction Elizabeth Belcham 6.1 The Museum during WW2 Helen Hallesy 6.2 The transfer to Swansea University Syd Howells 6.3 Swansea University to Swansea City Council Iwan Davies 6.4 Education post 1939 Gerald Gabb Chapter 7 Associated Societies Introduction Gerald Gabb and Helen Hallesy 7.1 Swansea Farmers Club Helen Hallesy 7.2 Musical Groups Gerald Gabb 7.3 Literary and Scientific Society Gerald Gabb 7.4 Swansea Astronomical Society Helen Hallesy 7.5 Swansea Geological Society Helen Hallesy 7.6 Swansea Scientific Society Gerald Gabb 7.7 Field Naturalists Society Gerald Gabb 7.8 Swansea Photographic Association Helen Hallesy 7.9 Welsh Society Gerald Gabb 7.10 Philatelic Society Helen Hallesy 7.11 Shiplovers’ Society Helen Hallesy 7.12 Gower Society Ruth and Malcolm Ridge 7.13 Swansea Little Theatre Eryl Jenkins and Dave Taylor 7.14 Gower Ornithological Society Gerald Gabb List of RISW Presidents 1835-2022 Bibliography List of Subscribers Index

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Book SynopsisCultural heritage is one of the most important tourism resources in the world. This book provides a comprehensive theoretical overview and applied knowledge of the issues, practices, current debates, concepts and management concerns associated with cultural heritage-based tourism. The second edition has been updated to include timely and emerging topics such as geopolitics, conflict, solidarity tourism, overtourism and climate change. It also expands on important areas such as environmental change, technology, social media, heritage economics, Indigenous knowledge and co-created experiences. This edition includes up-to-date data, statistics, references, case material, figures and pedagogical tools. It remains an important and accessible text for undergraduate and postgraduate students of cultural and heritage tourism, cultural resource management, and museum management.Trade ReviewProfessor Dallen Timothy is one of the world’s most eminent scholars in the field of cultural heritage tourism. Using an articulate but accessible style, he covers a comprehensive range of pertinent themes from the basics of heritage management to complex issues of authenticity and the interpretation of the contested past. This book provides invaluable material for Cultural Tourism and Heritage Management courses at all levels. * Melanie Kay Smith, Budapest Metropolitan University, Hungary *This thought-provoking, comprehensive book, written by ‘unashamedly, a self-proclaimed heritage fanatic’ will assist students, scholars and practitioners to understand, conceptualize and effectively and responsibly manage cultural heritage. Those interested in participating in the academic discussion about cultural heritage tourism, recognizing it as a complex multidimensional phenomenon, must read this clear, well-structured and readable book. * Yaniv Poria, Ben-Gurion University of the Negev, Israel *Dallen Timothy's second edition of Cultural Heritage and Tourism is a must-read book on heritage, given the accessible style and breadth and depth with which the topic is dealt. The book is an up-to-date synthesis of key thinking on this area, written by an acknowledged expert on heritage tourism. * Stephen J. Page, University of Hertfordshire, UK *In compiling the second edition, Dallen J. Timothy successfully devotes space for emerging topics such as the sustainable use of cultural/heritage resources and technology […] Going forward, as the globe struggles to overcome the Covid-19 pandemic, this new edition will conceptually and practically offer a holistic platform for developing transformative/restorative heritage tourism, devoted to moral values, replenishment, and the wellbeing of humanity, for better times, so that it can remain resilient and thriving during catastrophic events. -- Deepak Chhabra, Arizona State University, USA * Journal of Heritage Tourism, Vol 16 No 5 *Table of ContentsList of Figures List of Tables List of Plates Preface 1. Cultural Heritage and Tourism Part 1 2. Consumption of Culture: Heritage Demand and Experience 3. The Heritage Supply: Attractions and Services 4. Spatial Perspectives and Heritage Resources 5. Looking for Something Real: Heritage, Tourism and Elusive Authenticity 6. Tourism and the Politics of Heritage 7. The Need to Conserve the Past: The Impacts of Tourism 8. Protective Legislation and Conservation Organizations 9. Protecting the Past for Today: Heritage Conservation and Tourism 10. Telling the Story: Interpreting the Past for Visitors 11. Planning Principles, Sustainability and Cultural Heritage Destinations 12. Marketing the Past for Today 13. Raising Revenue and Managing Visitors Part 2 14. Museums: Keepers of the Past 15. Archaeological Sites and Ancient Monuments 16. Landscapes of the Elite and the Ordinary 17. The Industrial Past 18. Religious Tourism and Pilgrimage 19. Diasporas, Roots and Personal Heritage Tourism 20. Living Heritage, Intangible Culture and Indigenous People 21. Dark Tourism: Atrocity and Human Suffering 22. Conclusions: The Future of the Past References Index

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Book SynopsisCreating the V&A tells the definitive story of the formative years of London’s world-renowned Victoria and Albert Museum and the gathering of its early collections in the decade between the Great Exhibition of 1851 and the death of Prince Albert in 1861.The story of the V&A’s genesis is often centred on the first director and first curator (Henry Cole and J. C. Robinson), and their competing agendas for design reform and connoisseurship. And yet there is an untold story of how the young royal couple for whom it is named were highly instrumental in the establishment of the museum, as public supporters and large-scale lenders before a permanent collection was in place. The book is also full of fascinating and colourful stories of the strategies deployed to harvest treasures on the market as the young museum sought to fill its rapidly expanding buildings and compete with the British Museum and the Crystal Palace.For anyone interested in the history of collecting and curating, and for all fans of this legendary London museum, Creating the V&A explains how the foundational collections established parameters which still inform the museum’s collecting policies, role and identity today.Table of ContentsForeword; PART I: A Teaching Collection, 1837–51; Introduction: Aims and Claims; Somerset House: The School of Design Collection; The Crystal Palace: Shopping at the Great Exhibition in 1851; PART II: International Collections, 1852–7; Marlborough House: A ‘Museum of Ornamental Manufactures’; Royal Collectors, Lenders, Donors, and the Planning of ‘Albertopolis’; Hunting for ‘Art Treasures’; The Gherardini Collection of Italian Renaissance Sculpture; The Soulages Collection; The Bernal and the Gigli–Campana Collections; Architectural Sculpture; Furniture and Paintings; Shopping in Paris: the Soltykoff Collection; Collecting the Contemporary; A Royal Opening, 20 June 1857; PART III: Displays and Debates, 1857–61; A Visit to the ‘Omnium-Gatherum’; Exhibiting Photography; The South Kensington Museum on Trial; ‘The Royal Albert Museum’; Appendices; Select Bibliography; Notes; Acknowledgements; Index

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Book SynopsisThe private collector’s museum has become a phenomenon of the 21st century. There are some 400 of them around the world, and an astonishing 70% of those devoted to contemporary art were founded in the past 20 years. Although private museums have been accused of being tax-evading vanity projects or ‘tombs for trophies’, the picture is far more complex and nuanced, as art-market journalist Georgina Adam (author of best-selling Big Bucks and Dark Side of the Boom) shows in her compelling new book. Georgina Adam’s investigation into this extraordinary proliferation, based on her recent visits to over 50 private spaces across the US, Europe, China and elsewhere, delves into the reasons behind this boom, the different motivations of collectors to display their art in public, and the various ways in which the institutions are financed. Private museums can add greatly to the cultural life of a community, giving a platform to emerging artists, supplying educational programmes and revitalising declining or neglected regions. But their relationship with public institutions can also be problematic. Should private museums step in to fill a gap left by declining public investment in culture, and what are the implications for society and the arts? At a time of crisis in the museums sector, this book is an essential and thought-provoking read.Table of ContentsAcknowledgements; Introduction; 1. What is a private museum?; 2. The founders and their motivations; 3. Financing the private museum; 4. What explains the Chinese museum boom?; 5. From private to public - partnerships; 6. Legacy, sustainability, and why private museums sometimes die; Conclusion; Notes; Bibliography; Index

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Book SynopsisDebates about the restitution of cultural objects have been ongoing for many decades, but have acquired a new urgency recently with the intensification of scrutiny of European museum collections acquired in the colonial period. Alexander Herman’s fascinating and accessible book provides an up-to-date overview of the restitution debate with reference to a wide range of current controversies. This is a book about the return of cultural treasures: why it is demanded, how it is negotiated and where it might lead. The uneven relationships of the past have meant that some of the greatest treasures of the world currently reside in places far removed from where they were initially created and used. Today we are witnessing the ardent attempts to put right those past wrongs: a light has begun to shine on the items looted from Asia, Africa, the Middle East, the Americas and the Pacific, and the scales of history, according to some, are in need of significant realignment. This debate forces us to confront an often dark history, and the difficult application of our contemporary conceptions of justice to instances from the past. Should we allow plundered artefacts to rest where they lie – often residing there by the imbalances of history? This book asks whether we are entering a new 'restitution paradigm', one that could have an indelible impact on the cultural sector - and the rest of the world - for many years to come. It provides essential reading for all those working in the art and museum worlds and beyond.Table of ContentsIntroduction; 1. The Never-Ending Dispute: The Parthenon Marbles; 2. Models for Return: Repatriation of Indigenous Material; 3. Legacies of Conflict: Museums and Imperial Violence; 4. The 75-Year Shadow: Restitution of Art Looted During the Holocaust; 5. Stopping Traffic: Ending the Illicit Artefact Trade; Conclusion; Notes; Bibliography; Index

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Book SynopsisHistory Today carried a feature in 2015, describing The Origin of Museums as "a cult book [that] spawned a new discipline in the history of collecting". Indeed, the first publication of this book in 1985 undoubtedly marked a propitious moment in the development of interest, in what has since grown to be a dynamic subject-area in its own right. That an appetite for such matters was already there is confirmed by the fact that the first impression sold out within a few months, a second impression a year or two later, and the third in 1989. There was to be no further printing by the original publishers, Oxford University Press. However in 2001 a new edition appeared with a new publisher. Demand again proved buoyant, but within a few months the company failed; having operated on a print-on-demand basis, it left behind it no unsold stock. The Origins of Museums reverted to a scarce (though much sought-after) volume. With original copies now selling for hundreds, if not thousands of pounds, the Ashmolean is proud to make this important volume readily available again.

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Book SynopsisThe book examines the destruction of the architectural heritage in Mosul perpetrated by Islamic State between 2014 and 2017. It identifies which structures were attacked, the ideological rationale behind the destruction, and the significance of the lost monuments in the context of Mosul’s urban development and the architectural history of the Middle East. This methodologically innovative work fills an important gap in the study of both current radical movements and the medieval Islamic architecture of Northern Iraq.Table of Contents1. A City Destroyed. 2. A City Explored. 3. A City Contextualized. 4. Epilogue: A City Resurrected?.

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Book SynopsisOn the Pulse of the Museum as Institution of the FutureFor quite some time now, ethnographic museums in Europe have been compelled to legitimate themselves. Their exhibition-making has become a topic of discussion, as has the contentious history of their collections, which have come about through colonial appropriation. Clearly, this cannot continue. That the situation can be different is something that Clémentine Deliss explores in her current publication. She offers an intriguing mix of autobiographically-informed novel and conceptual thesis on contemporary art and anthropology. Reflections on her own work while she was Director of Frankfurt’s Weltkulturen Museum (Museum of World Cultures) are interwoven with the explorations of influential filmmakers, artists and writers. She introduces the Metabolic Museum as an interventionist laboratory for remediating ethnographic collections for future generations. CLÉMENTINE DELISS has achieved international renown as a curator, cultural historian and publisher of artist’s books. In her role as Director of the Weltkulturen Museum in Frankfurt, as a curator, and as a professor and researcher at eminent institutes and academies, she focuses on transdisciplinary and transcultural exchanges. She is Associate Curator of KW Berlin and Guest Professor at the Academy of Arts, Hamburg.

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Book SynopsisAuthor and photographer John Lander takes the magnificent UNESCO World Heritage sites of Japan as a starting point for exploring the country's architecture, history, customs and festivals. Lander, who has lived in Japan for 35 years, travelled to almost all the country's UNESCO sites: from well-known places like Mount Fuji to hidden temple gardens and hard-to-reach wild islands. This book also includes cultural elements listed as intangible world heritage, providing intimate portraits of Japanese cuisine, crafts and performance arts. With a lyrical preface by Pico Iyer and illustrated with over 180 full-colour photographs, World Heritage Japan is Lander's personal photographic tribute to a diverse and ancient culture - a stunning visual journey across Japan.

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Book SynopsisEste libro tiene su origen en un seminario impartido en la Universidad de Yucatán (Mérida), México, sobre gestión del patrimonio y turismo, a invitación del arqueólogo Josep Ligorred. Un par de años más tarde el profesor de la Universidad Complutense de Madrid Gonzalo Ruiz Zapatero me sugirió convertir en libro el trabajo que continuaba aquellas reflexiones, encauzado ahora bajo la denominación de "Paisaje y patrimonio", que el editor Jaime Almansa ha aceptado de publicar en su colección sobre Arqueología. A todos ellos agradezco la parte que les corresponde para que esta propuesta pueda llegar a un público más amplio.

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Book SynopsisThe study of the museum visitor has undergone radical transformation. Each author here has asked unfamiliar questions and responded with fresh answers. Some of these questions involve the visitor's identity, what she brings to her museum experience. Can we gain entry into this experience? Does more technology really increase access to the objects themselves? Others probe the very nature of museum going and exhibition making, demanding that we reexamine the traditional exhibition to reposition the visitor and her meaning-making at the centre. The volume provokes imaginative research and encourages new conclusions.

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Book SynopsisEdited by A. R. practice (Ann Richter & Agnieszka Roguski), Introduction by A. R. practice (Ann Richter & Agnieszka Roguski), Texts by Melanie Bühler, Erika Landström, Agnieszka RoguskiWhen the exhibition enters the digital realm, as it is increasingly happening now when the display of art and culture can be enjoyed individually behind screens, then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity? Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. It takes the digitized exhibition view as starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. Focusing on the transformative potential of the exhibition as circulating view, this publication asks how it transfers again into a subjective mode of perspective through the artistic lens. So what is at stake when an exhibition circulates as a digital view? And how does its digital presence in turn affect and transform the subjective experience of seeing a physical exhibition?With images from João Enxuto & Erica Love, Calla Henkel & Max Pitegoff, New Noveta/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, and Jonas Paul Wilisch, as well as texts by Melanie Bühler, Erika Landström, and Agnieszka Roguski, this publication gathers artists, curators, and writers who frame these questions through a variety of practices and media. It thus addresses a self-reflexive and critical approach on medium and formatunderstanding the exhibition as a fluid and diverse view. How is our view on exhibitions influenced by their digital re-/presentation on the internet? How can art affect the normalized, circulating installation views in a creative wayand articulate a subjective view in this way? And how, above all, do seemingly objective standards and subjectivity affect each other?The publication Echoing Exhibition Views. Subjectivity in Post-Digital Times focuses on the subjectivity of the supposedly objective exhibition documentation. It is about how artists realize a kind of subjective view when they are presenting an exhibitionin terms of performative, spatial, visual or technological aspectsand how that view can broaden, reflect or criticize the standardized claim of exhibition views. For Echoing Exhibition Views. Subjectivity in Post-Digital Times, a total of seven international artistic positions articulate their personal interpretation of the installation view'. Most important is their disciplinary versatility, which provides a multifaceted and complex approach to the topic. Artistic photography, illustration, conceptual art and performance art together respond to the apparent objectivity emanating from exhibition documentation and the photographic installation view. The medium of display always shapes the work, therefore the form of the book becomes the venue for a visual tension between specification and ambiguity. To underline the modification as a productive act, A. R. practice interfered with book production standards and used a special RGB-three-color printing technique instead of CMYK. RGB (red green blue) is the digital color range and refers to the online format. However, it will evoke experimental effects for this analogue format. The guiding principle is the idea of transformation through various media and formats. Thus, the featured artists represent a practice in which various media and spaces are crossed; from the virtual exhibition on the internet to the actual exhibition space to the photographic image from the exhibition. All works become independent exhibition practices and works of art. TABLE OF CONTENTEditorial (A. R. practice: Ann Richter & Agnieszka Roguski) Essays:In Other Words, Please be True (Melanie Bühler)Subjective Exposure (Agnieszka Roguski)Professionalized Reenactment (Erika Landström)Featured work:João Enxuto & Erica Love Anonymous Paintings (2011)Calla Henkel & Max Pitegoff Schinkel Klause (2016)New Noveta/Yair Oelbaum Violent Amurg (2017)SANY Acting Untitled (2009-2018)Hanna Stiegeler Untitled (2015)Jasmin Werner Observational Games (2016)Jonas Paul Wilisch the work: a series of installation views (2016/2017)

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Book SynopsisFor the first time, the pioneering book that launched the study of art and curiosity cabinets is available in English. Julius von Schlosser's Die Kunst- und Wunderkammern der Spatrenaissance (Art and Curiosity Cabinets of the Late Renaissance) is a seminal work in the history of art and collecting. Originally published in German in 1908, it was the first study to interpret sixteenth- and seventeenth-century cabinets of wonder as precursors to the modern museum, situating them within a history of collecting going back to Greco-Roman antiquity. In its comparative approach and broad geographical scope, Schlosser's book introduced an interdisciplinary and global perspective to the study of art and material culture, laying the foundation for museum studies and the history of collections. Schlosser was an Austrian professor, curator, museum director, and leading figure of the Vienna School of art history whose work has not achieved the prominence of his contemporaries until now. This eloquent and informed translation is preceded by Thomas DaCosta Kaufmann's substantial introduction. Tracing Schlosser's biography and intellectual formation in Vienna at the turn of the twentieth century, it contextualizes his work among that of his contemporaries, offering a wealth of insights along the way.Trade Review“This first English translation of Julius von Schlosser’s classic study of the Kunstkammer (1908) is a cause for celebration by anyone interested in the history of collections. Directly or indirectly, his book inspired a legion of studies on early modern art and curiosity cabinets, a subject that continues to captivate our imagination and has shaped the appearance of some museum displays. Thomas DaCosta Kaufmann’s penetrating introduction examines Schlosser, his intellectual contributions as a curator and teacher, his place within Viennese art history around 1900, and his subsequent reputation.”—Jeffrey Chipps Smith, Kay Forsten Chair in European Art, University of Texas, Austin ;;“Schlosser’s book is a classic of art history: still a standard text for all students of the first great age of collecting, but one which, previously unavailable in English, had remained unfamiliar to a wider audience. This translation, whose virtuosity matches that of Schlosser’s original writing, is here combined with a superb appreciation by Kaufmann of the author's life and works. Schlosser used the extraordinary world of the “cabinet of curiosities” to explore not only how and why museums came into being, as repositories of universal learning and global outreach, but also the gestation of distinctly modern notions of “art” and “nature” and of the “artificial” over against the “natural,” concepts that coexisted in multifarious ways in the minds of the collectors he describes.”—R.J.W. Evans, Regius Professor of History emeritus, University of Oxford;;;“This fascinating publication not only illuminates the history of art history through Schlosser's pioneering study from the early twentieth century, but also offers new insight into important dimensions of the culture of turn-of-the-century Vienna in which Schlosser participated as an art historian. Schlosser's study of art collections and curiosity cabinets allows us to understand better the complex cultural relation between late Habsburg art and museum culture and the early modern Habsburg period that is so fundamental for his analysis, especially concerning the collections of Emperor Rudolf II in Prague. Finally, the whole publication is framed by the exceptionally interesting introduction of the very distinguished Princeton art historian Thomas DaCosta Kaufmann, who is well known for his studies of art and culture in the early modern Habsburg monarchy. This book will be of great interest to scholars of art history specializing in art collecting and collections, cabinets of wonders or curiosities, and Habsburg culture."—Larry Wolff, Professor of History, New York University and author of The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon;;“It was an excellent idea to make Schlosser’s classic work—which everyone interested in collections and museums should read—available in English. The translation is enriched by an introduction by Thomas DaCosta Kaufmann that situates Schlosser in his milieu, Vienna circa 1900, and brings him back to life.”—Peter Burke, Professor Emeritus of Cultural History, University of Cambridge;;“A half century or so of recent scholarship has brought the extraordinary collections of art amassed by fifteenth- and sixteenth-century noble courts to public view and imagination, with the result that chambers of wonders and curiosity cabinets are nearly household concepts. All such scholarship looks back to, and cites, Julius von Schlosser’s Die Kunst- und Wunderkammern der Spätrenaissance of 1908. Until now, however, the author of this precocious work has remained little known in English. This authoritative and thoughtful English translation by Jonathan Blower with an introduction on Schlosser’s place in the history of art by the polymathic doyen of art history, Thomas DaCosta Kaufmann, itself forms a milestone in the still-burgeoning scholarly literature on Kunstkammer collections.”—Pamela H. Smith, Seth Low Professor of History, and Director, Center for Science and Society, Columbia University

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Book SynopsisNew insights into the changing human attitudes towards wild nature through the depiction of wolves in human culture and heritage. Few animals arouse such strong opinion as the wolf. It occupies a contested, ambiguous, yet central role in human culture and heritage. It appears as both an inspirational emblem of the wild and an embodiment of evil. Offering a mirror to different human attitudes, beliefs, and values, the wolf is, arguably, the species that plays the greatest role in shaping our views on what nature is or should be. North America and, more recently, Europe have witnessed a remarkable return of the grey wolf (Canis lupus, and its close relative the Eurasian wolf, Canis lupus lupus) to eco-systems. The essays collected here explore aspects of this recovery, and consider the history, literature and myth surrounding this iconic species. There are chapters on wolf taxonomy, including the coywolf, the red wolf, and the many faces of the dingo. We also meet the Tasmanian wolf and encounter Nazi Werewolves from Outer Space. The book explores the challenges of separating fact from fiction and superstition, and our willingness to co-exist with large carnivores in the twenty-first century. Biologists, historians, anthropologists, cultural theorists, conservationists and museologists will all find riches in the detail presented in this wolf collection.Table of ContentsPreface & Acknowledgments Poem: Trophic Cascade by Camille T. Dungy Foreword Luigi Boitani Part I: Imagining the Wolf 1. The Wolf in the Human Mind Across Space and Time Erwin van Maanen 2. A History of Wolves and People in France Jean-Marc MoriceauandP van Maanen 3. WolvesandOtherMammalsHunted in Medieval English Forests Lee Raye 4. 'Uuluesheued!' The Historical Significance of the Wolf to Early Indo-Europeans Rob Lenders 5. Wolves Behind Bars Helen Cowie 6. Nazi Werewolves from Outer Space: Posthuman-wolf-multiplicities and Their (Mis)appropriations Jamie Mcphie 7. Never Mind the Girl; What about the Wolf? Marie Addyman 8. Whose Wolf Is It Anyway? Wolves, Wilderness and Belonging Chris Powici 9. Defined 'as much by their absence as their iconography': Reimagining Wolves in Cumbria in Sarah Hall's The Wolf Border Penny Bradshaw 10. A 'Wasteland' Infested by Wolves: The Fallacy of 'Dark Age' England Elizabeth Marshall Part II: What Makes the Wolf? 11. The Wolf Pack Peter Davis 12. The Wolf in the Pastoral System of Southern France Jean-Marc Landry and Jean-Luc Borelli 13.Contemporary Public Images of the Wolf Helene Figari and Ketil Skogen 14. "The Sweetness of Freedom": Reflections on the Occasion of the Japanese Wolf Holger Funk 15. Reimagining the Dingo: The 'Australian Wolf' or Just a Feral Dog? Bradley P. Smith, Robert G. Appleby and Kylie M. Cairns 16. 'Pushing the Ecological Niche: A ​Sea Wolf Called Takaya.' Cheryl Alexander and Karen Lloyd 17. 'Hunger-Greedy Appetite': The Wolf in Early-Modern English Natural History Marie Addyman 18. What About the Coywolf? Javier D. Monzón 19. Is that a wolf? Politics, Science and Red Wolf Identity Peter Brewitt and Lawson Giles 20. The Thylacine - A Wolf in Name Only Stephen R. Sleightholme and Cameron R. Campbell Part III: Return of the Wolf 21. Landscapes of Coexistence: Livestock and Wolves in the Mountains of North Spain Nigel Dykes 22. The Wolves of Yellowstone - Saviour of the Songbird or Piece of the Puzzle? TJ Clark-Wolf, Rene Beyers, Peter Brewitt, Ian Convery & Owen Nevin 23. Wolf-Beaver Dynamics in the Greater Voyageurs Ecosystem, Minnesota Thomas D. Gable, Sean Johnson-Bice, Austin T. Homkes, Steve K. Windels, John G. Bruggink, and Joseph K. Bump 24. The Return of the Wolf in Germany: A Success Story of Rewilding with a Future? James Brückner and Erwin van Maanen 25. Finding Common Ground with Wolves: Interspecies Communication is a Shared Landscape Martin Drenthen 26. The Case for Wolves in the UK Ian Convery, Owen Nevin, Elsie Blackshaw-Crosby, Deborah Brady & Mark Fisher Part IV Personal Encounters 27. Tracking Wolves in Western Europe: A Photo-Essay Photography by Marielle van Uitert and text by Karen Lloyd 28. Speaking Out for Wolves: A Personal Reflection Tracy Hayes 29. To Receive the Wolf Karen Lloyd 30. Úlfr and Gris: Spectral Animal Companions of the Atomic Priest Robert Williams 31. The Three-Legged Stool: Wolves, Shepherds and Sheep Lee Schofield 32. The Helsfell Wolf Karen Lloyd Afterword: The Ecological Disadvantage of Living on an Island Mark Fisher

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Book SynopsisOffers a framework for understanding contemporary debates as they have evolved in Europe and the United States. From the visionary museums of Boullee in the eighteenth century to the new Guggenheim in Bilbao and beyond, this book explores various aspects of museum theory and practice: ideals and mission; architecture; the public and commercialism.Table of ContentsAcknowledgments Introduction Ideals and Mission Architecture Collecting, Classification, and Display The Public Commercialism Restitution and Repatriation Conclusion Appendix Notes List of Illustrations Index

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Book SynopsisOver the centuries, natural history museums have evolved from being little more than musty repositories of stuffed animals and pinned bugs, to being crucial generators of new scientific knowledge. They have also become vibrant educational centers, full of engaging exhibits that share those discoveries with students and an enthusiastic general public. At the heart of it all from the very start have been curators. Yet after three decades as a natural history curator, Lance Grande found that he still had to explain to people what he does. This book is the answer and, oh, what an answer it is: lively, exciting, up-to-date, it offers a portrait of curators and curation like none we've seen, one that conveys the intellectual excitement and educational and social value of curation. Grande uses the personal story of his own career most of it spent at Chicago's storied Field Museum to structure his account as he explores the value of collections, the importance of public engagement, changing ecological and ethical considerations, and the impact of rapidly improving technology.Throughout, we are guided by Grande's keen sense of mission, of a job where the why is always as important as the what. Beautifully written and richly illustrated, this clear-eyed but loving account of the natural history museum and its place in our cultural and conservation landscape will appeal to fans of dusty dioramas and digital displays alike.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisIn a world filled with great museums and great paintings, Leonardo da Vinci’s Mona Lisa is the reigning queen. Her portrait rules over a carefully designed salon, one that was made especially for her in a museum that may seem intended for no other purpose than to showcase her virtues. What has made this portrait so renowned, commanding such adoration? And what of other works of art that continue to enthrall spectators: What makes the Great Sphinx so great? Why do iterations of The Scream and American Gothic permeate nearly all aspects of popular culture? Is it because of the mastery of the artists who created them? Or can something else account for their popularity? In Famous Works of Art—And How They Got That Way, John B. Nici looks at twenty well-known paintings, sculptures, and photographs that have left lasting impressions on the general public. As Nici notes, there are many reasons why works of art become famous; few have anything to do with quality. The author explains why the reputations of some creations have grown over the years, some disproportionate to their artistic value. Written in a style that is both entertaining and informative, this book explains how fame is achieved, and ultimately how a work either retains that fame, or passes from the public consciousness. From ancient artifacts to a can of soup, this book raises the question: Did the talent to promote and publicize a work exceed the skills employed to create that object of worship? Or are some masterpieces truly worth the admiration they receive? The creations covered in this book include the Tomb of Tutankhamun, Botticelli’s Birth of Venus, Raphael’s Sistine Madonna, El Greco’s The Burial of Count Orgaz, Rodin’s The Thinker, Van Gogh’s Starry Night, and Picasso’s Guernica. Featuring more than sixty images, including color reproductions, Famous Works of Art—And How They Got That Way will appeal to anyone who has ever wondered if a great painting, sculpture, or photograph, really deserves to be called “great.”Trade ReviewArt historian Nici considers some of the world’s most revered pieces of art and the 'peculiar—and often inexplicable' circumstances that contributed to their current significance. These include the 1922 discovery of the ancient Egyptian tomb of King Tutankhamun, which benefited from press coverage stimulating the public’s interest, and the steady rise in prominence of Leonardo da Vinci’s Mona Lisa over centuries, further enhanced by its 1911 theft. The statue Winged Victory sat in the Louvre 'friendless and unnoticed' before a mere change in location to the grand central staircase made it a visitor favorite. Nici outlines the controversy surrounding Manet’s Luncheon on the Grass, criticized by the stodgy French Salon, but lauded by more liberal impressionists. Van Gogh is lionized for his cult of personality and tortured history boldly on display in Starry Night, and Grant Wood’s American Gothic is noted for its 'ambiguity of form and interpretation,' evident in arguments over the artist’s sincerity. Nici also recalls Andy Warhol’s explosion into celebrity via the Campbell’s soup prints and the multiple controversies surrounding the construction of the Vietnam Veterans Memorial, designed by 21-year-old Yale undergraduate Maya Lin. Viewing the artistic material through the angle of fame is a unique approach and Nici provides ample and accessible theory, interpretation, and historical context to make this an interesting and educational read. * Publishers Weekly *'Why do certain works of art sustain or lose their fame?' asks Nici (professor of art history at Queens College, in Flushing, New York) in the introduction to his study of 20 iconic photographs, paintings, and sculptures. The answer makes for a fascinating look at the content and context of such works as the Great Sphinx, Botticelli's The Birth of Venus, Manet's Luncheon on the Grass, Dorothea Lange's Migrant Mother, Andy Warhol's Campbell's Soup, and the rest. For each work examined, there is a detailed description and a thorough accounting of its contemporary reception and subsequent reputation. Among the more than 60 images included are a number of color reproductions. Over and over, we read that the reputation of a particular 'masterpiece' often has less to do with its artistic quality and more to do with the success of its publicity and promotion. Any one of these 20 chapters would make a lively and engaging lecture in art history; all of them should be required reading for anyone who has ever visited an art museum. * Booklist *True adventures in art history—who knew that wanton destruction, theft, forgery and the contempt of critics were prime ingredients for making works of art famous? John Nici’s book is a terrific read, entertaining and erudite. -- Michael Findlay, author of The Value of ArtThis is not just another art history book! Well-researched and accessible to a broad readership, Famous Works of Art—And How They Got That Way examines 4500 years of fine art, sculpture and photography. Far from a dry read, Nici’s twenty case studies vividly capture the post-creation life of each object by exploring the triangulation among the works, their meanings, and their cultural reception. The text further problematizes the notion of the masterpiece amid genius, fame, reputation, and value. After reading it, you may (even) think again before taking a selfie in front of a masterpiece and posting it to social media! -- Juilee Decker, Associate Professor, Museum Studies, Rochester Institute of TechnologyWell crafted and highly readable. John Nici gives an insightful overview of many factors impacting the fame of works of art throughout the ages. The “masterpieces” range from a long span of history and reflect changing attitudes over the broad spectrum of time. Famous Works of Art will cause you to think deeply about the many paths to fame. This book provides an intriguing exploration of the fickle nature of perseverance vs. obscurity wrought by the passage of time and taste. -- Dr. Carey Rote, Professor of Art History, Texas A & M University-Corpus ChristiJohn Nici’s fun and fascinating text delves into the heart of how and why certain objects, often ones that were criticized in their own eras, become celebrated. Ultimately, Nici explores the nature of and causes for the popular renown of painting, sculpture, and photography. Nici’s delectable prose will be enjoyed by the specialist, the amateur, those who are new to art history, and anyone who has ever asked themselves or their professor, "Why is that famous?" -- Caterina Y. Pierre, Professor of Art History, City University of New York at KingsboroughTable of ContentsAcknowledgments Foreword by Dennis Geronimus Introduction Chapter 1 The Great Sphinx: Beyond Human Understanding Chapter 2 Tomb of Tutankhamen: Politics, Ethnic Pride, Hornets, a Dead Canary, and a Curse Chapter 3 The Parthenon Sculptures: Lord Elgin and How Greece Lost Its Marbles Chapter 4 The Apollo Belvedere: The Rise and Fall of The Apollo Belvedere Chapter 5 Nike of Samothrace: The Victory of the Staircase Chapter 6 Birth of Venus by Botticelli: Nothing Is Forever, Not Even Neglect Chapter 7 Mona Lisa by Leonardo da Vinci: You Never Know What a Smile Can Do Chapter 8 Sistine Madonna by Raphael: The Most Perfect Picture in the World Chapter 9 The Burial of Count Orgaz by El Greco: A Touch of Madness Goes a Long Way Chapter 10 Aristotle Contemplating a Bust of Homer by Rembrandt: Fame Available for a Price Chapter 11 Washington Crossing the Delaware by Emanuel Leutze: Or Perhaps, Washington Crossing the Rhine Chapter 12 Luncheon on the Grass by Edouard Manet: Success through Scandal Chapter 13 The Thinker by Auguste Rodin: Fame Has Its Consequences Chapter 14 Starry Night by Vincent Van Gogh: Lost in a Starry Night Chapter 15 The Scream by Edvard Munch: Scream, Indeed Chapter 16 American Gothic by Grant Wood: All-American Gothic Chapter 17 Migrant Mother by Dorothea Lange: The Power of the Press Chapter 18 Guernica by Pablo Picasso: Travels with Guernica Chapter 19 Andy Warhol, Campbell’s Soup: Mmm Mmm Good Chapter 20 The Vietnam Veterans Memorial by Maya Lin: The Triumph of Abstraction Index About the Author

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Book SynopsisThis full-color visual dictionary contains an unambiguous vocabulary for the parts of handcrafted decorative, domestic, and artistic items. Terminology for a broad array of object types is accompanied by original color illustrations.Trade ReviewWith roots in the quest for orderly terminology by pioneer conservator (and Monuments Man) George Stout, beginning in 1938, and continuing through the Getty's Art and Architecture Thesaurus of the 1980s, a 21st-century vocabulary is now available in A Visual Dictionary of Decorative and Domestic Arts. We thank respected conservator Nancy Odegaard and talented graphic illustrator Gerry Crouse for this guide to 'just the right word' to describe the indescribable details of candlesticks, frames, historical jewelry, and much much more. -- Joyce Hill Stoner, PhD, Edward F. and Elizabeth Goodman Rosenberg Professor of Material Culture, University of DelawareThis visual dictionary is an excellent resource for curators, registrars, and collection managers for use in condition checking artworks or cataloging collections. -- Diana Pardue, Chief Curator, Heard MuseumAs anyone involved in the cataloging of decorative arts knows, there are myriad ways for objects to be described. Nowhere, however, can one turn to an easily understood and comprehensive compendium of commonly employed terms. This volume sets out to change that by defining easily understood descriptive terms for common classes of material objects. These terms are then tied to exploded drawings of common classes of decorative arts to show the reader how they might be employed. Finally, a resource that provides a common descriptive terminology for everyday use. A must for the bookshelf of museum curators, serious collectors and auction professionals. -- C. Wesley Cowan, Vice Chair, Hindman LLC and Founder Cowan’s Auctions LLCTable of ContentsDedicationTable of Contents ForewordPrefaceAcknowledgmentsIntroductionSection I: Decorative objects1. Basket2. Bells3. Bottle, Beverage4. Bottle, Case5. Bowl/Porringer6. Candlestick, Glass7. Candlestick Metal and Douter8. Cup/bowl9. Cutlery Knife10. Flatware11. Jar/Jug12. Lamp, Oil with Oxidation Surface13. Saucer/Plate14. Stemware, Goblet15. Teapot16. Vase (Amphora)17. Vase, GlassSection II: Domestic Furnishings1. Bed and Bedding2. Bed, Child’s Cradle3. Chair, Straight4. Chair, Upholstery5. Furniture, Case 6. Rug7. Rug Foundation8. Table, Drop-leaf9. Table, Pedestal10. Table, Side11. Window and CoveringsSection III: Artistic Works and Tools1. Book2. Frescos3. Mosaic4. Painting, Auxiliary Support for Canvas5. Painting (Layers) on Canvas6. Painting, Frame Molding Profile with Canvas7. Painting on Wood Panel / Icon8. Print9. Print Package10. Print/Artwork Frame (Reverse) with Hardware 11. Photograph and Slides12. Sculpture, Armature (Miniature) on Column13. Sculpture, Figure (Life Size) on Platform14. Sculpture, Metal Cast (Colossal Size) on Acropodium/Pedestal15. Sculpture, Portrait Bust (Life-Size) on Socle16. Sculpture, Statue/Herm (Heroic Size)17. Artist Tools for Applying18. Artist Tools for Carving and Modeling19. Artist Tools for CuttingSection IV: Jewelry Adornment Items1. Bolo 2. Bracelets3. Buckles4. Earrings5. Neck Jewelry6. Pins7. Rings8. Sartorial Jewelry9. WatchesSection V: Accessory Articles1. Buttons2. Combs3. Eyeglasses4. Fan5. Flag 6. Hat7. Pipes8. Umbrella/ParasolAbout the Authors

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