Engaging with the future of ‘critical heritage studies’: looking back in order to look forward

This article engages with the Association for Critical Heritage Studies Manifesto which argues that heritage studies is in need of a complete renovation. We do so by looking back to two earlier moments. The first when museum studies also called for a renovation, drawing on those experiences as potentially instructive for the immediate future of heritage studies. The second a debate within cultural studies on the value of engagement with the world outside of academia to achieve the discipline’s political aims. Thus, while agreeing with the questions posed by the Manifesto, we argue that rather than casting the terms of the debate in a way that positions the professional field as needing renovation from without, we might do better by fostering a more ‘organic’ sense of intellectual work, one that values engagement and collaboration rather than critique for its own sake. Our conclusion points to the importance of the teaching of heritage studies as a potential site for such a practice as well as more collaborative models of research practice.     

羟基磷灰石材料在文物保护中的应用述评

作为一种新兴无机材料,羟基磷灰石近年来在石灰岩、钙质砂岩和甲骨等文物的保护领域得到了广泛的研究和应用。本研究就羟基磷灰石材料本身的特点、保护原理及应用研究现状进行了阐释与评述,指出了其借鉴意义,并展望了羟基磷灰石保护材料研究的发展方向。     

Heritage-making ‘from below’: the politics of exhibiting architectural heritage on the Internet – a case study

The ‘digital revolution’ created new opportunities for private persons to participate in the public discourse on architecture and architectural heritage. But has this new ‘participatory culture’ also triggered democratic polyphony and a questioning of dominant (expert) values and knowledge? And when considering official Internet representations – is there a proactive policy involving citizens? Taking the ‘virtual life’ of the Vienna Werkbund estate (1932), a modernist icon listed as a national monument in 1978, as a case study, the present examination tempers exaggerated hopes. The analysis of private and official websites shows that new information and communication technologies foster the expression of different viewpoints only to a limited extent. Although residents use the Internet to voice criticism, actors situated outside expert culture primarily reaffirm the estate’s cultural value and act as co-producers of the dominant discourse. Focusing on official heritage, this paper not only provides evidence for the perpetuating function of new digital tools but also reveals the power relations that underpin paternalistic cultural mediation. Given the technological possibilities of involvement, it criticises official web representations for the exclusion of ‘the public’ and raises the fundamental question of what the digital mediation of cultural heritage in democratic societies should look like.     

Beyond Eurocentrism? Heritage conservation and the politics of difference

There is a long-standing debate concerning the suitability of European or ‘western’ approaches to the conservation of cultural heritage in other parts of world. The Cultural Charter for Africa (1976), The Burra Charter (1979) and Nara Document on Authenticity (1994) are notable manifestations of such concerns. These debates are particularly vibrant in Asia today. This article highlights a number of charters, declarations and publications that have been conceived to recalibrate the international field of heritage governance in ways that address the perceived inadequacies of documents underpinning today’s global conservation movement, such as the 1964 Venice Charter. But as Venice has come to stand as a metonym for a ‘western’ conservation approach, intriguing questions arise concerning what is driving these assertions of geographic, national or civilisational difference in Asia. To address such questions, the article moves between a number of explanatory frameworks. It argues declarations about Asia’s culture, its landscapes, and its inherited pasts are, in fact, the combined manifestations of post-colonial subjectivities, a desire for prestige on the global stage of cultural heritage governance and the practical challenges of actually doing conservation in the region.     

文化遗产 文化自觉 文化建设——追寻中国文化遗产事业的发展历程

文物古迹是过去文化的载体,文化既是不同人们共同体在特定时空中适应环境与社会的结晶,也是人类曾经的生存可能性的记录,因此,文化遗产是发展的智慧资源而非包袱。改革开放以来我们对文物与文化遗产及其价值的认识有一个不断拓展和提高的过程,经历了由古玩、文物到全民性的文化遗产自觉的演变。正确认识和处理不同文化及历史文化遗产,既是作为文明古国的中国发展过程中无法避开的选择,也是全球化、信息化时代古今中外文化大会面时代人类和谐共处、共同繁荣的前提性要求。     

Rock Art Conservation and Tourism

Rock art conservation has developed hand-in-hand with the increased pace of tourism, yet the two activities tend to remain in opposing camps. Policies and guidelines have been developed for cultural heritage and cultural tourism and there is a widely accepted range of principles in place, but a theory of sustainable rock art tourism is only in its infancy. To mature, the discipline needs research into the interaction of key elements that affect the long-term conservation of frequently visited rock paintings and engravings in their original setting, as well as consideration of social and economic factors that drive tourism and the public interest in rock art.     

‘I Felt Connected to a Past World’: A Survey of Visitors to Colonial Archaeological Sites Conserved In Situ in Australia and New Zealand

Abstract

While there is extensive international literature on the technology and techniques of archaeological conservation and preservation in situ, there has been only limited discussion of the meanings of the places created and the responses they evoke in visitors. Experience in Australia and New Zealand over the past decade suggests that the conservation of colonial archaeological remains is today seen as a far more desirable option, whereas previously many would have suggested that this kind of conservation was only appropriate in ‘old world’ places like Greece and Italy; and that the archaeology of the colonial period was not old enough to be of value. This paper discusses a recent survey of visitors to colonial archaeological sites which reveals some of the ways in which these archaeological remains are experienced, valued, and understood, and gives some clues as to why conservation in situ is an expanding genre of heritage in this region. The visitors surveyed value colonial archaeological sites conserved in situ for the link they provide to place, locality, and memory; for the feeling of connection with the past they evoke; and for the experience they provide of intimacy with material relics from the past. This emphasis on the affective qualities of archaeological remains raises some issues in the post-colonial context, as it tends to reinforce received narratives of identity and history, and relies on the ‘European’ antiquarian appreciation of ruins — making the urban environment more like Europe by creating evidence of similar historical layering.     

‘Hold the Heathen Hammer High’: representation,re-enactment and the construction of ‘Pagan’ heritage

Viking Metal, Pagan Metal and their relatives represent subgenres of Black and Folk Metal characterised by their historical and mythological references, their incorporation of folk melodies alongside traditional music and instruments, and the use of contemporary material culture and dress. Like earlier folk-rock traditions, these subgenres have often steered an interesting course between the hedonistic tendencies which can accompany rock music (the ‘rock “n” roll lifestyle’) and an educational role: metal as heritage and specifically as heritage interpretation. In this paper, the authors explore these various connections through conversations with members of two prominent bands (Týr and Heidevolk) who gave research seminars at the University of York in 2012 and 2013. The connections between music making, landscape, performativity and narration are prominent in both cases, and form the basis of this study.