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Abstract

The Iceland Brazil Association (AISBRA) was established in 1996 by a group of Brazilians of Icelandic descent, more than 100 years after the first generation of immigrants settled in Brazil in the nineteenth century. The association was the first organisation in Brazil to collectively emphasise and celebrate Icelandic heritage. The association caters to a disparate group of people that had, in many cases, little knowledge about their historical links to Iceland. In spite of the fragmented activities of AISBRA since its establishment, the number of participants has increased, reflecting their growing interest in their Icelandic past. This paper examines how the members of Iceland Brazil Association produce their heritage independently, outside the state recognised heritage, within the Brazilian national context. We analyse how identities are re/shaped in new ways to engage with the past and how values from the past are extracted and turned into contemporary economic, social, and political values. This paper stresses heritage-making as a social imaginary used to define collective identity, which, while based on ancestry, also intersects with ideas of race and class. Representations of their Icelandic heritage allow the members of the Brazil Iceland Association to emphasise their ‘Europeanness’ and thus their associations with whiteness in contemporary post-colonial Brazil.  相似文献   
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During prehistory fire-setting was the most appropriate technique for exploiting ore deposits. Charcoal fragments found in the course of archaeological excavations in a small mine called Mauk E in the area of Schwaz/Brixlegg (Tyrol, Austria) are argued to be evidence for the use of this technology. Dendrochronological analyses of the charcoal samples yielded calendar dates for the mining activities showing that the exploitation of the Mauk E mine lasted approximately one decade in the late 8th century BC. Dendrological studies show that the miners utilised stem wood of spruce and fir from forests with high stand density for fire-setting and that the exploitation of the Mauk E mine had only a limited impact on the local forests.  相似文献   
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When the Icelandic television series ‘Trapped’ was aired it instantly garnered worldwide attention. The main character, a rugged Icelandic man, is presented as being one with the harsh cold landscape. This article demonstrates how visual materials, like ‘Trapped,’ have become extremely important in the presentation of Iceland to the outside world, as well as working to present Iceland as a tourism destination. Furthermore, we evidence how ‘Trapped’ identifies with the Nordic noir genre. Our analysis shows that the series ‘Trapped’ and recent Icelandic films rest on the strong and entrenched association of Icelandicness with maleness, while also reflecting on existing stereotypes about Iceland and the Icelandic people as being exotic, both of which have become reanimated through the tourism industry. Thus, visual material such as ‘Trapped’ constitutes a part of, and becomes in and of itself symbolic of recurrent masculinity in Iceland. Our analysis emphasizes the importance of framing the ‘official’ production of locations as tourism destinations by both state and commercial industries in relation to other cultural productions that often also engage with mobile historical stereotyping and commercial attempts at nation branding.  相似文献   
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