The redecoration of the exhibition spaces at the Borghese palace and villa, undertaken together with the reinstallation of the family's vast art collections, was one of the most important events in the cultural life of eighteenth-century Rome. In this comprehensive study, Carole Paul reconstructs the planning and execution of the project and explains its multifaceted significance: its place in the history of Italian art, architecture, and interior design at a complex moment of transition from baroque to neoclassical style, as well as its unrecognized but profound influence on the development of the modern art museum. The study shows how the installations and decorations worked together to evoke traditional themes in innovative ways. Addressed primarily to a new audience of tourists from abroad, the thematic content of the spaces celebrated the greatness of the Borghese family and of Roman tradition, while their stylistic diversity and sophistication made a case for the continued vitality - even modernity - of Roman art and culture. Designed for the exercise of a highly refined social performance, these sites helped to model the experience of art as a form of enlightened modern civility.

Harry Potter: A History Of Magic is the official book of the exhibition, a once-in-a-lifetime collaboration between Bloomsbury, J.K. Rowling and the brilliant curators of the British Library. It promises to take readers on a fascinating journey through the subjects studied at Hogwarts School of Witchcraft and Wizardry - from Alchemy and Potions classes through to Herbology and Care of Magical Creatures.

Each chapter showcases a treasure trove of artefacts from the British Library and other collections around the world, beside exclusive manuscripts, sketches and illustrations from the Harry Potter archive. There's also a specially commissioned essay for each subject area by an expert, writer or cultural commentator, inspired by the contents of the exhibition - absorbing, insightful and unexpected contributions from Steve Backshall, the Reverend Richard Coles, Owen Davies, Julia Eccleshare, Roger Highfield, Steve Kloves, Lucy Mangan, Anna Pavord and Tim Peake, who offer a personal perspective on their magical theme. Readers will be able to pore over ancient spell books, amazing illuminated scrolls that reveal the secret of the Elixir of Life, vials of dragon's blood, mandrake roots, painted centaurs and a genuine witch's broomstick, in a book that shows J.K. Rowling's magical inventions alongside their cultural and historical forebears.

This is the ultimate gift for Harry Potter fans, curious minds, big imaginations, bibliophiles and readers around the world who missed out on the chance to see the exhibition in person.

SS Nomadic was commissioned by White Star Line to serve the Olympic-class liners Olympic, Titanic and Britannic when they called in Cherbourg. Built in Belfast alongside Titanic, she was made with the same steel, built by the same workers and decorated by the same craftsmen. Because her duties were to serve first- and second-class passengers, she was fitted out far more luxuriously than other tenders of that time and she was considered by the White Star Line as a window into the sumptuous new transatlantic liners. While Titanic is commonly described as the ill-fated White Star Liner, SS Nomadic can without any doubt be qualified as the lucky tender, having survived both world wars and escaped destruction many times. She is now restored to her former glory as a tourist attraction in Belfast.

How do we see art? How is it displayed? One hundred years ago, art was shown in a way intended to educate. Galleries reflected the curator's view of history at the expense of differing opinions. Today, not only do museums and galleries celebrate these differences of expression, they also welcome the collaboration of living artists, promoting an active dialogue between the present and the past. Galleries and museums are no longer just repositories. They are sites of experience where the mind is often engaged as much as the eye. Here, Nicholas Serota presents a coherent historical account of changing attitudes to the way art is presented in the modern museum, examining the relationship between the artist, the public and the curator. He takes us into the artist's studio - itself a paradigm of display - and then on a knowledgeable and wide-ranging international tour of museums, galleries and installations, offering authoritative insights into the ways in which the display of art is likely to develop in the 21st century.

Paul Reed's latest battlefield walking guide covers the site of the largest amphibious invasion of all time, the first step in the Allied liberation of France and the rest of northwest Europe. The places associated with the landings on the Normandy coast on 6 June 1944 are among the most memorable that a battlefield visitor can explore. They give a fascinating insight into the scale and complexity of the Allied undertaking and the extent of the German defences - and into the critical episodes in the fighting that determined whether the Allies would gain a foothold or be thrown back into the sea. All the most important sites are featured, from Pegasus Bridge, Merville Battery, Ouistrehem and Longues Battery to Juno, Gold, Omaha and Utah Beaches, Pointe du Hoc and Sainte-Mere-Eglise. There are twelve walks, and each one is prefaced by a historical section describing in vivid detail what happened in each location and what remains to be seen. Information on the many battlefield monuments and the military cemeteries is included, and there are over 120 illustrations. Walking D-Day introduces the visitor not only to the places where the Allies landed and first clashed with the Germans defenders but to the Normandy landscape over which the critical battles that decided the course of the war were fought.

A decade-old obsession for Dutchman Pieter Boogaart resulted in a guidebook that looks like no other, to a subject never before fully explored: the A272. Three continuous texts wind their way through the book, simultaneously exploring the A272 itself and the countryside it passes through; extra commentary is provided in yet another level of text. Hundreds of colour photographs complete this homage to the 'epitome of England'. After eight reprintings, now in a fully revised, updated, improved FOURTH edition and - naturally - 272 pages long!

What is the role of unconscious fantasies in psychological development, in psychopathology, and in the arts? In Unconscious Fantasies and the Relational World, Danielle Knafo and Kenneth Feiner return to these interlinked questions with a specific goal in mind: a contemporary appreciation of fantasy in its multiform relational contexts. To this end, they provide detailed examinations of primal scene, family romance, and castration fantasies, respectively. Each category of fantasy is pushed beyond its "classical" psychoanalytic meaning by attending to the child's ubiquitous concerns about sexual difference and feelings of incompleteness; her perception of the parental relationship; and the multiple, shifting identifications that grow out of this relationship. Evocative clinical examples illuminate the manner in which patients and analysts play out these three core fantasies. They are balanced by chapters that explore the generative side of these same fantasies in the arts. David Lynch's film Blue Velvet provides an artistic rendering of the primal scene; Jerzy Kosinki's life and work illustrates the family romance; and French multimedia artist Orlan's "carnal art" recreates the trauma of castration. Unconscious Fantasies and the Relational World is a tightly woven study of broad and basic questions. It is in equal measure a contemporary re-visioning of the grounds of fantasy formation, a relationally informed guide to clinical techniques for dealing with unconscious fantasy, and an examination of the generative potential of unconscious fantasy in the arts. Out of the authors' broadening and broad-minded sensibility emerges an illuminating study of the manifold ways in which unconscious fantasies shape lives and enrich clinical work.

The nineteenth century witnessed a flowering of museums in towns and cities across Britain. As well as providing a focus for collections of artifacts and a place of educational recreation, this work argues that municipal museums had a further, social role. In a situation of rapid urban growth, allied to social and cultural changes on a scale hitherto unknown, it was inevitable that traditional class and social hierarchies would come under enormous pressure. As a result, urban elites began to look to new methods of controlling and defining the urban environment. One such manifestation of this was the growth of the public museum. In earlier centuries museums were the preserve of learned and respectable minority, yet by the end of the nineteenth century one of the principal rationales of museums was the education, or 'improvement', of the working classes. In the control of museums too there was a corresponding shift away from private aristocratic leadership, toward a middle-class civic directorship and a growing professional body of curators. This work is in part a study of the creation of professional authority and autonomy by museum curators. More importantly though, it is about the stablization of middle-class identities by the end of the nineteenth century around new hierarchies of cultural capital. Public museums were an important factor in constructing the identity and authority of certain groups with access to, and control over, them. By examining urban identities through the cultural lens of the municipal museum, we are able to reconsider and better understand the subtleties of nineteenth-century urban society.

This beautifully illustrated sourcebook chronicles the history of the Newcomb Pottery at Tulane University in Louisiana from its founding in 1895. It explores the development of the art form, and presents a sensitive picture of the artists themselves. It includes a section on marks and dating by Walter Bob, as well as a complete exhibition catalog compiled by Sally Main Spanola, assistant curator.

The Natural History Museum is home to many rare and exceptional natural wonders - but the magnificent Museum building is itself one of London's most iconic attractions. Envisioned by Alfred Waterhouse as a cathedral of nature, the building he created is one of Britain's most striking examples of Romanesque architecture and is considered a work of art in its own right. This picture-led exploration of the building celebrates Waterhouse's unique architectural accomplishment and showcases many of the artistic gems it houses; not least it's incredibly detailed engravings, sculptures and painted ceiling.

In contrast to a significant recent volume in this area (Labadi, ed. 2019 see below), this volume does not focus only on international aid, but instead considers a range of different actors with diverse approaches to and understandings of 'development'. This volume does not only engage with formalised heritage, such as museums, monuments, and memorials. Contributions consider a range of ostensibly past-focused practices and interventions that may not be explicitly referred to as 'heritage' by the actors concerned. This marks a contrast with significant earlier work in the field (e.g. Basu and Modest eds., 2014 see below). Contributors to this volume include both scholars from a range of fields and practitioners, working in museums, UNESCO, and local government. This will help to ensure the content is engaged with contemporary practice as well as theory, and the relevance of the volume to students and practitioners. This volume will not comprise a set of disparate case studies. Rather, authors will critically review how heritage informs the pursuit of development within a broad general field, illustrating this with examples drawn from their own research. This will ensure consistency in focus across the contributions and the forum style conclusion will allow leading scholars from both Critical Heritage Studies and Development Studies to identify the key thematic points commonalities emerging from ostensibly diverse areas of scholarship and practice.

One of Scotland's finest late-medieval strongholds, Doune Castle stands high on a promontory between the River Teith and the Ardoch Burn in Perthshire. It is a testament to the power of one nobleman, Robert Stewart, Duke of Albany. He was known as Scotland's 'uncrowned king', and the castle was one of his main residences in the late 1300s. For a long time Albany has been credited with the complete construction of the castle, making Doune a remarkable example of a medieval fortress built as one man's vision. However, fresh research is casting new light on Doune Castle, suggesting a much more complex history dating back to the century before Albany and beyond.

This book: presents interdisciplinary case studies of heritage sites and museums from across a range of different contexts and analyses the ways in which various types of immersive technologies can help visitors to contextualize and negotiate difficult or sensitive heritage and traumatic pasts. demonstrates that some of the most creative applications of immersive experiences appear in and at museums and heritage sites. showcases how immersive technologies offer the possibility to confront and dispute presumptions and prejudices, trigger responses, deliver new knowledge, initiate dialogue and challenge pre-existing notions of collective identity provides a conceptual, as well as a hands-on, approach to understanding the use of immersive technologies at sensitive sites around the globe. offers essential reading for researchers and students who are interested in, or engaged in the study of, cultural heritage, memory, history, politics, dark tourism, design and digital media, or immersive technologies. The book will also be of interest to museum and heritage practitioners.

This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. The first section examines how African American art has been constructed over the course of a century of published scholarship. The second section studies how African American art is and has been taught and researched in academia. The third part focuses on how African American art has been reflected in art galleries and museums. The final section opens up understandings of what we mean when we speak of African American art. This book will be of interest to graduate students, researchers, and professors and may be used in American art, African American art, visual culture, and culture classes.

Houses tell the human side of history. In this survey of restored residences, their stories are intertwined with those of their owners in a domestic history of Florida from the days of Spanish occupation to the Rawlings House in Cross Creek, Vizcaya in Miami, and President Harry S. Truman's "Little White House" in Key West. Most of these houses are museums now; others are restaurants or bed-and-breakfasts. This new edition is updated and illustrated with color photographs.

This book sets itself apart from much of the burgeoning literature on war commemoration within human geography and the social sciences more generally by analysing how the Second World War (1941-45) is remembered within Singapore, unique for its potential to shed light on the manifold politics associated with the commemoration of wars not only within an Asian, but also a multiracial and multi-religious postcolonial context. By adopting a historical materialist approach, it traces the genealogy of war commemoration in Singapore, from the initial disavowal of the war by the postcolonial government since independence in 1965 to it being embraced as part of national historiography in the early 1990s apparent in the emergence since then of various memoryscapes dedicated to the event. Also, through a critical analysis of a wide selection of these memoryscapes, the book interrogates how memories of the war have been spatially and discursively appropriated today by state (and non-state) agencies as a means of achieving multiple objectives, including (but not limited to) commemoration, tourism, mourning and nation-building. And finally, the book examines the perspectives of those who engage with or use these memoryscapes in order to reveal their contested nature as fractured by social divisions of race, gender, ideology and nationality. The substantive book chapters will be based on archival and empirical data drawn from case studies in Singapore themed along different conceptual lenses including ethnicity; gender; postcoloniality, tourism and postmodernity; personal mourning; transnational remembrances and politics; and the preservation of original sites, stories and artefacts of war. Collectively, they speak to and work towards shedding insights to the one overarching question: 'How is the Second World War commemorated in postcolonial Singapore and what are some of the issues, politics and contestations which have accompanied these efforts to presence the war today, particularly as they are spatially and materially played out via different types of memoryscapes?' The book also distinguishes itself from previous works written on war commemoration in Singapore, mainly by social and military historians, particularly through its adoption of a geographical agenda that gives attention to issues of politics of space as it relates to remembrance and representations of memory.

Ecotourism and adventure tours offer unique tourism opportunities in the Antarctic! Are you prepared to make the most of them?Tourism in the Antarctic analyzes tourism activities in the most remote tourist destination in the world! It establishes visitor profiles; discusses the impacts of tourism on the region; and explores barriers, opportunities, and future directions in Antarctic tourism. The emergence of ecotourism has turned Antarctica into an increasingly popular tourist destination for intrepid travelers. During the 1999/2000 season, approximately 15,000 passengers visited Antarctica by ship. Tourism in the Antarctic discusses the new and exciting opportunities for tourism business operators in the region, as well as the ramifications of increased numbers of visitors to this unique environment.In these pages, you will find discussions of issues related to Antarctic tourism including: regulation of the tourism industry under the Antarctic Treaty System, and self-regulation provided by business operators trends and predictions for numbers of visitors to the region tourist attractions that are natural, man-made, spiritual, or scientific in nature wildlife of Antarctica: seals and whales, flying sea birds, penguins, etc. international law as it relates to the region ship-based tourism opportunities from yachts and small expedition-type vessels to very large cruise ships and icebreakers air- and land-based tourism opportunities in the region from private expeditions to overflights an overview of current tourism operations in other remote areas: the Arctic region, the Galapagos Islands, Alaska, New Zealand's Sub-Antarctic Islands, and more The author's observations and experiences during cruises to the Antarctic Peninsula, the sub-Antarctic islands and the Ross Sea, as well as during overflights of Antarctica, are the basis of this unique volume. Generously embellished with charts and tables that make it easy to track activities, opinions, trends, and environmental statistics, this book is an essential reference for anyone teaching, studying, or planning to operate a tourism business in this part of the world.

Visitor-Centered Exhibitions and Edu-Curation in Art Museums promotes balanced practices that are visitor-centered while honoring the integrity and powerful storytelling of art objects. Book examples present best practices that move beyond the turning point, where curation and education are engaged in full and equal collaboration. With a mix of theory and models for practice, the book: * provides a rationale for visitor-centered exhibitions; * addresses important related issues, such as collaboration and evaluation; and, * presents success stories written by educators, curators, and professors from the United States and Europe. * introduces the edu-curator, a new vision for leadership in museums with visitor-centered exhibition practices. The book is intended for art museum practitioners, including educators, curators, and exhibitions designers, as well as higher education faculty and students in art/museum education, art history, and museum studies.

After World War II, museum and gallery exhibitions, industrial and trade fairs, biennials, triennials, festivals and world's fairs increasingly came to be used as locations for the exercise of "soft power," for displays of cultural diplomacy between nations and as spaces for addressing areas of social and political contestation. Exhibitions Beyond Boundaries opens with a substantial introduction to the key debates, followed by case studies that advance the field of exhibition histories both geographically and methodologically, focusing on postwar transnational exchange and the wider networks engendered through exhibitions. Chapters trace relations across Africa, Asia, Europe, the Middle East, the Pacific, and the United States of America, drawing on a range of approaches and perspectives, principally from art and design history but also from social, economic and political history, and museum studies. Featured case studies include the presentation of African-American Art at FESMAN '66 and FESTAC '77, the US's 1961 Small Industries Exhibition in Colombo, Israel's early appearances at the Venice Biennale, the Vatican Pavilion at the 1964-1965 New York World's Fair, and Hong Kong's Pavilion at Expo 70 in Tokyo.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Featuring over fifty illustrations and twenty-three original chapters that explore cases from a wide range of fields, including library and archival studies, literary studies, art history, media studies, sound studies, folklore studies, game studies, and education, Collection Thinking builds on the important scholarly works produced on the topic of the archive over the past two decades and contributes to ongoing debates on the historical status of memory institutions. The volume illustrates how the concept of "collection" bridges these institutional and structural categories, and generates discussions of cultural activities involving artifactual arrangement, preservation, curation, and circulation in both the private and the public spheres. Edited collaboratively by three senior scholars with expertise in the fields of literature, art history, archives, and museums, Collection Thinking is designed to stimulate interdisciplinary reflection and conversation. This book will be of interest to scholars and practitioners interested in how we organize materials for research across disciplines in the humanities and social sciences. With case studies that range from collecting Barbie dolls to medieval embroideries, and with contributions from practitioners on record collecting, the creation of sub-culture archives, and collection as artistic practice, this volume will appeal to anyone who has ever wondered about why and how collections are made.

This research-based book investigates the effects of digital transformation on the cultural and creative sectors. Through cases and examples, the book examines how artists and art institutions are facing the challenges posed by digital transformation, highlighting both positive and negative effects of the phenomenon. With contributions from an international range of scholars, the book examines how digital transformation is changing the way the arts are produced and consumed. As relative late adopters of digital technologies, the arts organizations are shown to be struggling to adapt, as issues of authenticity, legitimacy, control, trust, and co-creation arise. Leveraging a variety of research approaches, the book identifies managerial implications to render a collection that is valuable reading for scholars involved with arts and culture management, the creative industries and digital transformation more broadly.

BELLEAU WOOD The Battle of Belleau Wood has a prominent place in the history of the United States Marine Corps; it took place between 6 and 27 June 1918 (sometimes considered to be 1-26 June). However, when on 6 June 1918 the marines launched their attack on the wood, the biggest German threat here was nearly over. Its significance to the Corps is underlined by the presence not only of a monument to the 4th (Marine) Brigade of the US 2nd Division but also by a preserved part of the wood, which is situated to the rear of the Aisne-Marne American Cemetery. The fighting here marks the first major battle by the USMC in Europe. The battle came - although the participants were unaware of this - at the end of the the third great German offensive of Spring 1918, the Blucher-York Offensive, also known as the 3rd Battle of the Aisne, which was launched on 27 May and officially ended on 4 June. Like its predecessors that Spring, an offensive which had started with startling territorial gains had almost ground to a halt by the time that the 2nd Division, and thus the marines, were called in to assist the French Sixth Army in holding the line and in retaking, where possible, crucial positions. What started out as preventing the Germans from breaking through the French lines and pushing on to Paris ended in a three-weeks long slogging match in and around Belleau Wood. It was on French General Duch ne's instigation that the woods were attacked; but in reality the marines could have just held the line and been satisfied with that. As it was, they were flung into action with little time to prepare. The fighting in Belleau Wood was extremely brutal and involved several attacks and counter-attacks; neither side was willing to yield an inch of the terrain of a feature that had local strategic significance, particularly to the Germans. Although the offensive locally here came to an end and the initial German threat in the area was nearly overcome, the focal point of the fighting moved to Villers Cotter ts, twenty-five kilometres north-east of Belleau. The Americans were not quite finished when Belleau Wood was finally captured, as the nearby village of Vaux was taken by an army brigade of the 2nd Division in a text book attack on 1 July. The USMC has always had a good publicity machine' and Belleau Wood was certainly well known to the wider American public in the war years, particularly as it was an early action by a formation of the AEF. Although largely forgotten since the Second World War - the memory perhaps kept alive by the unusual preserved remnant of the battlefield, Belleau Wood's reputation has been enhanced by increased interest in the war since the turn of the century. Nowadays, the battle is sometimes called a pivotal event in the First World War and an iconic battle in US Marine Corps history' by several American authors, which some of their European counterparts might regard as somewhat exaggerated. Although there have been several guide books on Belleau Wood published in recent years (a clear indication of American interest in the battle today), what differs in this book is the number of points to visit as well as the clear narrative that precedes the tours section. Not only are many new points of interest explored in Belleau itself, but the surrounding countryside is not forgotten. Headquarters, temporary burial sites and other features are included. The book is profusely illustrated by contemporary photographs and numerous maps, the narrative supplemented by a number of first hand accounts; the whole is supported by several walking and car tours. This is the latest in a series of Battleground books by Maarten Otte on the American Expeditionary Forces, with several more in preparation. The AEF's performance in the war is relatively little known, not least in the USA; Belleau Wood is one of the few engagements that still carries some resonance. It is fortunate that so many of the AEF's actions took place in parts of France that have seen little development and are in agricultural or wooded country, which means that traces of their fighting are relatively plentiful.

Stakeholder Perspectives on World Heritage and Development in Africa argues that World Heritage Sites (WHS) across the African continent should adopt practical, innovative, creative, and alternative management approaches that bring greater socio-economic benefits to society, whilst protecting their Outstanding Universal Value.

Drawing on empirical evidence gathered in conversation with stakeholders at WHS across Africa, the book explores the challenges involved in implementing conservation and socio-economic development as a stakeholder-driven process. Demonstrating that heritage can no longer be viewed as totally separate from its socio-economic context, Pascall argues that decisions about the management of heritage need to make sense at the local level if they are to be supported by stakeholders. As the book shows, heritage is still viewed and managed through systems, approaches, and strategies inherited from the colonial period, despite the increasing availability of inclusive governance systems. Stakeholders offer alternative, creative, and innovative approaches that capitalize on the potential of World Heritage to contribute to socio-economic development, whilst ensuring that its credibility and integrity are maintained.

Stakeholder Perspectives on World Heritage and Development in Africa offers unique insights into local perspectives on World Heritage and development in Africa. The book will be essential reading for academics, students, development partners, and practitioners around the world who are interested in museums and heritage, conservation, development, and the African continent.

Also, the book will be useful in the preparation of nomination dossiers, management plans, development plans, and in disaster risk management at WHS.

Table of Contents

1. Introduction: Stakeholders, Conservation, and Development; 2. Geopolitics, Socio-Economic Context, and Heritage Management in Africa; 3. Multiple and Multi-Layered Stakeholder Framework and World Heritage Governance; 4. History, Values, Significance, and Management of the Case Study: Mapungubwe Cultural Landscape World Heritage Site; 5. Unmasking Stakeholders at World Heritage Sites; 6. Empirical Stakeholder Perspectives: Emerging Profiles, Views, and Perceptions; 7. Stakeholders, Conservation, and Development; 8. Conclusion: From Local to Global Perspectives