Museology and heritage studies Books

Book SynopsisBefore the 1970s, most information concerning the conservation and restoration of paintings, wood, and archaeological artefacts were focused on the history of the artefacts, previous attempts of conservation, and the future use of these artefacts. The technical methods of how the restoration and conservation were made were dealt with only very briefly. Today, sophisticated methods of scientific analysis such as DNA are common place, and this encourages conservators and scientists to work together to work out the development of new methods for analysis and conservation of artefacts. This book focuses on the chemicals used for conservation and restoration of various artefacts in artwork and archaeology, as well as special applications of these materials. Also the methods used, both methods for cleaning, conservation and restoration, as well as methods for the analysis of the state of the respective artefacts. Topics include oil paintings, paper conservation, textiles and dyes fTable of ContentsPreface xiii 1 Paintings 1 1.1 Cleaning 1 1.2 Varnishes 41 1.3 Methods and Materials for Conservation 47 1.4 Analysis and Analytical Methods 70 1.5 Forgeries 81 2 Textiles 95 2.1 Textile Colors 95 2.2 Textiles from Various Locations 101 2.3 Processing Methods 108 3 Archaeological Wood 113 3.1 Analysis Methods 113 3.2 Materials for Conservation 122 3.3 Degradation 131 3.4 Special Properties 137 4 Fossils 149 4.1 Monograph 149 4.2 Paleontological Skill and the Role of the Fossil Preparator 149 4.3 Analysis Methods 150 4.4 Conservation Methods 163 5 Stones 177 5.1 Deterioration Processes 178 5.2 Analytical Methods 187 5.3 Conservation Methods 193 6 Glass 213 6.1 Analytical Methods 213 6.2 Cleaning Methods 217 6.3 Production Practices 229 6.4 Special Uses of Glass Materials 231 7 Archaeological Metals 237 7.1 Cleaning Methods 247 7.2 Special References 262 Index 267 Acronyms 267 Chemicals 269 General Index 273

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Book SynopsisEdges of Empire is a timely reassessment of the history and legacy of Orientalist art and visual culture through its focus on the intersection between modernization, modernism and Orientalism. Covers indigenous art and agency, contemporary practices of collection and display, and a survey of key Orientalist tropes Contains original essays on new perspectives for scholars and students of art history, architecture, museum studies and cultural and postcolonial studies Highlights contested identities and new definitions of self through topics such as 19th century monuments to Empire, cultural cross-dressing, performance and display at the international exhibitions, and contemporary museological practice. Trade Review"A pioneering collection of essays that offers a truly transnational approach to cross-cultural exchange. With great clarity and imagination, Edges of Empire forces us to re-think Orientalism both historically and politically." Michael Hatt, Yale UniversityTable of ContentsSeries Editor's Preface. List of Illustrations. Notes on Contributors. Acknowledgements. Introduction: Visualising Culture across the Edges of Empire. (Mary Roberts and Jocelyn Hackforth-Jones). 1. Commemorating the Empire: From Algiers to Damascus. (Zeynep Çelik). 2. Out of the Earth, Egypt's Statue of Liberty?. (Darcy Grimaldo Grigsby). 3. Cultural Crossings: Sartorial Adventures, Satiric Narratives and the Question of Indigenous Agency in Nineteenth-Century Europe and the Near East. (Mary Roberts). 4. "Oriental" Femininity as Cultural Commodity: Authorship, Authority and Authenticity. (Reina Lewis). 5. The Sweet Waters of Asia: Representing Difference/Differencing Representation in Nineteenth-Century Istanbul. (Frederick N. Bohrer). 6. The Work of Translation: Turkish Modernism and the "Generation of 1914". (Alastair Wright). 7. Stolen or Shared: Ancient Egypt at the Petrie Museum. (Sally MacDonald). 8. Andalusia in the Time of the Moors: Regret and Colonial Presence in Paris, 1900. (Roger Benjamin). Bibliography (Hannah Williams). Index.

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Book SynopsisEdges of Empire is a timely reassessment of the history and legacy of Orientalist art and visual culture through its focus on the intersection between modernization, modernism and Orientalism. Covers indigenous art and agency, contemporary practices of collection and display, and a survey of key Orientalist tropes Contains original essays on new perspectives for scholars and students of art history, architecture, museum studies and cultural and postcolonial studies Highlights contested identities and new definitions of self through topics such as 19th century monuments to Empire, cultural cross-dressing, performance and display at the international exhibitions, and contemporary museological practice. Trade Review"A pioneering collection of essays that offers a truly transnational approach to cross-cultural exchange. With great clarity and imagination, Edges of Empire forces us to re-think Orientalism both historically and politically." Michael Hatt, Yale UniversityTable of ContentsSeries Editor's Preface. List of Illustrations. Notes on Contributors. Acknowledgements. Introduction: Visualising Culture across the Edges of Empire. (Mary Roberts and Jocelyn Hackforth-Jones). 1. Commemorating the Empire: From Algiers to Damascus. (Zeynep Çelik). 2. Out of the Earth, Egypt's Statue of Liberty?. (Darcy Grimaldo Grigsby). 3. Cultural Crossings: Sartorial Adventures, Satiric Narratives and the Question of Indigenous Agency in Nineteenth-Century Europe and the Near East. (Mary Roberts). 4. "Oriental" Femininity as Cultural Commodity: Authorship, Authority and Authenticity. (Reina Lewis). 5. The Sweet Waters of Asia: Representing Difference/Differencing Representation in Nineteenth-Century Istanbul. (Frederick N. Bohrer). 6. The Work of Translation: Turkish Modernism and the "Generation of 1914". (Alastair Wright). 7. Stolen or Shared: Ancient Egypt at the Petrie Museum. (Sally MacDonald). 8. Andalusia in the Time of the Moors: Regret and Colonial Presence in Paris, 1900. (Roger Benjamin). Bibliography (Hannah Williams). Index.

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Book SynopsisAn original and illuminating study of science, culture, and museums, Articulating Dinosaurs is a remarkable look at not just how we visualize the prehistoric past, but how we make it palpable it our everyday lives.Trade Review'It's about time such inventiveness was studied so seriously!... Highly recommended. All levels/libraries' -- A.F. Roberts Choice Magazine vol 54:07:2017Table of Contents1 / Can there Really be an Anthropology of Dinosaurs? Part One / Animating the Tyrant Kingdoms 2 / Materializing Mesozoic Time/Space 3 / Land of the Fear, Home of the Bravado 4 / Animating Tyrannosaurus rex, Modelling the Perfect Race 5 / Politics/Natures: All the Way Down 6/ Vestiges of the Lost World: Recirculating the Tyrant Nexus 7 / Phantasmatics in the Systematics of Life Part Two / Articulating the Good Mother Lizard 8 / Articulating Maiasaura peeblesorum 9 / "A Real Sense of a Dynamic Process" 10 / A Really Big Jurassic Place 11 / Need to Say, Need to Know 12 / The Difference a Lab can Make 13 / A Perfect Time for Raising a Family 14 / Technotheatrical Natures 15 / Mirabile dictu! 16 / "Just Trying to Be a Scientist"

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Book SynopsisWith a diverse range of case studies, and chapters co-written between academics and community partners, this book shows that co-produced research can be an empowering force by which communities stake a claim in the places they live.Trade Review"This work is a needed stimulus for collaborative research between academics and communities and for critical interdisciplinary heritage studies." Celeste Ray, Sewanee: The University of the SouthTable of ContentsIntroduction: Heritage as community research ~ Jo Vergunst and Helen Graham; Part one: Ways of knowing; Chapter one: Legacy and lavender: community heritage and the arts ~ Helen Smith and Mark Hope; Chapter two: Co-writing about co-producing musical heritage: what happens when musicians and academics work together? ~ John Ball, Tony Bowring, Fay Hield and Kate Pahl; Chapter three: Visibly authentic: images of Romani people from 19th-century culture to the digital age ~ Jodie Matthews; Chapter four: Digital building heritage ~ Nick Higgett and Jenny Wilkinson; Chapter five: Shaping heritage in the landscape amongst communities past and present ~ Jo Vergunst, Elizabeth Curtis, Neil Curtis, Jeff Oliver and Colin Shepherd; Part two: Heritage as action; Chapter six: CAER heritage: legacies of co-produced research ~ Oliver Davis, Dave Horton, Helen McCarthy and Dave Wyatt; Chapter seven: Do-It-Yourself heritage: Heritage-as-a-process (designing for the Stoke ‘ping’) ~ Karen Brookfield, Danny Callaghan and Helen Graham with members of the Ceramic City Stories team: Jayne Fair, Jan Roberts and Phil Rowley; Chapter eight: From researching heritage to action heritage ~ Kimberley Marwood, Esme Cleall, Vicky Crewe, David Forrest, Toby Pillatt, Gemma Thorpe and Robert Johnston; Chapter nine: Co-productive research in a primary school environment: un-earthing the past of Keig ~ Elizabeth Curtis, Jane Murison and Colin Shepherd; Conclusion: Co-producing futures: directions for community heritage as research ~ Helen Graham, Jo Vergunst and Elizabeth Curtis.

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Book SynopsisAllan deSouza examines the popular terminology through which art is discussed, valued, and taught, showing how pedagogical language and practices within art schools can adapt to a politicized and rapidly changing world, as well as to the demands of contemporary art within a global industry.Trade Review"Allan deSouza has done the art world an extraordinary service. . . . As a handbook, How Art Can Be Thought is stunning and successful—deeply informed by critical theory, yet in all aspects oriented toward practical use in the field, so to speak." -- Taylor Eggan * Discursive Impulse *"This book is a detailed, thorough, and comprehensive discussion concerning all aspects of contemporary art. de Souza opens a 'can of worms' on almost every page, exposing long-held myths about art practice, what art is, and if in fact we can really say anything meaningful about the whole 'art world' at all. . . . Very well written and highly readable. It is a must read for all art educators, art students, curators, art critics and faculty at academic institutions where art is still included in the curriculum." -- Rob Harle * Leonardo Reviews *"Juggling . . . the conceptual and practical . . . is no easy task and deSouza does a good job. . . . One of the strengths of the book is deSouza’s reflection on language — its importance to the project of decolonization and to artistic meaning/expression. -- Alpesh Kantilal Patel * Hyperallergic *"DeSouza shatters the trope of the handbook as static, watered-down theory. Instead, we enter an electric dialogue steeped in the vein of Paulo Freire and bell hooks. . . . With its accessible writing and contemporary perspective, How Art Can Be Thought should be required reading for art educators, administrators, art historians, critics and those interested in critical pedagogy." -- Ashley Hosbach * ARLIS/NA Reviews *"How Art Can Be Thought is indeed a practical handbook and offers a comprehensive account of current art debates in the art world. To decolonize those debates, deSouza provides a rich and detailed pedagogical framework that can be adapted to shape new debates." -- Uschi Klein * Visual Studies *Table of ContentsImage Notes vii Acknowledgments ix Introduction. A Foot in the Door 1 1. How Art Can Be Thought 21 2. Entry Points 35 3. How Art Can Be Taught 57 4. Critique as Radical Prototype 67 5. How Art Can Be Spoken: A Glossary of Contested Terms 85 Afterwords. How, Now, Rothko? 365 Notes 283 Bibliography 303 Index 309

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Book SynopsisWhat terms do we use to describe and evaluate art, and how do we judge if art is good, and if it is for the social good? In How Art Can Be Thought Allan deSouza investigates such questions and the popular terminology through which art is discussed, valued, and taught. Adapting art viewing to contemporary demands within a rapidly changing world, deSouza outlines how art functions as politicized culture within a global industry. In addition to offering new pedagogical strategies for MFA programs and the training of artists, he provides an extensive analytical glossary of some of the most common terms used to discuss art while focusing on their current and changing usage. He also shows how these terms may be crafted to new artistic and social practices, particularly in what it means to decolonize the places of display and learning. DeSouza''s work will be invaluable to the casual gallery visitor and the arts professional alike, to all those who regularly look at, think about, Trade Review"Allan deSouza has done the art world an extraordinary service. . . . As a handbook, How Art Can Be Thought is stunning and successful—deeply informed by critical theory, yet in all aspects oriented toward practical use in the field, so to speak." -- Taylor Eggan * Discursive Impulse *"This book is a detailed, thorough, and comprehensive discussion concerning all aspects of contemporary art. de Souza opens a 'can of worms' on almost every page, exposing long-held myths about art practice, what art is, and if in fact we can really say anything meaningful about the whole 'art world' at all. . . . Very well written and highly readable. It is a must read for all art educators, art students, curators, art critics and faculty at academic institutions where art is still included in the curriculum." -- Rob Harle * Leonardo Reviews *"Juggling . . . the conceptual and practical . . . is no easy task and deSouza does a good job. . . . One of the strengths of the book is deSouza’s reflection on language — its importance to the project of decolonization and to artistic meaning/expression. -- Alpesh Kantilal Patel * Hyperallergic *"DeSouza shatters the trope of the handbook as static, watered-down theory. Instead, we enter an electric dialogue steeped in the vein of Paulo Freire and bell hooks. . . . With its accessible writing and contemporary perspective, How Art Can Be Thought should be required reading for art educators, administrators, art historians, critics and those interested in critical pedagogy." -- Ashley Hosbach * ARLIS/NA Reviews *"How Art Can Be Thought is indeed a practical handbook and offers a comprehensive account of current art debates in the art world. To decolonize those debates, deSouza provides a rich and detailed pedagogical framework that can be adapted to shape new debates." -- Uschi Klein * Visual Studies *Table of ContentsImage Notes vii Acknowledgments ix Introduction. A Foot in the Door 1 1. How Art Can Be Thought 21 2. Entry Points 35 3. How Art Can Be Taught 57 4. Critique as Radical Prototype 67 5. How Art Can Be Spoken: A Glossary of Contested Terms 85 Afterwords. How, Now, Rothko? 365 Notes 283 Bibliography 303 Index 309

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Book Synopsis Glory, Trouble, and Renaissance at the Robert S. Peabody Museum of Archaeology chronicles the seminal contributions, tumultuous history, and recent renaissance of the Robert S. Peabody Museum of Archaeology (RSPM).The only archaeology museum that is part of an American high school, it also did cutting-edge research from the 1930s through the 1970s, ultimately returning to its core mission of teaching and learning in the twenty-first century. Essays explore the early history and notable contributions of the museum’s directors and curators, including a tour de force chapter by James Richardson and J. M. Adovasio that interweaves the history of research at the museum with the intriguing story of the peopling of the Americas.Other chapters tackle the challenges of the 1990s, including shrinking financial resources, the Native American Graves Protection and Repatriation Act and relationships with American Indian tribes, and the need to revisit the original missTrade Review“The Robert S. Peabody Museum, Phillips Academy, and its faculty, students, and affiliates have played important roles in the history of Americanist archaeology for a century. The excellent essays in this volume chronicle the fluctuating history of the institution as a museum, science center, and teaching institution.”—Don D. Fowler, Mamie Kleberg Distinguished Professor of Anthropology at the University of Nevada, Reno, and past president of the Society for American Archaeology “Behold, dear reader! You hold the rarest of literary creatures—an honest institutional historiography. This is a remarkable history of a history, a bold narrative that critically engages authentic sources and key particulars about the Robert S. Peabody Museum, synthesized as they should be, warts and all.”—David Hurst Thomas, curator of anthropology at the American Museum of Natural History “This is an excellent book on the history not only of one of the treasured institutions of archaeology in the United States but of the many colorful people who worked there. Their collective legacy in archaeology is almost unparalleled. Those of us who are interested in the history of American archaeology must have this book on our shelves.”—Michael J. O’Brien, provost at Texas A&M University–San Antonio Table of ContentsList of Illustrations Series Editors’ Introduction Acknowledgments Introduction: Present and Past at the Robert S. Peabody Museum of Archaeology Malinda Stafford Blustain and Ryan Wheeler 1. A Biographical History of the Robert S. Peabody Museum of Archaeology Nathan D. Hamilton and Eugene C. Winter Jr. 2. A History of Research: Focusing on the Peopling of the Americas James B. Richardson III and James M. Adovasio 3. A.V. Kidder, Pecos Pueblo, and the Robert S. Peabody Museum: A Continuing Legacy Linda S. Cordell 4. Laying the Foundations for Northeastern North American Archaeology Brian S. Robinson 5. Recent Research at Maine Sites Nathan D. Hamilton and Donald A. Slater 6. A Retrospective Interpretation of the Origins of American Agriculture Mary Eubanks 7. Trials and Redemption at the Peabody Museum Malinda Stafford Blustain 8. Negotiating NAGPRA: Rediscovering the Human Side of Science James W. Bradley 9 . Pecos Pathways: A Model for Lasting Partnerships Lindsay Randall and Christopher Toya 10. Teaching Science at the Peabody Museum Jeremiah Hagler 11. Experiential Learning and the New Peabody Museum Donald A. Slater and Nathan D. Hamilton 12. Reflections and Stories Using Archaeology as a Basis for Learning: How Archaeology Can Teach Almost Anything! Margaret Conkey Perspectives from Indian Country Hillary Abé The Piette Program in France Claire Gallou Just Down the Road: A Former Student’s Perspective on the Peabody Museum and Its Approach to Secondary Education Kristi Gilleon From Research to Education: The Peabody-Phillips Academy Connection Rebecca Miller Sykes Open Doors: A Retrospective on the Robert S. Peabody Museum Abigail Seldin List of Contributors Index

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Book SynopsisCollecting is usually understood as an activity that bestows permanence, unity, and meaning on otherwise scattered and ephemeral objects. In The Redemption of Things, Samuel Frederick emphasizes that to collect things, however, always entails displacing, immobilizing, and potentially disfiguring them, too. He argues that the dispersal of objects, seemingly antithetical to the collector''s task, is essential to the logic of gathering and preservation. Through analyses of collecting as a dialectical process of preservation and loss, The Redemption of Things illustrates this paradox by focusing on objects that challenge notions of collectability: ephemera, detritus, and trivialities such as moss, junk, paper scraps, dust, scent, and the transitory moment. In meticulous close readings of works by Gotthelf, Stifter, Keller, Rilke, Glauser, and Frisch, and by examining an experimental film by Oskar Fischinger, Frederick reveals how the difficulties posed by theTrade ReviewThis quietly engaging and eloquent book challenges dominant conceptions about collectability by analyzing the collecting of material things whose immateriality, ephemerality, and presumable undesirability would seem to deter if not defy the very act of collecting. [...] Those appreciative of Austrian and Swiss literature along with scholars interested in material culture, collecting, and nonfunctional or "marginal" objects will likely be most attracted to Frederick's book. * Goethe Yearbook *Table of ContentsIntroduction 1. Theorizing Collecting Part I Ephemera 2. Moss (Stifter) 3. The Photographic Instant (Fischinger) Part II Catastrophic Detritus 4. Divine Debris (Gotthelf) 5. Maculature / Zettel (Frisch) Part III Triviality 6. Junk and Containers (Keller) 7. Dust (Glauser) Conclusion

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Book SynopsisAn ambitious study of what it means to be a museum in the twenty-first century In Museums Inside Out, Mark W. Rectanus investigates how museums are blurring the boundaries between their gallery walls and public spaces. He examines how artists are challenging and changing museums, taking readers deep into new experiments in exhibition making. Along the way, Rectanus offers insights about how museums currently exemplify the fusion of the creative and digital economies. Exploring contemporary museum practices, initiatives, and collaborations, Rectanus analyzes projects like the Collective Museum, which foster land-based museum ecologies by co-curating with local communities. The Schirn Kunsthalle, Petach Tikva Museum of Art, and Tate Modern reflect museums as cultural zones for performance, inside and outside the museum. In addition, he studies a joint project between the Van Gogh Museum and the investment firm Deloitte Luxembourg, extracting insights on the transfer of expertise from museums to the financial sector. Wide-ranging in its case studies, and boldly putting museum studies and art into conversation, Museums Inside Out delivers vital insights into the ideas and places that museums are creating in contemporary culture.Trade Review"Museums Inside Out introduces a new vocabulary to understand the place of artists in redefining and contesting the museum in the context of globalization and the creative economy. This groundbreaking book is necessary reading for anyone seeking to understand the directions of travel of museums and of contemporary art in an age of accelerated mobility."—Michelle Henning, author of Museums, Media and Cultural TheoryTable of ContentsContentsAcknowledgmentsIntroduction: Moving Out1. Rethinking Museums2. Museums Inside Out: Mapping Cultural Memory3. Cartographies of Urban Space and Performance4. Datascapes and Landscapes5. Museums and the Creative Economy: Soft Power, Financialization, and Activism6. Coda: Museum Futures and SpeculationsNotesIndex

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Book SynopsisA new ethics for the global practice of curating Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. Curating as Ethics is primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial—for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such—sharing, caring, preparing, dispensing, and so on. With its invigorating new approach to curatorial studies, Curating as Ethics moves beyond the field of museum and exhibition studies to provide an ethics for anyone engaged in this highly visible activity, including those using social media as a curatorial endeavor, and shows how philosophy and curating can work together to articulate the world today.Trade Review"This is not only a masterful and wholly original rethinking of curating, it is also one of the most exciting treatises on ethics I have ever read. There are remarkably bracing philosophical insights on nearly every page, and Jean-Paul Martinon writes with such theoretical precision and poetic clarity. Heidegger after Martinon will forever have curating as part of ‘building dwelling thinking.’"—John Paul Ricco, author of The Decision Between Us: Art and Ethics in the Time of ScenesTable of ContentsContentsIntroduction: Excess and MoreGods And MortalsDark MatterMatterLawMortalsGodGodsBeckoningObsessionStrifeThe AbsoluteEarths and SkiesEarthsSkiesObjectsAngelsWordsGhostsImagesGnosesContentsNamesDeeds and EndsSavingCaringPreparingIrritatingFraternizingCommuningDignifyingMidwifingIntuitingDispensingConclusion: Irony and ProgenyAcknowledgmentsNotesBibliographyIndex

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Book SynopsisA new ethics for the global practice of curating Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. Curating as Ethics is primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial—for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such—sharing, caring, preparing, dispensing, and so on. With its invigorating new approach to curatorial studies, Curating as Ethics moves beyond the field of museum and exhibition studies to provide an ethics for anyone engaged in this highly visible activity, including those using social media as a curatorial endeavor, and shows how philosophy and curating can work together to articulate the world today.Trade Review"This is not only a masterful and wholly original rethinking of curating, it is also one of the most exciting treatises on ethics I have ever read. There are remarkably bracing philosophical insights on nearly every page, and Jean-Paul Martinon writes with such theoretical precision and poetic clarity. Heidegger after Martinon will forever have curating as part of ‘building dwelling thinking.’"—John Paul Ricco, author of The Decision Between Us: Art and Ethics in the Time of ScenesTable of ContentsContentsIntroduction: Excess and MoreGods And MortalsDark MatterMatterLawMortalsGodGodsBeckoningObsessionStrifeThe AbsoluteEarths and SkiesEarthsSkiesObjectsAngelsWordsGhostsImagesGnosesContentsNamesDeeds and EndsSavingCaringPreparingIrritatingFraternizingCommuningDignifyingMidwifingIntuitingDispensingConclusion: Irony and ProgenyAcknowledgmentsNotesBibliographyIndex

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Book SynopsisThis is a practical guide to cost-effective formulating of rubber compounds to achieve optimal processing and performance. It provides a thorough discussion of the principles of rubber compounding, rubber testing, and how various compound changes will affect different properties and test measurements.Rubber compounding is discussed as a series of interdependent systems such as the elastomer system, the filler-oil system, the cure system, among others. A holistic approach is used to show how changes in these different systems will affect specific compound properties.Much attention is given to trade-offs in properties and emphasis is placed on finding the best balance for compound cost, processing properties, and product performance. New in this third edition: new and revised content on recycled rubber, precipitated silica and non-black fillers, and silicone elastomers.

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Book SynopsisA stunning, full-color volume that examines 82 pieces in the University of Rochester Memorial Art Gallery's American collection and their connections to American history, culture, literature, and politics. Seeing America is the first-ever catalog of the University of Rochester Memorial Art Gallery's American collection. Founded in 1913, the Memorial Art Gallery was created in conjunction with the University of Rochester so that it would function within a scholarly milieu, yet at the same time perform service as a community museum. From its conception it has been an ardent advocate for American art, which so many counterpart institutions snubbed untilat least the 1930s, and more often until well after World War II, in favor of European and Asian art. The 336-page, full-color volume examines 82 objects and their connections to American history, culture, literature and politics. The 73 articles present a running commentary on each piece by knowledgeable and thoughtful contemporary scholars and artists writing with expertise and insight, ultimately presenting a new and deeper understanding that enhances the reader/viewer's appreciation of the work. The tour ranges from Colonial times to the twenty-first century, from Maine to Florida to the far West, from mighty historical subjects to intimate byways, from august figures and events to the humblest and most anonymous. The diversity of American experience on display here reminds us that the best American art is inextricably bound up with the essential truths of American experience.Trade ReviewWith paintings from John Singleton Copley to Andy Warhol, the Memorial Art Gallery seems to have representative of the entire range of American artists on its walls. Handsomely produced with both full color and black and white reproductions of their collection alongside commentary for each inclusion, Seeing America stands as an impressive tribute to the University of Rochester. , 2007 * ART TIMES, 2007 *Highly recommended. , June 2007 * CHOICE, June 2007 *

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Book SynopsisA rigorous account of the European origins of American art museums American art museums share a mission and format that differ from those of their European counterparts, which often have origins in aristocratic collections. This groundbreaking work recounts the fascinating story of the invention of the modern American art museum, starting with its roots in the 1870s in the craft museum type, which was based on London's South Kensington (now the Victoria and Albert) Museum. At the turn of the twentieth century, American planners grew enthusiastic about a new type of museum and presentation that was developed in Northern Europe, particularly in Germany, Switzerland, and Scandinavia. Called Kulturgeschichte (cultural history) museums, they were evocative displays of regional history. American trustees, museum directors, and curators found that the Kulturgeschichte approach offered a variety of transformational options in planning museums, classifying and displaying objects, and broadening collecting categories, including American art and the decorative arts. Leading institutions, including the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art in New York, adopted and developed crucial aspects of the Kulturgeschichte model. By the 1930s, such museum plans and exhibition techniques had become standard practice at museums across the country.Trade Review"When you wander a little off the beaten track at the Metropolitan Museum of Art, you may find yourself in an 18th-century French bed- room, or In the Frank Lloyd Wright room, or the poignant Damascus Room, with its Arabic Inscriptions and splashing fountain. Al the Wadsworth Atheneum ln Hartford, recent reinstallations include a Dutch wonder cabinet on a grand scale. At the Art Institute of Chicago, the perfectly miniaturized Thorne period rooms are ever-popular. One doesn't have these diorama experiences at the Louvre or London's National Gallery, or in the Prado. Is it a particularly American practice to shape a fine arts museum as a procession through periods of history understood through decorative and in architectural installations. The museum-goer who has wondered about this will find much to consider inn Kathleen Curran's book, The Invention of the American Art Museum."--Apollo

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Book SynopsisThis timely volume brings together fourteen case studies that address the challenges of conserving the twentieth century's most ubiquitous building material-concrete. Following a meeting of international heritage conservation professionals in 2013, the need for recent, thorough, and well-vetted case studies on conserving twentieth-century heritage became clear. Concrete: Case Studies in Conservation Practice answers that need and kicks off a new series, Conserving Modern Heritage, aimed at sharing best practices. The projects selected represent a range of building typologies, building uses, and project sizes, from the high-rise housing blocks of Le Corbusier's Unite d'Habitation and public buildings such as the London's National Theatre to small monuments such as the structures at Dudley Zoological Gardens and a sculpture by Donald Judd. The projects also represent a range of environmental and economic contexts. Some projects benefit from high levels of heritage protection and access to funding, while others have had to negotiate conservation with stringent cost limitations. All follow a rigorous conservation approach, beginning with a process of investigation and diagnosis to identify causes and target repairs and balancing these with conservation requirements to preserve significance. Written by architects, engineers, conservators, and other professionals in the field, these highly detailed and well-illustrated studies demonstrate sound practice, rigorous methodology, and technological innovation. This book has something to offer anyone interested in the conservation of modern heritage.

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Book SynopsisArthur Drexler (1921-1987) served as the curator and director of the Architecture and Design Department at the Museum of Modern Art (MOMA) from 1951 until 1986-the longest curatorship in the museum's history. Over four decades he conceived and oversaw trailblazing exhibitions that not only reflected but also anticipated major stylistic developments. Although several books cover the roles of MoMA's founding director, Alfred Barr, and the department's first curator, Philip Johnson, this is the only in-depth study of Drexler, who gave the department its overall shape and direction. During Drexler's tenure, MoMA played a pivotal role in examining the work and confirming the reputations of twentieth-century architects, among them Frank Lloyd Wright, Le Corbusier, Richard Neutra, Marcel Breuer, and Ludwig Mies van der Rohe. Exploring unexpected subjects-from the design of automobiles and industrial objects to a reconstruction of a Japanese house and garden-Drexler's boundary-pushing shows promoted new ideas about architecture and design as modern arts in contemporary society. The department's public and educational programs projected a culture of popular accessibility, offsetting MoMA's reputation as an elitist institution. Drawing on rigorous archival research as well as author Thomas S. Hines's firsthand experience working with Drexler, Architecture and Design at the Museum of Modern Art analyses how MoMA became a touchstone for the practice and study of midcentury architecture.Table of ContentsAcknowledgments Preface 1 Prologue: MoMA's Department of Architecture and Design, 1932-1951 2 The Rise of Arthur Drexler, 1925-1951 3 Apprenticeship: Drexler as Curator, 1951-1956 4 Modernism at High Tide: Drexler as Department Director, 1956-1966 5 Creative Destruction: Drexler, MoMA, and the Changing Course of Modern Architecture, 1966-1975 6 Modernism under Siege: Drexler, MoMA, and the Postmodernist Challenge, 1975-1985 7 Modernism Reconsidered: Drexler and MoMA, 1980-1986 Notes Index

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Book SynopsisInside the Getty takes readers on a tour from the Getty Villa to the Getty Center, from the Museum's original home in J. Paul Getty's house to the many labs, libraries, and galleries that fill the Center in Brentwood today. Readers will discover more about the history and daily operations of this institution. The second edition refreshes the illustration program with more recent photography and brings the text up to date with new information about some of the Museum's most prominent new acquisitions, the Getty Research Institute's holdings, the work done by the Getty Conservation Institute and the Getty Foundation, and changes to Getty operations site-wide.

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Book SynopsisWhen residents and tourists visit sites of slavery, whose stories are told? All too often the lives of slaveowners are centered, obscuring the lives of enslaved people. Behind the Big House gives readers a candid, behind-the-scenes look at what it really takes to interpret the difficult history of slavery in the U.S. South. The book explores Jodi Skipper’s eight-year collaboration with the Behind the Big House program, a community-based model used at local historic sites to address slavery in the collective narrative of U.S. history and culture. In laying out her experiences through an autoethnographic approach, Skipper seeks to help other activist scholars of color negotiate the nuances of place, the academic public sphere, and its ambiguous systems of reward, recognition, and evaluation. Table of Contents Foreword by Anne Valk and Teresa Mangum Acknowledgments Introduction 1 Thank You, Cousin Geneva! 2 Heritage Tourism in Mississippi 3 The Behind the Big House Program 4 Reconciling Race 5 Academic Values and Public Scholarship Epilogue What to Throw Away and What to Keep Appendix A Historic Site Evaluation Appendix B Small-Group Discussion Questions Notes Bibliography Index

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Book SynopsisToday well over two hundred museums focusing on African American history and culture can be found throughout the United States and Canada. Many of these institutions trace their roots to the 1960s and 1970s, when the struggle for racial equality inspired a movement within the black community to make the history and culture of African America more “public.”This book tells the story of four of these groundbreaking museums: the DuSable Museum of African American History in Chicago (founded in 1961); the International Afro-American Museum in Detroit (1965); the Anacostia Neighborhood Museum in Washington, D.C. (1967); and the African American Museum of Philadelphia (1976). Andrea A. Burns shows how the founders of these institutions, many of whom had ties to the Black Power movement, sought to provide African Americans with a meaningful alternative to the misrepresentation or utter neglect of black history found in standard textbooks and most public history sites. Through the recovery and interpretation of artifacts, documents, and stories drawn from African American experience, they encouraged the embrace of a distinctly black identity and promoted new methods of interaction between the museum and the local community.Over time, the black museum movement induced mainstream institutions to integrate African American history and culture into their own exhibits and educational programmes. This often controversial process has culminated in the creation of a National Museum of African American History and Culture, now scheduled to open in the nation’s capital in 2015.Trade ReviewClearly written and concisely argued, From Storefront to Monument will be of great interest to scholars in the field of museum studies. It also deserves wide readership in the broader field of African American studies, where there has been no comparable work that offers an overarching history of the black museum movement as an important political movement."" - Renee Romano, coeditor of The Civil Rights Movement in American Memory.

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Book SynopsisThe Museums Connect program stands at the intersection of transnational public history and international diplomacy. Sponsored by the U.S. Department of State and administered by the American Alliance of Museums, this program partners U.S. museums and non-U.S. museums in projects designed to foster community collaboration and engagement. Museum Diplomacy focuses on three Museums Connect projects arranged between the United States and South Africa, Morocco, and Afghanistan, respectively. Utilizing a diverse range of oral interviews, Richard J. W. Harker explores how museums negotiate national boundaries, institutional and local histories, and post-9/11 geopolitical interests. Working in different political and professional contexts, museum partners have built community-driven collaborative exhibitions and projects that tell transnational stories.As more historic sites and museums seek to surmount social, cultural, and economic barriers between themselves and their communities in their exhibitions and programming, the Museums Connect program provides important lessons on how to overcome entrenched hierarchies of power in public history.Trade ReviewMuseum Diplomacy is highly original because of its focus on transnational public history. There really is nothing like it, which is why it's so valuable to the field." —Thomas Cauvin, president of the International Federation for Public History and author of Public History: A Textbook of PracticeTable of Contents Preface Acknowledgments List of Abbreviations Note on Quotations Introduction Chapter 1 ""State Department Museums""?: The Convergence and Divergence of Public Diplomacy and Public History Chapter 2 ""Afghan on top and American on bottom"": Exploring Minority Identity through Dialogue with War-Torn Afghanistan Chapter 3 Beyond an Imperialist Undertaking?: Negotiating Transnational Public History Pedagogy Chapter 4 Activating Sites of Conscience: Addressing Shared Silences within Parallel Public Histories Conclusion Statement on Methodology Appendix: Museums Connect Projects, 2008--2016 Notes Index

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Book SynopsisIn 1791, a group of elite Bostonian men established the first historical society in the nation. Within sixty years, the number of local history organizations had increased exponentially, with states and territories from Maine to Louisiana and Georgia to Minnesota boasting collections of their own.With in-depth research and an expansive scope, Rescued from Oblivion offers a vital account of the formation of historical culture and consciousness in the early United States, re-centering in the record groups long marginalized from the national memory. As Alea Henle demonstrates, these societies laid the groundwork for professional practices that are still embraced today: collection policies, distinctions between preservation of textual and nontextual artifacts, publication programs, historical rituals and commemorations, reconciliation of scholarly and popular approaches, and more. At the same time, officers of these early societies faced challenges to their historical authority from communities interested in preserving a broader range of materials and documenting more inclusive histories, including fellow members, popular historians, white women, and peoples of color.Trade ReviewRescued from Oblivion is abundant with the kind of details that make for stimulating history, with interesting personalities, decisions with lasting consequences, and the restoration to the historical record of women and others who have previously been neglected."—Robert B. Townsend, author of History’s Babel: Scholarship, Professionalization, and the Historical Enterprise in the United States, 1880–1940 "In this richly layered study of archival history, Henle highlights not only the prejudices and priorities that members of early historical societies brought to their work but the various ways those prejudices and priorities were challenged by other historical actors."—Elizabeth Yale, author of Sociable Knowledge: Natural History and the Nation in Early Modern BritainTable of Contents Prologue 1. "The lumber yard of history": The Organization, Progress, Successes, and Failures of Historical Societies 2. "So divided and subdivided": Preserving Local Histories and Government Records 3. Defining History: Historical Society Collection Priorities 4. "Disjointed fragments": Materials as History v. Materials For History 5. "Less repulsive to the general reader": Popular History in Historical Societies 6. "[A]n oblivious society": Inclusion, Exclusion, and Omission in Historical Society Collections Appendices

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Book SynopsisDoes it seem strange to think of a museum as a weapon in national defense?" asked John Hay Whitney, president of the Museum of Modern Art, in June 1941. As the United States entered the Second World War in the months to follow, this idea seemed far from strange to museums. Working to strike the right balance between education and patriotism, and hoping to attain greater relevance, many American museums saw engagement with wartime concerns as consistent with their vision of the museum as a social instrument.Unsurprisingly, exhibitions served as the primary vehicle through which museums, large and small, engaged their publics with wartime topics with fare ranging from displays on the cultures of Allied nations to "living maps" that charted troop movements and exhibits on war preparedness. Clarissa J. Ceglio chronicles debates, experiments, and collaborations from the 1930s to the immediate postwar years, investigating how museums re-envisioned the exhibition as a narrative medium and attempted to reconcile their mission with new modes of storytelling.

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Book SynopsisOn any given night, hundreds of guests walk the darkened streets of Colonial Williamsburg looking for ghosts. Since the early 2000s, both the museum and private companies have facilitated these hunts, offering year-round ghost tours. Critics have called these excursions a cash grab, but in truth, ghosts and hauntings have long been at the center of the Colonial Williamsburg project.The Spirit of Colonial Williamsburg examines how the past comes alive at this living-history museum. In the early twentieth century, local stories about the ghosts of former residents—among them Revolutionary War soldiers and nurses, tavern owners and prominent attorneys, and enslaved African Americans—helped to turn Williamsburg into a desirable site for historical restoration. But, for much of the twentieth century, the museum tried diligently to avoid any discussion of ghosts, considering them frivolous and lowbrow. Alena Pirok explores why historic sites have begun to embrace their spectral residents in recent decades, arguing that through them, patrons experience an emotional connection to place and a palpable understanding of the past through its people.

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Book SynopsisOn any given night, hundreds of guests walk the darkened streets of Colonial Williamsburg looking for ghosts. Since the early 2000s, both the museum and private companies have facilitated these hunts, offering year-round ghost tours. Critics have called these excursions a cash grab, but in truth, ghosts and hauntings have long been at the center of the Colonial Williamsburg project.The Spirit of Colonial Williamsburg examines how the past comes alive at this living-history museum. In the early twentieth century, local stories about the ghosts of former residents—among them Revolutionary War soldiers and nurses, tavern owners and prominent attorneys, and enslaved African Americans—helped to turn Williamsburg into a desirable site for historical restoration. But, for much of the twentieth century, the museum tried diligently to avoid any discussion of ghosts, considering them frivolous and lowbrow. Alena Pirok explores why historic sites have begun to embrace their spectral residents in recent decades, arguing that through them, patrons experience an emotional connection to place and a palpable understanding of the past through its people.

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Book SynopsisSince its founding in 1773, the Charleston Museum has served as a mecca of learning and discovery. In celebration of its 250th anniversary, this commemorative volume brings its rich history to life, offering insights into many of its 2.4 million collected artifacts while detailing the contributions of key figures, such as Gabriel Manigault, Laura Bragg, and Milby Burton, who made it one of the premier museums in the southern United States. This handsomely illustrated compendium showcases approximately 100 prized pieces from the museum's impressive collections in archaeology, natural history, archived materials, decorative arts, and historic textiles, as well as its preservation of historic landmarks, such as the Heyward-Washington House, the Joseph Manigault House, and the Dill Sanctuary, a 580-acre wildlife refuge on nearby James Island. The collections, unmatched in their interpretive value to South Carolina cultural and natural history, make this museum a place of endearing value to the Charleston community and the Palmetto State as it continues to evolve and thrive into the twenty-first century.

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Book SynopsisArkansas Made is the culmination of the Historic Arkansas Museum's exhaustive investigations into the history of the state's material culture past. Decades of meticulous research have resulted in this exciting two-volume set portraying the work of a multitude of artisan cabinetmakers, silversmiths, potters, fine artists, quilters, and more working in communities all over the sate. The work of these artisan groups documented and collected here has been the driving force of the Historic Arkansas Museum's mission to collect and preserve Arkansas's creative legacy and rich artistic traditions.Arkansas Made demonstrates that Arkansas artists, artisans, and their works not only existed, but are worthy of study, admiration, and reflection.

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Book SynopsisArkansas Made is the culmination of the Historic Arkansas Museum's exhaustive investigations into the history of the state's material culture past. Decades of meticulous research have resulted in this exciting two-volume set portraying the work of a multitude of artisan cabinetmakers, silversmiths, potters, fine artists, quilters, and more working in communities all over the sate.The work of these artisan groups documented and collected here has been the driving force of the Historic Arkansas Museum's mission to collect and preserve Arkansas's creative legacy and rich artistic traditions. Arkansas Made demonstrates that Arkansas artists, artisans, and their works not only existed, but are worthy of study, admiration, and reflection.

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Book SynopsisIn Curating the American Past, Pete Daniel takes readers behind the Staff Only door at the Smithsonian’s National Museum of American History to reveal how curators collect objects, plan exhibits, and bring alive the country’s complex and exciting history. In vivid detail, Daniel recounts the exhilaration of innovative research, the joys of collaboration, and the rewards of mentoring new generations of historians. In a career distinguished by prize-winning publications and pathbreaking exhibitions, Daniel also confronted the challenges of serving as a public historian tasked with protecting a definitive American museum from the erosion of scholarly standards. Curating the American Past offers a wealth of museum wisdom, illuminating the crucial role that dedicated historians and curators serve within our most important repositories of cultural memory.

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Book SynopsisIn the pages of this beautifully illustrated volume is the story of aneffort to build a bridge between museums and source communities inhopes of establishing stronger, more sustaining relationships betweenthe two and spurring change in prevailing museum policies. Theexperience of negotiating the tension between a museum’sinstitutional protocol described by both the authors and by Blackfootcontributors to the volume was transformative. Museums seek to preserveobjects for posterity. However, the emotional and spiritual power ofobjects does not vanish with the death of those who created them. ForBlackfoot people today, these shirts are a living presence, one thatevokes a sense of continuity and inspires pride in Blackfoot culturalheritage.

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Book SynopsisArchives of Times Past explores particular sources of evidence on southern Africa’s time before the colonial era. It gathers recent ideas about archives and archiving from scholars in southern Africa and elsewhere, focusing on the question: ‘How do we know, or think we know, what happened in the times before European colonialism?’The essays by well-known historians, archaeologists and researchers engage these questions from a range of perspectives and in illuminating ways. Written from personal experience, they capture how these experts encountered their archives of knowledge beyond the textbook.The essays are written at a time when public discussion about the history of southern Africa before the colonial era is taking place more openly than at any other time in the last hundred years They will appeal to students, academics, educationists, teachers, archivists, and heritage, museum practitioners and the general public.Table of Contents List of Illustrations Acknowledgements Editorial Note Map Part I First Thoughts about the Archive Chapter 1 Exploring the Archive of the Times before Colonialism — Cynthia Kros, John Wright, Mbongiseni Buthelezi and Helen Ludlow Chapter 2 A Young Woman’s Journey of Discovery — Cynthia Kros and John Wright Chapter 3 Where Are the Deep Conversations about the Past? — Cynthia Kros and John Wright Chapter 4 ‘Ask the Old People’; ‘Ask the Professors’ — Cynthia Kros and John Wright Part II Commentaries and Conversations Chapter 5 Notes on a Kholwa Writer’s Life: Magema Fuze — Hlonipha Mokoena Chapter 6 An Archive in an Old Tin Trunk — Rachel King Chapter 7 Making ‘Tribal Histories’: The Work of Paul-Lenert Breutz — Fred Morton and Jan Boeyens Chapter 8 Conversations with Sekibakiba Lekgoathi — Sekibakiba Lekgoathi, Cynthia Kros and John Wright Chapter 9 Unpacking Olden Times — John Wright Part III Becoming Explorers Chapter 10 From ‘Nature Study’ to ‘Nature’s Archives’: My Journey into Environmental History — Muchaparara Musemwa Chapter 11 Nervously Entering the World of Carl Hoffmann and His Interlocutors — Lize Kriel Chapter 12 Dreams and Destinies: Stepping into the World of Archaeology — Ndukuyakhe Ndlovu Chapter 13 Life with the James Stuart Archive — John Wright Part IV Engaging with Archaeology and Rock Art Chapter 14 Digging Historic Cave: An Archaeological and Historical Quest — Amanda Esterhuysen Chapter 15 Storm Shelter: Rediscovering an Archive of Rock Art — Geoffrey Blundell Chapter 16 A Lion’s Life: Tracking the Biography of an Archaeological Artefact — Justine Wintjes Part V Conflicting Opinions Chapter 17 A Neglected Archive – and an Academic Pact — Sifiso Mxolisi Ndlovu Chapter 18 Mapungubwe Imagined — Himal Ramji Chapter 19 Mkhize Historians Dispute the Past — Grant McNulty Part VI Further Thoughts Chapter 20 Making Journeys into the Archive — Cynthia Kros Chapter 21 The Archive in Pictures: Visual Essay — Justine Wintjes Glossary Contributors Index

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Book SynopsisConsiderations of the effect of trauma on heritage sites. The essays in this volume address the displacement of natural and cultural heritage caused by disasters, whether they be dramatic natural impacts or terrible events unleashed by humankind, including holocaust and genocide. Disasters can be natural or human-made, rapid or slow, great or small, yet the impact is effectively the same; nature, people and cultural heritage are displaced or lost. Yet while heritage and place are at risk from disasters, in time,sites of suffering are sometimes reframed as sites of memory; through this different lens these "difficult" places become heritage sites that attract tourists. Ranging widely chronologically and geographically, the contributors explore the impact of disasters, trauma and suffering on heritage and sense of place, in both theory and practice. Contributors: Kai Erikson, Catherine Roberts, Philip R. Stone, Stephen Miles, Susannah Eckersley, Gerard Corsane, Graeme Were, Jo Besley, Tim Padley, Chia-Li Chen, Jonathan Skinner, Diana Walters, Shalini Sharma, Ellie Land, Rob Morley, Ian Convery, John Welshman, Aron Mazel, Andrew Law, Bryony Onciul, Sarah Elliott, Rebecca Whittle,Will Medd, Maggie Mort, Hugh Deeming, Marion Walker, Clare Twigger-Ross, Gordon Walker, Nigel Watson, Richard Johnson, Esther Edwards, James Gardner, Brij Mohan, Josephine Baxter, Takashi Harada, Arthur McIvor, Rupert Ashmore, Peter Lurz, Marc Ancrenaz, Isabelle Lackman, Özgün Emre Can, Bryndís Snæbjörnsdóttir, Mark Wilson, Pat Caplan, Billy Sinclar, Phil O'KeefeTrade Review[T]his remains a book which should be read by those with an interest in the social dimension of disasters, in how society responds in different ways to trauma and loss and how heritage can be repossessed, rebuilt and re-presented in novel ways, implicitly as part of a recovery process. The chapters present contemporary debates and practices based on equally contemporary cases and, given its eclectic content, all readers will find much of interest in the content. * INTERNATIONAL JOURNAL OF HERITAGE STUDIES *Table of ContentsIntroduction: Women, Property and Land Women, Work and Land: The Spatial Dynamics of Gender Relations in Early Modern England 1550-1750 Spinsters with Land in Early Modern England: Inheritance, Possession and Use Becoming Anne Clifford The Heiress Reconsidered: Contexts for Understanding the Abduction of Arabella Alleyn From Magnificent Houses to Disagreeable Country: Lady Sophia Newdigate's Tour of Southern England and Derbyshire, 1748 On Being 'fully and completely mistress of the whole business': Gender, Land and Estate Accounting in Georgian England Negotiating Men: Elizabeth Montagu, 'Capability' Brown, and the Construction of Pastoral Women's Involvement in Property in the North Riding of Yorkshire in the Eighteenth and Nineteenth Centuries Invisible Women: Small-scale Landed Proprietors in Nineteenth Century England More than just a Caretaker: Women's Role in the Intergenerational Transfer of Real and Personal Property in Nineteenth-Century Urban England, 1840-1900 Afterword Select Bibliography

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Book SynopsisDuring the early nineteenth century, the harp was transformed into a sophisticated instrument that became as popular as the piano. This was largely the result of the harp's intensive technical, musical and visual upgrading, which gradually led to the transition from the single- to the double-action pedal harp. A major figure in this process was Sébastien Erard (1752-1831), a tireless inventor and prolific manufacturer of harps and pianos operating branches in Paris and London. With the introduction in 1811 of the so-called 'Grecian' model, the first commercially built double-action harp, the Erard firm managed to establish the harp not only as a novel, state-of-the-art instrument, but also as a powerful symbol of luxury, wealth and status. Drawing upon a wide variety of primary sources, including surviving instruments, archival documents and iconographical evidence, this book provides a comprehensive overview of the development, production and consumption of the Erard Grecian harp in Regency England. The innovative approaches employed by the Erard firm in the manufacture and marketing of harps are measured against competitors but also against the work of leading entrepreneurs in related trades, ranging from the mechanical devices and precision tools of James Watt, Henry Maudslay or Jacques Holtzapffel, through the ornamental pottery of Josiah Wedgwood, to the clocks and watches of George Prior or Abraham-Louis Breguet. In addition, the book examines the omnipresent role of the harp in the education, art, fashion and literature of the Regency era, discussing how the image and perception of the instrument were shaped by groundbreaking advances, such as the Industrial Revolution, Neoclassicism, and the Napoleonic Wars.Table of ContentsIntroduction 1 The Shift from the Single- to the Double-Action Harp: The Emergence of the Erard Grecian Model 2 The Design and Engineering of the Erard Grecian Harp: Influences from Industry and Business 3 The Decoration and Branding of the Erard Grecian Harp: Innovation, Adaptation and Substitution 4 Manufacturing the Erard Grecian Harp: Aspects of Organisation, Management and Operation 5 Marketing the Erard Grecian Harp: Promotional Strategies and the Establishment of a Refined Clientele 6 Erard and the Harp in Education, Art and Fashion: 'Evening Dress' for a Private Concert 7 Erard and the Harp's Literary Footprint: From Pride and Prejudice to War and Peace 8 The Erard Grecian Harp as an Artefact of Cultural Heritage: 'Self-destruction' and Resurrection Conclusions Appendix Bibliography Index of Names Index of Places Index of Themes

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Book SynopsisHeritage is a growing area of both tourism and study, with World Heritage Site designations increasing year-on-year. This book reviews the important interrelations between the industry, local communities and conservation work, bringing together the various opportunities and challenges for different destinations. World Heritage status is a strong marketing brand, and proper heritage management and effective conservation are vital, but this tourism must also be developed and managed appropriately if it is to benefit a site. As many sites are located in residential areas, their interaction with the local community must also be carefully considered. This book: - Reviews new areas of development such as Historic Urban Landscapes, Intangible Cultural Heritage, Memory of the World and Global Geoparks. - Includes global case studies to relate theory to practice. - Covers a worldwide industry of over 1,000 cultural and natural heritage sites. An important read for academics, researchers and students of heritage studies, cultural studies and tourism, this book is also a useful resource for professionals working in conservation, cultural and natural heritage management.Table of Contents1: World Heritage Sites – An Introduction 2: Heritage Management and Conservation Activities at World Heritage Sites 3: Tourism Development at World Heritage Sites 4: Tourism Marketing at World Heritage Sites 5: Local Communities in and around World Heritage Sites 6: The Economic Impacts of World Heritage Site Designation on Local Communities 7: The Sociocultural Impacts of World Heritage Site Designation on Local Communities 8: The Environmental Impacts of World Heritage Site Designation on Local Communities 9: Contemporary Developments in and around World Heritage Sites and Their Implications 10: Reflection (Summary)

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Book SynopsisDrawing upon international case studies, and building upon Iain J.M. Robertson?'s work on ?'heritage from below?', After Heritage sheds critical light on heritage-making and heritagescapes that are, more frequently than not, located in virtual, less conspicuous and more everyday spaces. The book considers the highly personal, often ephemeral, individual ?- vis-à-vis collective -? experiences of (in)formal ways the past has been folded into contemporary societies. In doing so, it unravels the merits of examining more intimate materializations of heritage not only as a check against, but also complementary to, what Laurajanne Smith refers to as ?'Authorized Heritage Discourses?'. It also argues against the tendency to romanticize the fleeting and largely obscured means through which alternative forms of heritage-making are produced, performed and patronized. Ultimately, this book provides a clarion call to reinsert the individual and the transient into collective heritage processes.Researchers in human and cultural geography, heritage studies and tourism studies will find this strong contribution to the developing field of Critical Heritage Studies an insightful read. Policy makers and heritage practitioners will also develop a deeper understanding of how heritage practices may benefit from the '?heritage from below?' approach.Contributors include: A. Aceska, R. Carter-White, M. Cook, D. Drozdzewski, J. Gillen, C. Minca, H. Muzaini, M. Ormond, A.E. Potter, I.J.M. Robertson, J. TynerTrade ReviewAfter Heritage not only offers much needed critical analysis of the heritage-making power and practices of ordinary people, but also productively de-stabilizes the binaries that have long constrained critical memory studies - individual versus collective, intangible versus material, and bottom up versus top down. Its rich array of case studies move us beyond monolithic understandings of how the past is produced, resisted and emplaced within everyday life.' --Derek H. Alderman, University of Tennessee, US'By excavating politics and identities from below, the nine chapters of this book fascinatingly bring back into focus the everyday, mundane and the local; themes and contexts that continue to be too often overlooked by scholars in heritage studies. Moving away from accounts of state politics and world heritage sites, the book identifies why we need to critically examine family memorabilia, Bruce Lee and motorbiking as forms of heritage. After Heritage makes a significant contribution to the debate concerning where critical heritage studies should head in the future through its various nudges for conceptual innovation and its welcome incorporation of examples from different regions.' --Tim Winter, University of Western AustraliaTable of ContentsContents: 1. Rethinking heritage, but ‘from below’ Hamzah Muzaini and Claudio Minca 2. Official memorials, deathscapes, and hidden landscapes of ruin: material legacies of the Cambodian genocide James A. Tyner 3. Motorbikes as ‘aspirational’ heritage: rethinking past, present and future in Vietnam Jamie Gillen 4. The Bruce Lee statue in Mostar: ‘heritage from below’ experiments in a divided city Ana Aceska and Claudio Minca 5. Death camp heritage ‘from below’? Instagram and the (re)mediation of Holocaust heritage Richard Carter-White 6. Unfinished geographies: women’s roles in shaping Black historical counter narratives Matthew R. Cook and Amy E. Potter 7. Stolpersteine and memory in the streetscape Danielle Drozdzewski 8. Adoption, genealogical bewilderment and biological heritage bricolage Meghann Ormond Afterword Iain J. M. Robertson Index

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Book SynopsisExploring the impact of the rise of digital media over the last few decades, this timely Handbook highlights the major role it plays in preserving and protecting heritage as well as its ability to promote and support sustainable tourism at heritage sites. Particularly relevant at this time due to the diffusion of smartphones and use of social media, chapters look at the experience and expectation of being ‘always on’, and how this interacts with heritage and tourism. Interdisciplinary contributions from leading scholars analyse how heritage and cultural destinations can benefit from digital media providing a range of relevant services and experiences, which can increase access to information for people participating in and visiting heritage sites. With critical overview chapters introducing and synthesizing connected topics in the Handbook, it further offers insights on how digital media can improve the experiences of visitors, connect both residents and visitors to heritage sites, remove barriers among actors in the field of heritage and tourism, and educate relevant stakeholders. Utilizing critical case studies throughout the text, this Handbook will be an invigorating read for social and cultural geography scholars as well as those focusing more specifically on digital media, heritage and tourism. Practitioners and policy makers working in heritage and tourism will find advice to integrate digital media into their actions.Trade Review‘In a world connected by digital media it is important to transmit the values of our historic sites and all heritage types to all stakeholders by appropriate means. This volume is a highly valuable collection of contributions, which point out the essential functions of ICTs in relation to sustainable heritage tourism. The Handbook serves students as a point of entry to the topic, but is also useful to other more experienced researchers. It lists extremely timely approaches to the topic and provides carefully edited references, including to relevant current guidelines of authorities and institutions such as UNESCO.’ -- Mona Hess, University of Bamberg, GermanyTable of ContentsContents: Preface xv Acknowledgements xvi Introduction to the Handbook on Heritage, Sustainable Tourism and Digital Media 1 Silvia De Ascaniis and Lorenzo Cantoni PART I ACCESS 1 Access: Digital media can enlarge access to information about heritage destinations 14 Lorenzo Cantoni and Emanuele Mele 2 Wikipedia and cultural tourism 25 Iolanda Pensa and Marta Pucciarelli 3 The role of music in the online communication of destinations as a tourism cultural asset: the analysis of official tourism websites of ETC countries 36 Günel Sadigova, Elena Marchiori and Lorenzo Cantoni 4 World History Encyclopedia: global access to cultural heritage 51 Jan van der Crabben 5 Digital technologies for communicating fashion heritage 60 Puspita Ayu Permatasari and Nadzeya Kalbaska 6 Online localization of UNESCO World Heritage: the case of the Austrian National Tourist Office 76 Emanuele Mele 7 Machu Picchu through the eyes of Fernando Astete 87 Anna Picco-Schwendener 8 Accessibility to heritage knowledge: emerging modern heritage and cultural tourism ‒ roads and infrastructures as cultural corridors 98 Mar Loren-Méndez, Jacques Maes, Daniel Pinzón-Ayala and Roberto F. Alonso-Jiménez PART II BETTER 9 Better: Digital media can make tourism experiences at heritage destinations better 108 Elide Garbani-Nerini, Safak Korkut and Silvia De Ascaniis 10 ‘With new eyes’: teaching students to discover their local landscape and communicate it with technologies 129 Camilla Casonato and Nicoletta Di Blas 11 ICT adaptation of cultural UNESCO World Heritage Sites towards visitors coming from China: an exploratory European case study 142 Lea Hasenzahl 12 Studying tourism practices at heritage sites through online published content: the case of the World Heritage Site Strasbourg, Grande-Île and Neustadt 153 Gaël Chareyron and Sébastien Jacquot 13 Enhancing the heritage experience through ICTs: the National Gallery of the Marche case study 167 Emanuela Conti 14 The role of ICTs in tourism communication at religious heritage sites 180 Shyju P J and Chandra Shamsher Bahadur Singh PART III CONNECT 15 Connect: Digital media can connect residents, visitors and heritage 191 Silvia De Ascaniis and Karin Elgin-Nijhuis 16 Interpretation of heritage for tourists: an interactional view 210 Aleksandra Brezovec 17 Visitors’ use and perception of information and communication technologies during visits to religious attractions in Romania 228 Walter C. Ihejirika 18 Co-creating on-the-road ICT solutions to promote sustainable tourism in World Heritage Sites 242 Carolina Islas Sedano, Silvia De Ascaniis, Erkki Sutinen and Lorenzo Cantoni 19 The presence of Swiss and Italian World Heritage Sites on Facebook 254 Silvia De Ascaniis and Rossella Reale 20 Localization of social media content: the case of Brescia Tourism 272 Maria Garbelli and Manuel Gabriele PART IV DISINTERMEDIATE 21 Disintermediate: Digital media can disintermediate relationships in tourism at heritage destinations 286 Rayviscic Mutinda Ndivo 22 Potential of online travel reviews’ argument analysis for the management of natural heritage sites: the case of Jiuzhaigou National Park, China 294 Angela Tritto and Silvia De Ascaniis 23 The disintermediation role of social media to manage and monitor visitor flows in heritage sites 311 Engelbert Ruoss and Andela Sormaz 24 ICTs and community tourism on the island of Mozambique 329 Salomão David and Esperança Muchave PART V EDUCATE 25 Educate: Digital media can educate players in the field of tourism at heritage destinations 337 Nadzeya Kalbaska and Ilaria Rosani 26 The eLearning journey of a MOOC: the case of the ‘Tourism Management at UNESCO World Heritage Sites’ course 347 Ilaria Rosani 27 Online training for travel agents on tourism destinations and heritage tourism: the case of Switzerland Travel Academy 358 Nadzeya Kalbaska and Nicole Regazzoni 28 Online education for the humanities: the case of two MOOCs in literature and architecture 367 Stefano Tardini and Giorgia Mora Index 376

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