This book is the first comprehensive critical analysis of the cultural politics of a new kind of British heritage discourse. Based on texts ranging from tweets to restaurant menus that tell the story of heritage vegetables, this book explores what it means to think about our food systems, and their future, through the lens of 'heritage'. From town hall seed swaps to restaurant menus and coffee table books, it has become hard in recent years for consumers to avoid the idea of 'heritage' fruit and vegetables. The British counterpart of North American heirlooms, their varied colours, strange shapes and endearing names are charming. Yet their proponents claim far more for them, arguing it is vital that we safeguard our crop heritage for global food security, social justice and consumer choice. This book examines how heritage fruits and vegetables are adopted to subvert corporate food production and take food back into our own hands, while supermarkets are eagerly adding them to their luxury ranges. The book also discusses the practice of heritage seeds being stored in secure facilities where most of the world's growers cannot reach them. Written in an accessible style, this book will appeal to those studying, and those interested in, food studies and food politics; heritage studies; geography and environmental studies; the sociology of consumption and cultural studies.

A critical study of the life of art criticism in the 1970s, this book traces the evolution of art and art criticism in a pivotal period in post-war British history. The book explores how art critics and the art press attempted to negotiate new developments in art, faced with the challenges of conceptualism, alternative media, new social movements and radical innovations in philosophy and theory. This is the first comprehensive study of the art press and art criticism in Britain during this pivotal period, seen through the lens of its art press, charting the arguments and ideas that would come to shape contemporary art as we know it today.

Medieval Manuscripts in the Digital Age explores one major manuscript repository's digital presence and poses timely questions about studying books from a temporal and spatial distance via the online environment. Through contributions from a large group of distinguished international scholars, the volume assesses the impact of being able to access and interpret these early manuscripts in new ways. The focus on Parker on the Web, a world-class digital repository of diverse medieval manuscripts, comes as that site made its contents Open Access. Exploring the uses of digital representations of medieval texts and their contexts, contributors consider manuscripts from multiple perspectives including production, materiality, and reception. In addition, the volume explicates new interdisciplinary frameworks of analysis for the study of the relationship between texts and their physical contexts, while centring on an appreciation of the opportunities and challenges effected by the digital representation of a tangible object. Approaches extend from the codicological, palaeographical, linguistic, and cultural to considerations of reader reception, image production, and the implications of new technologies for future discoveries. Medieval Manuscripts in the Digital Age advances the debate in manuscript studies about the role of digital and computational sources and tools. As such, the book will appeal to scholars and students working in the disciplines of Digital Humanities, Medieval Studies, Literary Studies, Library and Information Science, and Book History.

Drawing on unique multi-arts, multi-city scholarly research, Understanding Audiences for the Contemporary Arts makes a timely and urgent contribution to debates about the place of arts and culture in contemporary society. The authors critically interrogate the challenges of access, diversity, privilege and responsibility in contemporary art. Asking who benefits from, pays for and consumes the arts, the book highlights fresh, forward-thinking audience and organisational attitudes that show the potential of live arts engagement to contribute to engaged citizenship. Complemented by comparative global analysis, the cutting-edge insights in this book are relevant for interdisciplinary researchers across audience studies and beyond. Enhanced by a new framework for the understanding audience engagement, the book is relevant to scholars, policymakers and reflective practitioners across the spectrum of arts and cultural industries management. Chapter 7 of this book is freely available as a downloadable Open Access PDF under a CC BY-NC-ND 4.0 license here.

This book reconstructs Istanbul through the prism of Orhan Pamuk's fiction. It navigates the multiple selves and layers of Istanbul to present how the city has shaped the writings of Pamuk and has, in turn, been shaped by it. Through everyday objects and architecture, it shows how Pamuk transforms the city into a living museum where different objects converse along with characters to present a rich tapestry across space and time. Further, the monograph explores the formation of communal and literary identity within and around nation-building narratives informed by capitalism and modernization. The book also examines how Pamuk uses the postmodern city to move beyond its postmodern confines, and utilizes the theories and universes of Bakhtin, Benjamin, and Foucault to open up his fiction and radically challenge the idea of the novel. The volume will be of great interest to scholars and researchers of literature, literary theory, museum studies, architecture, and cultural studies, and especially appeal to readers of Orhan Pamuk.

- The first book to contextualize business support of the arts within the evolution of CSR - The book will appeal to a wide variety of readers interested in culture, society and capitalism, including - The first book in almost 20 years to examine the relationship of business and the arts in an historical context

Transmedia Narratives for Cultural Heritage focuses on theoretical approaches to the analysis and creative practice of developing non-fiction digital transmedia narratives in the rapidly growing cultural heritage sector. This book applies a media-focused transdisciplinary approach to understand the conventions of emerging digital narrative genres. Considering digital media's impact on narrative creation and reception, the approach, namely remixed transmedia, can aid practitioners in creating strategic non-fiction narratives for cultural heritage. These creations also need to be evaluated and a digital-media focused 'ludonarrative toolkit' allows for the critical analysis of the composition and public participation in interactive digital narratives. This toolkit is applied and exemplified in genres including virtual museums, serious games, and interactive documentaries. The book also includes a seven-phase theoretical framework that can assist future creators (and project managers) of non-fiction transmedia 'mothership' narratives; and a methodology (based on 'big data analysis') for how to invent new cultural heritage narratives through bottom-up remixing that allows for public inclusion. Two transnational case studies on the 11 UNESCO World Heritage Australian Convict Sites and the Irish National Famine Way demonstrate the seven-phase framework's applicability. As many scholars across disciplines are increasingly creating digital narratives on historical topics for public consumption in various forms, the theoretical foundations and practical project management framework will be useful for scholars and project teams in the domains of transmedia studies, interactive narratives, cultural heritage, media studies, comparative literature, and journalism.

Curating Under Pressure breaks the silence surrounding curatorial self-censorship and shows that it is both endemic to the practice and ubiquitous. Contributors map the diverse forms such self-censorship takes and offer creative strategies for negotiating curatorial integrity. This is the first book to look at pressures to self-censor and the curatorial responses to these pressures from a wide range of international perspectives. The book offers examples of the many creative strategies that curators deploy to negotiate pressures to self-censor and gives evidence of curators' political acumen, ethical sagacity and resilience over the long term. It also challenges the assumption that self-censorship is something to be avoided at all costs and suggests that a decision to self-censor may sometimes be politically and ethically imperative. Curating Under Pressure serves as a corrective to the assumption that censorship pressures render practitioners impotent. It demonstrates that curatorial practice under pressure offers inspiring models of agency, ingenuity and empowerment. Curating Under Pressure is a highly original and intellectually ambitious volume and as such will be of great interest to students and academics in the areas of museum studies, curatorial and gallery studies, art history, studio art and arts administration. The book will also be an essential tool for museum practitioners.

This book traces the development of scientific conservation and technical art history. It takes as its starting point the final years of the nineteenth century, which saw the establishment of the first museum laboratory in Berlin, and ground-breaking international conferences on art history and conservation held in pre-World War I Germany. It follows the history of conservation and art history until the 1940s when, from the ruins of World War II, new institutions such as the Istituto Centrale del Restauro emerged, which would shape the post-war art and conservation world. The book will be of interest to scholars working in art history, conservation history, historiography, and history of science and humanities.

Emotional Heritage brings the issues of affect and power in the theorisation of heritage to the fore, whilst also highlighting the affective and political consequences of heritage-making. Drawing on interviews with visitors to museums and heritage sites in the United States, Australia and England, Smith argues that obtaining insights into how visitors use such sites enables us to understand the impact and consequences of professional heritage and museological practices. The concept of registers of engagement is introduced to assess variations in how visitors use museums and sites that address national or dissonant histories and the political consequences of their use. Visitors are revealed as agents in the roles cultural institutions play in maintaining or challenging the political and social status quo. Heritage is, Smith argues, about people and their social situatedness and the meaning they, alongside or in concert with cultural institutions, make and mobilise to help them address social problems and expressions of identity and sense of place in and for the present. Academics, students and practitioners interested in theories of power and affect in museums and heritage sites will find Emotional Heritage to be an invaluable resource. Helping professionals to understand the potential impact of their practice, the book also provides insights into the role visitors play in the interplay between heritage and politics.

1. The book provides informal educators with practical resources that will help them to build dynamic digital engagement experiences within their own cultural organizations. 2. It will be an essential guide for professionals who are tasked with interpreting the content of a cultural organization and building lasting digital engagement opportunities. It will also be of interest to practitioners-in-training. 3. This is the first book on interactive virtual learning to be written for those working in the field of museum education.

Revealing the hidden labour of keeping things as they are, the book highlights the ethical commitments and dilemmas involved in trying to care well. In doing so, it reveals how conservation objects are made literally to matter. Taking debates in the interdisciplinary field of heritage studies forward in important new directions, the book engages with themes of broader interest within the arts, humanities and social sciences, shedding new light on time, authenticity, modernity, materiality, expert knowledge and the politics of care.

Cultural tourism is an experiential tourism based on searching for and participating in new and deep cultural experiences. This book enhances the tourism literature by testing the tourist attitude toward related issues of Cantonese Opera as a cultural product of the Greater Bay Area. This book starts with a general introduction to the background of Cantonese Opera. Chapter 2 is a historical review of Cantonese Opera development in the GBA. Chapter 3 introduces the concept of the Cantonese Opera as a cultural product. Chapter 4 discusses the related Cantonese Opera on tourism development in the GBA. Chapter 5 describes the trends of modernisation and integration of Cantonese Opera in the GBA. Lastly, Chapter 6 is a case study in Macau. This book focuses on Cantonese Opera and cultural tourism. This means tourism practitioners and arts administrators should be the primary source of market and while people in the rest of the world who are interested in Cantonese Opera and cultural tourism should find this book useful. This book is a valuable resource not only for social science researchers, but also for those in related fields, for example, arts administrators and tourism officers, among many others. This book could serve as a text for an advanced level undergraduate course for students in many of the arts administration and tourism fields. Additionally, this book is a valuable resource for teaching graduate students not only in tourism, but also in related fields. Furthermore, government or practitioners can improve the management of city and tourism service using this book.

Grounded in the fact that Gunai Kurnai people have never ceded sovereignty, the text reorients dominant temporal and colonial approaches of museum studies to document and theorise Gunai Kurnai self-presentation and community engagement in the Krowathunkooloong Keeping Place. Researched and co-authored by the Cultural Manager of the Keeping Place, Gunai Kurnai Monero Ngarigo man Robert Hudson, and white Historian Shannon Woodcock, the book traces the temporal, social and cultural considerations of the Elders who curated the permanent exhibition in the early 1990s. Discussing community management of a collection growing through the ongoing repatriation of tools, art and Ancestor remains, the text also explores how Robert Hudson engages with visitors to the Keeping Place and local colonial history museums, and theorises the power of Gunai Kurnai work with individuals and institutions in the small museum context. Finally, Hudson and Woodcock demonstrate that the Keeping Place articulates sophisticated Gunai Kurnai-grounded methodologies of museum practice in relation to international critical Indigenous studies scholarship. Self-determined First Nations Museums and Colonial Contestation provides a vital case study of an Indigenous museum space written from an inside perspective. As such, the book will be essential reading for scholars and students engaged in the study of museums and heritage, Indigenous peoples, decolonisation, race, anthropology, culture and history

This book identifies the-now moribund-Modernist spirit of the twentieth century, with its "make it new" attitude in the arts, and its tendency towards abstraction and the scientific process, as the impetus behind the academic structures of universities and museums, together with the development of discrete scholarly disciplines such as literary theory, sociology, and art history based on quasi-scientific principles. Arguing that the Modernist project is approaching exhaustion and that the insights that it has left to yield are approaching triviality, it explores the Modernist links between the arts and academic pursuits of the West-and their relationship with street protests-in the long twentieth century, considering what might follow this Modernist era. An examination of the broad cultural and intellectual-and now political-trends of our age, and their decline, The End of the Modernist Era in Arts and Academia will appeal to scholars and students of social theory, philosophy, literary studies, and cultural studies.

This wide-ranging, comparative, and multidisciplinary collection addresses the significance of books in creating the idea of home. The chapters present cases that reveal the affective and sensory dimensions of books and reading in the practice of everyday life of individuals, in communities, and in society. The complex relationship of books, reading, and home is explored through American and European case studies both in bourgeois and middle-class homes, and in working-class and immigrant families and communities with limited possibilities for reading. The volume combines the conceptions and representations of domesticity, the materiality of reading, and library as a place, drawing on book history and material culture studies as well as anthropology and sociology of the home.

Each chapter is organized around a central contradiction, including: finances ("Who will pay for museums?"; demographic shifts ("Who will come to museums?); the roles of narratives ("Whose story is it?"), ownership of objects ("Who owns the artifact?" as well as learning and teaching ("What is learning and how can we teach equitably?" The reculturing stance taken by Ash promotes social justice and equity, 'making change' first, within museums, called inreach, rather than outside the museum, called outreach; challenges existing norms; is sensitive to neoliberal and deficit ideologies; and pays attention to the structure agency dialectic.

At a time of dramatic struggles over monuments around the world, this book examines monuments that have been erected in post-conflict Bosnia and Herzegovina (BiH) since 1996. Examining the historical precedents for the high rate of monumentbuilding, and its links to ongoing political instability and national animosity, this book identifies the culture of remembrance in BiH as symptomatic of a broader shift: a monumentalisation and privatisation of history. It provides an argument for how to account for the politics of contemporary nation-state formation, control of space, trauma and revisions of history in a region that has been subject to prolonged instability and crisis. This book will be of interest to scholars in contemporary art, museum studies, war and conflict studies, and European studies.

Drawing on analysis of articles published in national newspapers and interviews with individuals involved in return claims, the book demonstrates that such claims are inherently political. Focusing on Colombia, Mexico, and Peru, the book analyses how return claims contribute to the strengthening of state-sponsored discourses on the nation; the policy formation process that leads to the formulation of return claims; and who the main actors of the claims are, including civil society individuals, experts, state authorities, and Indigenous communities. The book proposes explanations for why Latin American countries are interested in specific objects held in Western museums and why these claims have come to light over the past three decades. The Return of Cultural Heritage to Latin America argues that return claims ought to be the object of public debate, allowing contemporary societies to address the legacy of colonialism. The book will be essential reading for scholars and students engaged in the study of museums and heritage, political science, history, anthropology, cultural policy and Latin America.

While much has been written on the history of psychiatry, remarkably little has been written about psychiatric collections or curating. Exhibiting Madness in Museums offers a comparative history of independent and institutional collections of psychiatric objects in Australia, New Zealand, Canada and the United Kingdom. Leading scholars in the field investigate collectors, collections, their display, and the reactions to exhibitions of the history of insanity. Linked to the study of medical museums this work broadens the study of the history of psychiatry by investigating the significance and importance of the role of twentieth-century psychiatric communities in the preservation, interpretation and representation of the history of mental health through the practice of collecting. In remembering the asylum and its different communities in the twentieth century, individuals who lived and worked inside an institution have struggled to preserve the physical character of their world. This collection of essays considers the way that collections of objects from the former psychiatric institution have played a role in constructions of its history. It historicises the very act of collecting, and also examines ethical problems and practices which arise from these activities for curators and exhibitions.

In this important book, the authors unpack the theoretical and practical issues around the development of heritage sites, critically dissecting key conservation benchmarks such as the ICOMOS guidelines, BS 7913 and the RIBA Conservation Plan of Work to reveal the mechanics of heritage guidance, its advantages and conceptual limitations. Underpinned by an active understanding of the conservation philosophy of William Morris, the book presents five case studies from the UK and North and South America that speak about different facets of heritage value, such as urban identity, commodification, authenticity, materiality and heritage as an intellectual and ethical framework. Heritage is never neutral; its definition is privileged yet its influence is political. Art, landscape and archaeology all offer examples of how the operational ideas of adjacent disciplines can influence an integrated idea of heritage conservation, and how this is communicated in order to determine significance and share in its custodianship. This book provides insights into how to identify and challenge these limitations, expanding inclusion by describing tactics for changing how people can relate to and build on the past. Clearly written for all levels of readership within the conservation professions and community custodians of heritage buildings and places, the book provides strategies and tactics for understanding the heritage significance of materials, their fabrication, detail and use. The narratives that historic fabric contains can help shape the meaningful involvement of local people, providing a roadmap for those navigating the double-bind of using the past to underpin the future.

1) The book provides an understanding of GI from legal and policy perspectives. 2) It focuses on the handloom industry in India. 3) The book will be of interest to departments of development studies, IPR studies, policy studies and South Asian studies across UK and USA.

1. The book examines the common fundraising challenges that library, archive and museum (LAM) institutions of all types and sizes face and provides practical advice that will help LAMs to reassess how they identify, highlight, and leverage their organizational assets for fundraising. 2. Written in an accessible and conversational style, the book is essential reading for LAM practitioners and fundraisers working around the world. It will also be of interest to students taking courses related to the funding and/or impact of libraries, archives and museums. 3. This is the first book to provide a practical guide on fundraising that will be useful to practitioners working across the library, archive and museum sectors.

The book examines the changes that are taking place in modes of thinking about heritage as part of increasingly complex urban transformations, and considers how these must engage with, and inform, professional practice. It also acknowledges that international best practice has developed a great deal over the last forty years and needs to be adapted, applied and refined through the recognition and application of regional values - tangible and intangible - based on cultural attitudes and practices.

The book examines the changes that are taking place in modes of thinking about heritage as part of increasingly complex urban transformations, and considers how these must engage with, and inform, professional practice. It also acknowledges that international best practice has developed a great deal over the last forty years and needs to be adapted, applied and refined through the recognition and application of regional values - tangible and intangible - based on cultural attitudes and practices.