This book examines spatialised practices of remembrance and its role in reshaping societies from prehistory to today; it presents a reflection on the creation of memories through the organisation and use of landscapes and spaces that explicitly considers the multiplicity of meanings of the past.
This book provides a comprehensive examination of death, dying, and human remains in museums and heritage sites around the world. Presenting a diverse range of contributions from scholars, practitioners, and artists, the book reminds us that death and the dead body are omnipresent in museum and heritage spaces. Chapters appraise collection practices and their historical context, present global perspectives and potential resolutions, and suggest how death and dying should be presented to the public. Acknowledging that professionals in the galleries, libraries, archives, and museums (GLAM) fields are engaging in vital discussions about repatriation and anti-colonialist narratives, the book includes reflections on a variety of deathscapes that are at the forefront of the debate. Taking a multivocal approach, the handbook provides a foundation for debate as well as a reference for how the dead are treated within the public arena. Most important, perhaps, the book highlights best practices and calls for more ethical frameworks and strategies for collaboration, particularly with descendant communities. The Routledge Handbook of Museums, Heritage, and Death will be useful to all individuals working with, studying, and interested in curation and exhibition at museums and heritage sites around the world. It will be of particular interest to those working in the fields of heritage, museum studies, death studies, archaeology, anthropology, sociology, and history.
Zusammenfassung: This open access volume explores the impact of globalization on the contemporary study of deep-time art. The volume explores how early rock art research's Eurocentric biases have shifted with broadened global horizons to facilitate new conversations and discourses in new post-colonial realities. The book uses seven main themes to explore theoretical, methodological, ethical, and practical developments that are orienting the study of Pleistocene and Holocene arts in the age of globalization. Compiling studies as diverse as genetics, visualization, with the proliferation of increasingly sophisticated archaeological techniques, means that vast quantities of materials and techniques are now incorporated into the analysis of the world's visual cultures. Deep-Time Images in the Age of Globalization aims to promote critical reflection on the multitude of positive - and negative - impacts that globalization has wrought in rock art research. The volume brings new theoretical frameworks as well as engagement with indigenous knowledge and perspectives from art history. It highlights technical, methodological and interpretive developments, and showcases rock art characteristics from previously unknown (in the global north) geographic areas. This book provides comparative approaches on rock art globally and scrutinises the impacts of globalization on research, preservation, and management of deep-time art. This book will appeal to archaeologists, social scientists and art historians working in the field as well as lovers of rock art.
Heritage is almost univocally conceived of as valuable and good, something we care for and preserve for ourselves and future generations. Although traditionally associated with the unique and monumental, heritage has over the last decades been broadened in response to claims to incorporate more diverse and globally representative legacies. While such claims are of course welcome, they do not embrace the bulging unruly and obnoxious legacies that now haunt us; legacies that have become so conspicuously manifest that they are claimed as diagnostic of a new epoch, the Anthropocene. This book targets this exclusion. It claims that the current 'clash' between prevailing conceptions of heritage as something confined, wished for and thus worth saving, and the unruly legacies ignoring such work of purification, urges a reconsideration of strategies and rationales for how to 'deal with' heritage. Through multidisciplinary approaches, ranging from archaeology and heritage studies to philosophy and environmental politics, the contributions bring heritage into dialogue with a wide range of topics including industrialisation, material profusion, modernist architectural material, coastal reclamations, barbed wire, and naval mines. The result is a volume that profoundly challenges traditional understandings of heritage as an exclusive reserve of things selected and managed by us.
The thesis studies the role of architecture in societal remembrance, positioning itself in an overlapping field of architectural theory and memory studies. It offers a reading of the concept spatial framework of memory, conceived by sociologist Maurice Halbwachs as a component of the theory of collective memory, and addresses its development in the writings of Kevin Lynch, Aldo Rossi, Aleida Assmann, and Jan Assmann. With its focus on the built environment, as it is represented in the memory of individuals, the study stresses multiple perspectives and transitoriness rather than singularity and stability. It posits that architecture results from and gives rise to cognitive constructs that structure the memory of social groups. Further, it is argued that the spatial framework of memory, with its dual nature of internality and externality, acts as a catalyst for processes of recollection, challenging any view of the built environment as hypostatised memory. The concept is applied in an analysis of the debate about the Government Quarter in Oslo after the bombing on 22 July 2011. It is suggested that such events can alter memories associated with an environment and make them move between groups.
A particularly robust approach to Rome's antique past was taken in the Middle Ages, spanning from the Late Antiquity in the fourth century, until roughly the thirteenth century AD. The Spolia Churches of Rome looks at how the church-builders treated the architecture of ancient Rome like a quarry full of prefabricated material and examines the cultural, economic and political structure of the church and how this influenced the building's design. It is this trend of putting old buildings to new uses which presents an array of different forms of architecture and design within modern day Rome. This book is both an introduction to the spolia churches of medieval Rome, and a guide to eleven selected churches.
Offering a new interpretation of the pre-modern urban past, Cities, Texts and Social Networks highlights contemporary experiences of the city and their mediation through written, visual and environmental evidence. Comprising twelve essays that model important new ways of re-imagining the urban world, it points to significant patterns of socialisation in medieval urban milieus, particularly with respect to the role of sanctity, the evolution of charitable landscapes and the coalescence of formal institutions and informal networks of human interaction.
Homeless Heritage describes the process of using archaeological methodologies to collaboratively document how contemporary homeless people use and experience the city. Drawing on fieldwork undertaken in Bristol and York, the book first describes the way in which archaeological methods and theory have come to be usefully applied to the contemporary world, before exploring the historical development of the concept of homelessness. Working with homeless people, the author undertook surveys and two excavations of contemporary homeless sites, and the team co-curated two public heritage exhibitions - with surprising results. Complementing a growing body of literature that details how collaborative and participatory heritage projects can give voice to marginalised groups, Homeless Heritage details what it means to be homeless in twenty-
History, Power, Text: Cultural Studies and Indigenous Studies is a collection of essays on Indigenous themes published between 1996 and 2013 in the journal known first as UTS Review and now as Cultural Studies Review. This journal opened up a space for new kinds of politics, new styles of writing and new modes of interdisciplinary engagement. History, Power, Text highlights the significance of just one of the exciting interdisciplinary spaces, or meeting points, the journal enabled. ‘Indigenous cultural studies’ is our name for the intersection of cultural studies and Indigenous studies showcased here. This volume republishes key works by academics and writers Katelyn Barney, Jennifer Biddle, Tony Birch, Wendy Brady, Gillian Cowlishaw, Robyn Ferrell, Bronwyn Fredericks, Heather Goodall, Tess Lea, Erin Manning, Richard Martin, Aileen Moreton-Robinson, Stephen Muecke, Alison Ravenscroft, Deborah Bird Rose, Lisa Slater, Sonia Smallacombe, Rebe Taylor, Penny van Toorn, Eve Vincent, Irene Watson and Virginia Watson—many of whom have taken this opportunity to write reflections on their work—as well as interviews between Christine Nicholls and painter Kathleen Petyarre, and Anne Brewster and author Kim Scott. The book also features new essays by Birch, Moreton-Robinson and Crystal McKinnon, and a roundtable discussion with former and current journal editors Chris Healy, Stephen Muecke and Katrina Schlunke.
