"Teasing Out" What Cultural Heritage Landscapes and Historic Sites Have "To Say": A Probe Using Opportunities from Epistemological Pluralism

2019 ◽  
Vol 19 (4) ◽  
pp. 253-264
Author(s):  
Michael Fagence

The principal purpose of this article is speculative in that it experiments with an approach to "teasing out" what cultural heritage landscapes and historic sites have "to say" and to overcome what has been described as a circumstance in which landscapes and sites do not tell their stories clearly. An approach to "teasing out" has been fashioned to examine how the cultural dynamic of a previous historical period has come to be "a" cultural dynamic of the present as it is presented through historylinked and heritage-based tourism and as it becomes a constituent of "consuming history" through popular culture. Fashioning the "teasing out" process has drawn on the opportunities and skill sets from geography and semiotics as they have been reconfigured as a combined investigative and interpretive entity and as a form of epistemological pluralism. The special aptitudes of these disciplinary areas have been twinned to expose many of the important symbols of the story of the Australian bushranger-cum-outlaw Ned Kelly, matching the original disposition of them to the modern telling of the story through tourism, and in so doing achieving enhanced levels of perception, comprehension, depth, richness, and utility, and inclusive of both principal issues and subtle nuances. A concluding assessment of the opportunities that can be attributed to epistemological pluralism is accompanied by caveats; the purpose of these is to promote awareness about the need for due diligence in forging suitable disciplinary combinations.

2020 ◽  
pp. 78-111
Author(s):  
Maya Nadkarni

This chapter argues that the various attempts to distance the past became the condition of Hungary for its return in the form of nostalgia for socialist mass and popular culture. It discusses the remains of socialism from anachronistic monuments and devalued historical narratives to the detritus of an everyday life now on the brink of vanishing, such as candy bars and soda pop. Despite appearances, this nostalgia did not represent a wistful desire to return to the previous era nor simply to the gleeful impulse to laugh at state socialist kitsch found years earlier. The chapter explains the detachment of fond communal memories of certain objects from the political system that produced them. It points out the ironic invocation of the international discourse of cultural heritage that legitimate the trash of the previous era and enabled Hungarians to redefine themselves as both savvy capitalist consumers and cultured democratic citizens.


FIKRAH ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 1
Author(s):  
Mundi Rahayu

<span lang="IN">Most of the study of Islamophobia, the hatred </span><span lang="EN-US">and</span><span lang="IN"> fear of Muslims, take the locus in Western countries in which Muslims are a minority group. The present study aims at answering the gap of study. This study specifically discusses the Islamophobia represented in popular culture, in a movie entitled “Mencari Hilal.” Discussion in this paper covers two questions. First, how is the discourse of Islamophobia represented in the film? Second, what is the ideology represented in the film? The present article is based on two arguments. First, Islamophobia does not only happen in Western countries. Instead, the phobia also happens within Muslim communities.  Second, the film is a popular cultural text that reflects people's anxiety and desire, as well as expresses important problems that people encounter in history. This study applies Fairclough’s CDA with three levels of analyses, micro, meso, and macro. The discourse of Islamophobia in this movie is presented in more subtle ways, but the potential conflict is obviously represented. The ideology of pluralism is implied in this film to give the space for the audience to think and rethink their religious assumptionKeywords: Ancient tombs; preservation; cultural heritage.</span>


Elore ◽  
2009 ◽  
Vol 16 (1) ◽  
Author(s):  
Tuomas Hovi

The article examines how Dracula tourism in Romania can be approached within the concept of heritage. Although Dracula tourism as such cannot be considered as heritage tourism, it has many characteristics that are common with the latter. The author shows how the tradition about a 15th-century Romanian ruler Vlad the Impaler is being used in modern Dracula tourism, and how this tradition connects with the fictional vampire Count Dracula known from popular culture. Here, the use of tradition and heritage in Dracula tourism is approached with theoretical tools and concepts such as authenticity and cultural stereotypes. Besides, this article argues that tourism is not just a threat to cultural heritage, it can also help in the preservation of the latter. Interestingly, heritage is most visible in Dracula tourism through the different arguments opposing this tourism. The data for the article comes mostly from literature, Internet, and the author’s personal observations.


Society ◽  
2021 ◽  
Author(s):  
Brigitte Biehl

AbstractThe car is one of the few luxury items that historically is widely accepted in Germany, the land of “discreet consumption.” This contribution draws on social science research, includes writings on popular culture, and presents examples from people and their cars in the media that give evidence of how luxury is increasingly emotionally charged, enriched, and negotiated. Cars were status symbols in Germany as a divided nation, with people in West Germany driving a Mercedes and people in the East driving a Trabant. Today, German rappers praise their “sick” cars, and paradox 'Bio-Germans' shield their luxury body in an expensive SUV. These examples illustrate luxury consumption that aesthetically and narratively links identities to cultural heritage. The media discourse reflects the symbolic and also the increasingly affective nature of luxury, while healthy “luxury” bodies remain in a competition for limited resources in a social context.


Radiocarbon ◽  
2019 ◽  
Vol 61 (5) ◽  
pp. 1133-1134
Author(s):  
Irka Hajdas ◽  
A J Timothy Jull ◽  
Eric Huysecom ◽  
Anne Mayor ◽  
Marc-André Renold ◽  
...  

ABSTRACTThe modern antiquities market uses radiocarbon (14C) dating to screen for forged objects. Although this fact shows the potential and power of the method, the circumstances where it is applied can be questionable and call for our attention. Here we present an outline of a call to radiocarbon laboratories for due diligence and best practice approaches to the analysis of antique objects requested by non-research clients.


Author(s):  
Eda Arisoy

The presentation of what the viewer wants and expects has turned cinema into a mass consumer industry, spreading into a universal space. Cinema is not merely to please the masses, but has been transformed into a multicultural business that carries a different intellectual meaning which is named as narrative or auteur cinema. As an auteur director, Ferzan Özpetek stands in highly unique place in the name of cultural wealth as a director. His cinema draws up in the thin line between being a popular cultural product and being a narrative, spiritual cinema product, and is considered as the most important feature that differentiates the concept of auteur from other cinema genres by focusing on the cultures of both countries. If the cinema industry returns to a differentiation between commercial and narrative types, film should create its audience by presenting its own cultural heritage, rather than exposing the same culture to the masses. It is the factor that nourishes the cultural variety.


2021 ◽  
pp. 147402222110505
Author(s):  
Rhiannon Evans ◽  
Sarah Midford

We argue that students can understand an historical period by building on the foundations of their existing knowledge. Specifically, popular media can be used to develop students’ historical literacies – that is their ability to engage with past societies vastly different from their own. Our methodology takes inspiration from the ancient Romans’ own partial literacies and utilises pedagogy drawn from Classical Reception Studies, which examines how the ancient world has been subsequently reinvented in everything from poetry to cinema. While traditional methods of teaching Classics potentially alienate learners and entrench the discipline’s elitism, we advocate learning about the past from a point of familiarity. Harnessing familiar texts and platforms to teach history can engage non-traditional learners and develop their historical literacies by leveraging pre-existing digital literacies. Furthermore, digital pedagogy fosters in students a sense that they can valuably contribute to disciplinary knowledge by recontextualising ancient sources.


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