What is the relationship between creativity, cultural heritage institutions and copyright? Who owns culture and cultural heritage? The digital age has expanded the horizon of creative possibilities for artists and cultural institutions - what is the impact on legal regimes that were constructed for an analogue world? What are the tensions between the safeguarding of cultural heritage and the dissemination of knowledge about culture? Inspired by a three year research project involving leading European universities, this book explores the relationship between copyright and intellectual property, creativity and innovation, and cultural heritage institutions. Its contributors are scholars from both the humanities and the social sciences - from cultural studies to law - as well as cultural practitioners and representatives from cultural heritage institutions. They all share an interest in the contribution of intellectual property to the role of cultural institutions in making culture accessible and encouraging new creativity.

This collection brings together a group of highly respected law and religion scholars to explore the funding of religious heritage in the context of state support for religions. The importance of this state support is that on the one hand it illustrates the potential tensions between secular and religious values, whilst on the other it constitutes a relevant tool for investigating the question of the legitimacy of such financial support. The funding logically varies according to the national system of state-religion relationships and this is reflected in the range of countries studied, including: Belgium, Bulgaria, Denmark, France, Italy, The Netherlands, Spain, Turkey, and the United Kingdom. The book provides clarity in the assignment of funds to religious heritage, as well as seeking to define the limit of what relates to the exercise of worship and what belongs to cultural policy. It is clear that the main challenge for the future lies not only in managing the dual purpose of religious monuments, but also in re-using these buildings which have lost their original purpose. This collection will appeal to those interested in cultural heritage management, as well as law and religion scholars. The views expressed during the execution of the RELIGARE project, in whatever form and or by whatever medium, are the sole responsibility of the authors. The European Union is not liable for any use that may be made of the information contained therein.

The first comprehensive overview of hall of fame museums and exhibits, this work traces the history, examines and compares the facilities, exhibits, and operations, and describes 274 halls of fame in over 100 fields in the United States and 10 other countries. The information is based on recently compiled surveys. More than half of the museums and exhibits are in the area of sports, but others range from aviation and space to cockroaches. Of interest to high school, college, university, and public libraries for their popular culture/travel reference shelves. A great source for vacations, each entry provides the address, telephone number, hours, and admission fees as well as content, operations, and more. The hall of fame movement began in Europe several centuries ago with memorials to national heroes and other illustrious persons. But it was not until the 20th century that the contemporary hall of fame movement honoring outstanding achievers in particular fields received its impetus and attained its greatest success in the United States. Other countries covered in the book include Australia, Canada, France, Germany, Great Britain, Israel, Japan, Mexico, New Zealand, and Singapore. Not all halls of fame are in museums. Other places include civic centers, sports arenas, government buildings, universities, and racetracks.

This cross-disciplinary book, situated on the periphery of culture, employs humour to better comprehend the arts, the outsider and exclusion, illuminating the ever-changing social landscape, the vagaries of taste and limits of political correctness. Each chapter deals with specific themes and approaches - from the construct of outsider and complexity of humour, to Outsider Art and spaces - using various theoretical and analytical methods. Paul Clements draws on humour, especially from visual arts and culture (and to a lesser extent literature, film, music and performance), as a tool of ridicule, amongst other discourses, employed by the powerful but also as a weapon to satirize them. These ambiguous representations vary depending on context, often assimilated then reinterpreted in a game of authenticity that is poignant in a world of facsimile and 'fake news'. The humour styles of a range of artists are highlighted to reveal the fluidity and diversity of meaning which challenges expectations and at its best offers resistance and, crucially, a voice for the marginal. This book will be of particular interest to scholars in art history, cultural studies, fine art, humour studies and visual culture.

This unique book presents an integrated approach to the chemistry of art materials, exploring the many chemical processes involved. The Chemistry and Mechanism of Art Materials: Unsuspected Properties and Outcomes engages readers with historical vignettes detailing examples of unexpected outcomes due to materials used by known artists. The book discusses artists' materials focusing on relevant chemical mechanisms which underlie the synthesis and deterioration of inorganic pigments in paintings, the ageing of the binder in oil paintings, and sulfation of wall paintings as well as the toxicology of these pigments and solvents used by artists. Mechanisms illustrate the stepwise structural transformation of a variety of art materials. Based on the author's years of experience teaching college chemistry, the approach is descriptive and non-mathematical throughout. An introductory section includes a review of basic concepts and provides concise descriptions of analytical methods used in contemporary art conservation. Additional features include: Illustrations of chemical reactivity associated with art materials Includes a review of chemical bonding principles, redox and mechanism writing Covers analytical techniques used by art conservation scientists Accessible for readers with a limited science background Provides numerous references for readers seeking additional information

First published in 1999, this volume examines antiquarianism which had its roots in Renaissance thought and was a popular intellectual and cultural pursuit throughout the eighteenth and nineteenth centuries. The antiquarian work of collecting, compiling and presenting material which exposed the past was seminal to the formation of social and national identities. These essays evaluate the cultural and poltical implications of antiquarianism in the period 1700-1850. The volume also considers how the antiquarians laid the foundations of later museum culture and the discipline of history. With a preface by Stephen Bann and introduced by Martin Myrone and Lucy Peltz, Producing the Past has contributions from Stephen Bending, Alexandrina Buchanan, Susan A. Crane, David Haycock, Maria Grazia Lolla, Heather MacLennan, Martin Myrone, Lucy Peltz, Annegret Pelz, Sam Smiles and Johann Reusch.

Mega-events have long been used by cities as a strategy to secure global recognition and attract future economic investment. However, while cultural mega-events like the European Capital of Culture have become increasingly popular, cities have begun questioning the traditional model of other events such as the Olympic Games with many candidate cities cancelling bids in recent years. This approach to planning and developing cities through mega-events introduces a broad range of physical effects and nuanced institutional changes for cities, particularly for the more sensitive heritage areas of cities. This book explores these issues by first examining the dynamics of cities' attempts to reduce overall costs and increase the sustainability of these large events by further embedding them within the existing fabric of the city and second by studying in depth the impact on the heritage of host cities. This book investigates three World Heritage Cities: Genoa, Liverpool and Istanbul, each of which have hosted the European Capital of Culture and introduced a variety of opportunities and risks for their heritage. The book highlights the potential benefits and challenges of integrating event and heritage planning to provide lessons that can help future historic cities and heritage decision makers better prepare for such events.

Two hundred years after the battle, the area around Waterloo is a lovely landscape of rolling farmland containing dozens of key sites, memorials and monuments to discover. But the Waterloo region offers far more than just a battlefield. A wealth of sights beckons the curious tourist, including the historic town of Nivelles with its towering Collegiate Church of Saint Gertrude, the exhilarating Walibi theme park at Wavre and the profoundly tranquil ruins of the Abbaye de Villers. Bradt's Waterloo & Beyond, written by Belgium expert Antony Mason, gives practical advice from the best hotel and restaurant choices to festivals and events throughout the year. This unique tourist guidebook provides everything you'll need to get the very most from your visit.

Sentient Relics explores museums through cinema and challenges the dominant focus of museum theory as an inclusion-exclusion debate. The author responds to the Enlightenment, 'rational' museum of reason contrasting this with the museum of affect and reveals these 'two museums' operating alongside one another in a productive paradox. In structuralist-orientated museum theory the affective realm is often subsumed within the imperatives of Marxist theory and practice, identity politics, semiology and psychoanalysis. Sentient Relics, while valuing the insights of ideologically focused meaning-making, turns to the capacity of the affective realm of experience to transform the passive subject and object relation. The author uses museum encounters and cinematic affect to engage with problems of difference, temporality, emotion and the sublime. In so doing the book advances research in museum studies by demonstrating what is at stake in pragmatically working toward a deeper understanding of the museum socially, culturally and philosophically.

This project contributes to our understanding of rural Midwesterners and farm newspapers at the turn of the century. While cultural historians have mainly focused on readers in town and cities, it examines Midwestern farmers. It also contributes to the "new rural history" by exploring the ideas of Hal Barron and others that country people selectively adapted the advice given to them by reformers. Finally, it furthers our understanding of American farm newspapers themselves and offers suggestions on how to use them as sources.

Bringing the reader the very best of modern scholarship from the heritage community, this comprehensive reader outlines and explains the many diverse issues that have been identified and brought to the fore in the field of heritage, museums and galleries over the past couple of decades.

The volume is divided into four parts:

• presents overviews and useful starting points for critical reflection
• focuses more specifically on selected issues of significance, looking particularly at the museum's role and responsibilities in the postmodern and postcolonial world
• concentrates on issues related to cultural heritage and tourism
• dedicated to public participation in heritage, museum and gallery processes and activities.

The book provides an ideal starting point for those coming to the study of museums and galleries for the first time.

Cultural Diplomacy and the Heritage of Empire analyzes the history of the negotiations that led to the atypical return of colonial-era cultural property from the Netherlands to Indonesia in the 1970s. By doing so, the book shows that competing visions of post-colonial redress were contested throughout the era of post-World War II decolonization. Considering the danger this precedent posed to other countries, the book looks beyond the Dutch-Indonesian case to the "Elgin (Parthenon) Marbles" and "Benin Bronzes" controversies, as well as recent developments relating to returns in France and the Netherlands. Setting aside the "universalism versus nationalism" debate, Scott asserts that the deeper meaning of post-colonial cultural property disputes in European history has more to do with how officials of former colonial powers negotiated decolonization, while also creating contemporary understandings of their nations' pasts. As a whole, the book expands the field of cultural restitution studies and offers a more nuanced understanding of the connections drawn between postcolonial national identity making and the extension of cultural diplomacy. Cultural Diplomacy and the Heritage of Empire offers a new perspective on the international influence of the UNGA and UNESCO on the return debate. As such, the book will be of interest to scholars, students and practitioners engaged in the study of cultural property diplomacy and law, museum and heritage studies, modern European history, post-colonial studies and historical anthropology.

It is widely believed that the practice of ancient Egyptian religion ceased with the end of pharaonic culture and the rise of Christianity. However, an organised reconstruction and revival of the authentic practice of Egyptian, or Kemetic religion has been growing, almost undocumented, for nearly three decades. Profane Egyptologists is the first in-depth study of the now-global phenomenon of Kemeticism. Presenting key players in their own words, the book utilises extensive interviews to reveal a continuum of beliefs and practices spanning eight years of community growth. The existence of competing visions of Egypt, which employ ancient material and academic resources, questions the position of Egyptology as a gatekeeper of Egypt's past. Exploring these boundaries, the book highlights the politised and economic factors driving the discipline's self-conception. Could an historically self-imposed insular nature have harmed Egyptology as a field, and how could inclusive discussion help guard against further isolationism? Profane Egyptologists is both an Egyptological study of Kemeticism, and a critical study of the discipline of Egyptology itself. It will be of value to scholars and students of archaeology and Egyptology, cultural heritage, religion online, phenomenology, epistemology, pagan studies and ethnography, as well as Kemetics and devotees of Egyptian culture.

This title was first published in 2000. London in the nineteenth century saw the founding of the National Gallery, the National Portrait Gallery, the Victoria and Albert Museum and the Whitechapel Art Gallery. Other, less permanent, organisations flourished, among them the British Institution, water-colour societies and the Society of Female Artists. These worked alongside the schools such as the Royal Academy and the Slade School of Art. In this volume, eleven scholars, experts on the individual institutions, analyse their complex histories to investigate such issues as: How did they generate and redesign their publics? What identities did they create? What practice of art making, connoisseurship and spectatorship did they enshrine? These reports elucidate the values associated with the key institutions and describe the responses and adaptation over time to major cultural developments: new movements, political change and the development of the Empire. The volume as a whole offers a fascinating account of the interconnections between these key institutions. Challenging conventional readings of the subject, the Introduction, by Paul Barlow and Colin Trodd, offers a definition of public art during the Victorian period.

Especially in the last several decades, Museum Studies has expanded enormously to become an internationally recognized and highly interdisciplinary academic field. It draws on subjects from across the humanities and social sciences, including Art History, Cultural Studies, Ethnography, Cultural Geography, History, Sociology, Economics, Business, Marketing, and Tourism Studies. (And, beyond the academy, it has also benefited from significant contributions made by cultural policy-makers.) While intellectual diversity is a great strength of Museum Studies, its complex heritage makes it extremely challenging for the uninitiated to navigate and comprehend the subject's major works. Indeed, even those who are very familiar with particular disciplinary domains may be unaware of other important parallel debates taking place elsewhere. This new five-volume collection from Routledge, edited by Rhiannon Mason of the International Centre for Cultural and Heritage Studies, Newcastle University, responds to that challenge by making readily available in one panoptical 'mini library' the foundational and the very best cutting-edge research from the entire range of disciplines and subjects that contribute towards Museum Studies. In five volumes, the collection addresses the philosophical, theoretical, and ethical concerns of museums-alongside the equally important practical, organizational, and operational issues-to understand how they operate today. The collection also reflects the fact that many of the issues faced by contemporary institutions can only be understood in the context of the philosophy and history of museums as they have developed since the earliest collections of the European Renaissance. The major works brought together in Volume I ('Museums: Histories and Theories') provide a historical and philosophical context for the development of museums. They furnish a comprehensive introduction to the ideas of 'the new museology', which are so crucial to current trends in anglophone Museum Studies, and provide a conceptual framework for a fuller understanding of the following volumes. The scholarship gathered in Volume II ('Museums: Economics and Management') situates museums in the everyday context within which they operate, and investigates the different purposes that museums are said to possess by their various stakeholders, for example, as engines of economic regeneration, tourism, or 'place branding'. Volume II also focuses on the financial costs and practicalities of making museums work, enabling readers to grasp the day-to-day realities of museum work alongside the more philosophical and ethical issues raised in Volume I. Volume III ('Museums: Materiality and Practice'), meanwhile, explores the specifics of museum practice to address questions such as: how are exhibitions and displays produced? How is interpretation understood? How are collections managed? And how are objects deployed and architectural spaces navigated? The pieces collected here also tackle other areas of museum practice, including institutional context and staffing. Issues around how institutions behave and develop an ethos, and how museum staff nurture their professional skills and careers, are vital to understanding the broader museum world. As are new trends in curation, such as community co-production, and the increasing range of ways in which museums are being reconceptualized beyond their physical walls, for example, as performance spaces or platforms for user-generated digital content. Volume IV ('Museums: Visitors, Audiences, Communities, and Publics') assembles vital research on our interactions with museums. The materials collected here introduce users to the many different ways in which a museum's public can be understood, imagined, and addressed across the whole gamut of a museum's activities, from its programming and interpretation to marketing. The volume also takes full cognizance of recent attempts to expand and diversify museum audiences. The final volume in the collection ('Museums: Identities, Controversies, and Difficult Histories') brings together landmark and contemporary studies to interrogate many of the concerns which have repeatedly drawn museums into controversy over recent years. Ways in which museums find themselves caught up in public outrage and censorship include dealing with thorny issues around identity politics and sensitive historical events, such as the Holocaust, colonialism, and slavery. With a detailed and comprehensive introduction and commentary to each volume, Museum Studies is destined to be welcomed as an essential work of reference and a crucial research tool.

Interpretation of Historic Sites offers essential knowledge on how to develop and conduct interpretive programs for every historic site, regardless of size or budget.

The scientific and technological advances that influence the protection of cultural heritage are developing at an ever-increasing pace. Systems to explore, research and analyse their materiality, to control the different scopes, or to represent and model them have reached an unprecedented dimension in recent decades. The Network of Science and Technology for the Conservation of Cultural Heritage aims to promote collaboration between the agents of these systems, in order to facilitate the sharing of experiences and to foster technology transfer, with the common goal of contributing to the conservation of Cultural Heritage. In the context of the TechnoHeritage Network, the fourth edition of the International Congress on Science and Technology for the Conservation of Cultural Heritage was held March 26-30, 2019, in Seville, Spain. This Congress was an international meeting of researchers and specialists from multiple areas, whose line of work is the knowledge and conservation of Cultural Heritage. Among all the topics discussed, the role and impact of digital technologies for the knowledge, maintenance, management and dissemination of cultural heritage should be highlighted. Digital media modify the way of understanding this heritage, of perceiving it and transmitting it, and offer a new horizon of strategies to make decision-making more sustainable over time.

In October 1860, at the culmination of the Second Opium War, British and French troops looted and destroyed one of the most important palace complexes in imperial China-the Yuanmingyuan. Known in the West as the "Summer Palace," this site consisted of thousands of buildings housing a vast art collection. It is estimated that over a million objects may have been taken from the palaces in the Yuanmingyuan-and many of these are now scattered around the world, in private collections and public museums. With contributions from leading specialists, this is the first book to focus on the collecting and display of "Summer Palace" material over the past 150 years in museums in Britain and France. It examines the way museums placed their own cultural, political and aesthetic concerns upon Yuanmingyuan material, and how displays-especially those at the Royal Engineers Museum in Kent, the National Museum of Scotland and the Musee Chinois at the Chateau of Fontainebleau-tell us more about European representations and images of China, than they do about the Yuanmingyuan itself.

Creating the V&A tells the definitive story of the formative years of London's world-renowned Victoria and Albert Museum and the gathering of its early collections in the decade between the Great Exhibition of 1851 and the death of Prince Albert in 1861. The story of the V&A's genesis is often centred on the first director and first curator (Henry Cole and J. C. Robinson), and their competing agendas for design reform and connoisseurship. And yet there is an untold story of how the young royal couple for whom it is named were highly instrumental in the establishment of the museum, as public supporters and large-scale lenders before a permanent collection was in place. The book is also full of fascinating and colourful stories of the strategies deployed to harvest treasures on the market as the young museum sought to fill its rapidly expanding buildings and compete with the British Museum and the Crystal Palace. For anyone interested in the history of collecting and curating, and for all fans of this legendary London museum, Creating the V&A explains how the foundational collections established parameters which still inform the museum's collecting policies, role and identity today.

Dark Tourism, as well as other terms such as Thanatourism and Grief Tourism, has been much discussed in the past two decades. This volume provides a comprehensive exploration of the subject from the point of view of both practice - how Dark Tourism is performed, what practical and physical considerations exist on site - and interpretation - how Dark Tourism is understood, including issues pertaining to ethics, community involvement and motivation. It showcases a wide range of examples, drawing on the expertise of academics with management and consultancy experience, as well as those from within the social sciences and humanities. Contributors discuss the historical development of Dark Tourism, including its earlier incarnations across Europe, but they also consider its future as a strand within academic discourse, as well as its role within tourism development. Case studies include holocaust sites in Germany, as well as analysis of the legacy of war in places such as the Channel Islands and Malta. Ethical and myriad marketing considerations are also discussed in relation to Ireland, Brazil, Rwanda, Romania, U.K., Nepal and Bosnia-Herzegovina. This book covers issues that are of interest to students and staff across a spectrum of disciplines, from management to the arts and humanities, including conservation and heritage, site management, marketing and community participation.

Peter Harrop offers a reappraisal of mummers' plays, which have long been regarded as a form of 'folk' or 'traditional' drama, somehow separate from the mainstream of British theatre. This fresh view of folk and tradition explores how mummers' plays emerged in an 18th century theatrical environment of popular spouting clubs and private theatricals, yet quickly transformed into 'traditionary' drama with echoes of an ancient past. Harrop suggests that by the late 19th century the plays had been appropriated by antiquarians and folklorists, leaving mummer's plays as a strangely separate and categorised form. This book considers how that happened, and the ways in which these late 19th century ideas were absorbed into the mummers' plays, providing a new lease of life for them in the 20th and 21st centuries. Ideal for anyone with a specialised interest in this unique form, Mummers' Plays Revisited spans recent work in theatre history, performance studies and folklore to offer a comprehensive and engaging study.

The Burlington Fine Arts Club was founded in London in 1866 as a gentlemen's club with a singular remit - to exhibit members' art collections. Exhibitions were proposed, organized, and furnished by a group of prominent members of British society who included aristocrats, artists, bankers, politicians, and museum curators. Exhibitions at their grand house in Mayfair brought many private collections and collectors to light, using members' social connections to draw upon the finest and most diverse objects available. Through their unique mode of presentation, which brought museum-style display and interpretation to a grand domestic-style gallery space, they also brought two forms of curatorial and art historical practice together in one unusual setting, enabling an unrestricted form of connoisseurship, where new categories of art were defined and old ones expanded. The history of this remarkable group of people has yet to be presented and is explored here for the first time. Through a framework of exhibition themes ranging from Florentine painting to Ancient Egyptian art, a study of lenders, objects, and their interpretation paints a picture of private collecting activities, connoisseurship, and art world practice that is surprisingly diverse and interconnected.

Author Biography:
Pierre Lemonnier is a research director at the Centre National de la Recherche Scientifique. His research team is the Centre de Recherche et de Documentation sur l'Océanie, in Marseille.

With the rise of post-truth and fake news, a thorough examination of authenticity has never been so relevant. This book explores the geography of authenticity, investigating a wide variety of places used by tourists. Not only does it assess what might be described as the more traditional objects for examination - places such as the city, the countryside and the coast - it also includes chapters on art and place, hipster places, gentrification, heritage sites, film locations, photographed places and eventful places. Using a wide-angled lens on places reveals linkages and possibilities, enabling the book to skate across the surface of the geography of authenticity, locating the magically real heritage site, the poignant replica, the authenticated theme park, the unmasked carnival. In focusing on authentic and inauthentic places, this text provides a useful contribution to the understanding of how places are changing, how they are perceived, and how authenticity is embodied and performed within them. Authentic and Inauthentic Places in Tourism is an insightful study and an essential read for those involved in the study of geography, tourism, urban studies, culture and heritage.

First published in 1999, this volume examines antiquarianism which had its roots in Renaissance thought and was a popular intellectual and cultural pursuit throughout the eighteenth and nineteenth centuries. The antiquarian work of collecting, compiling and presenting material which exposed the past was seminal to the formation of social and national identities. These essays evaluate the cultural and poltical implications of antiquarianism in the period 1700-1850. The volume also considers how the antiquarians laid the foundations of later museum culture and the discipline of history. With a preface by Stephen Bann and introduced by Martin Myrone and Lucy Peltz, Producing the Past has contributions from Stephen Bending, Alexandrina Buchanan, Susan A. Crane, David Haycock, Maria Grazia Lolla, Heather MacLennan, Martin Myrone, Lucy Peltz, Annegret Pelz, Sam Smiles and Johann Reusch.