Japan's heritage conservation policy and practice, as deployed through its foreign aid programs, has become one of the main means through which post-World War II Japan has sought to mark its presence in the international arena, both globally and regionally. Heritage conservation has been intimately linked to Japan's sense of national identity, in addition to its self-portrayal as a responsible global and regional citizen. This book explores the concepts of heritage, nationalism and Japanese national identity in the context of Japanese and international history since the second half of the nineteenth century. In doing so, it shows how Japan has built on its distinctive approach to conservation to develop a heritage-based strategy, which has been used as part of its cultural diplomacy designed to increase its 'soft power' both globally and within the Asian region. More broadly, Natsuko Akagawa underlines the theoretical nexus between the politics of heritage conservation, cultural diplomacy and national interest, and in turn highlights how issues of heritage conservation practice and policy are crucial to a comprehensive understanding of geo-politics. Heritage Conservation and Japan's Cultural Diplomacy will be of great interest to students, scholars and professionals working in the fields of heritage and museum studies, heritage conservation, international relations and Asian/Japanese studies.

While much has been achieved in understanding and managing weather effects and erosion phenomena affecting ancient imagery within the relatively protected environments of caves and rock-shelters, the same cannot be said of rock-art panels situated in the open-air. Despite the fact that the number of known sites has risen dramatically in recent decades there are few examples in which the weathering and erosion dynamics are under investigation with a view to developing proposals to mitigate the impact of natural and cultural processes. Most of the work being done in different parts of the world appears to be ad-hoc, with minimal communication on such matters between teams and with the wider archaeological community.

This richly illustrated book evaluates rock-art conservation in an holistic way, bringing together researchers from across the world to share experiences of work in progress or recently completed. The chapters focus on a series of key themes: documentation projects and resource assessments; the identification and impact assessment of weathering/erosion processes at work in open-air rock-art sites; the practicalities of potential or implemented conservation interventions; experimentation and monitoring programs; and general management issues connected with public presentation and the demands of ongoing research investigations. Consideration is given to the conservation of open-air rock-art imagery from many periods and cultural traditions across the Old and New Worlds. This timely volume will be of interest to conservators, managers, and researchers dealing with aesthetic and ethical issues as well as technical and practical matters regarding the conservation of open-air rock-art sites.

This open access book offers a comprehensive overview of the role and potential of microorganisms in the degradation and preservation of cultural materials (e.g. stone, metals, graphic documents, textiles, paintings, glass, etc.). Microorganisms are a major cause of deterioration in cultural artefacts, both in the case of outdoor monuments and archaeological finds. This book covers the microorganisms involved in biodeterioration and control methods used to reduce their impact on cultural artefacts. Additionally, the reader will learn more about how microorganisms can be used for the preservation and protection of cultural artefacts through bio-based and eco-friendly materials. New avenues for developing methods and materials for the conservation of cultural artefacts are discussed, together with concrete advances in terms of sustainability, effectiveness and toxicity, making the book essential reading for anyone interested in microbiology and the preservation of cultural heritage.

The management of industrial heritage sites requires rethinking in the context of urban change, and the issue of how to balance protection, preservation/conservation, and development becomes all the more crucial as industrial heritage sites grow in number. This brings into play new challenges-not only through the known conflicts between monument preservation and contemporary architecture, but also with the increasing demand for economic urban development by reusing the built heritage of former industrial sites. This book explores the conservation and change of industrial heritage sites in transformation, presenting and examining ten European and Asian case studies. The interdisciplinary approach of the book connects a diversity of rationales and discourses, including monument protection, World Heritage conventions, urban regeneration, urban planning and design, architecture, and politics. This is the first book to deepen the understanding of industrial heritage site management as a networked, multi-dimensional task involving diverse social agents and societal discourses.

Since the late 1970s human remains in museum collections have been subject to claims and controversies, such as demands for repatriation by indigenous groups who suffered under colonization. These requests have been strongly contested by scientists who research the material and consider it unique evidence. This book charts the influences at play on the contestation over human remains and examines the construction of this problem from a cultural perspective. It shows that claims on dead bodies are not confined to once colonized groups. A group of British Pagans, Honouring the Ancient Dead, formed to make claims on skeletons from the British Isles, and ancient human remains, bog bodies and Egyptian mummies, which have not been requested by any group, have become the focus of campaigns initiated by members of the profession, at times removed from display in the name of respect. By drawing on empirical research including extensive interviews with the claims-making groups, ethnographic work, document, media, and policy analysis, Contesting Human Remains in Museum Collections demonstrates that strong internal influences do in fact exist. The only book to examine the construction of contestation over human remains from a sociological perspective, it advances an emerging area of academic research, setting the terms of debate, synthesizing disparate ideas, and making sense of a broader cultural focus on dead bodies in the contemporary period.

Over the past decade much attention has been paid to the apparent differences in consumption preferences or workplace attitudes and behaviours across generations. Within Western economies such as the USA, UK and Australia, it is commonly assumed that that there are now four generations in the workplace, namely Veterans (born 1925-1942), Baby Boomers (1943-1960), Generation X (1961-1981) and Generation Y (1982- 2000) The concept of generational differences at work is one that has recently been adopted by practitioners as a basis on which to design human resource management and career management practices. However, there has been some concern in academic circles about the validity of the notion of generations and the evidence base that supports it. There is therefore a need for new perspectives and methodological approaches to investigating generational differences at work in order to establish the validity and value of generations as an axis of diversity. Generational Diversity at Work: New Research Perspectives will address this need by presenting and discussing research into generational diversity that adopts a range of new theoretical perspectives or methodological approaches. This book is designed as a first step in addressing the need to critically examine the theoretical and empirical basis for generational differences and to provide some new empirical data in this area.

The claim that heritage practice in Asia is Eurocentric may be well-founded, but the view that local people in Asia need to be educated by heritage practitioners and governments to properly conserve their heritage distracts from the responsibility of educating oneself about the local-popular beliefs and practices which constitute the bedrock of most people's engagement with the material past. Written by an archaeologist who has long had one foot in the field of heritage practice and another in the academic camp of archaeology and heritage studies, Counterheritage is at once a forthright critique of current heritage practice in the Asian arena and a contribution to this project of self-education. Popular religion in Asia - including popular Buddhism and Islam, folk Catholicism, and Chinese deity cults - has a constituency that accounts for a majority of Asia's population, making its exclusion from heritage processes an issue of social justice, but more pragmatically it explains why many heritage conservation programs fail to gain local traction. This book describes how the tenets of popular religion affect building and renovation practices and describes how modernist attempts to suppress popular religion in Asia in the early and mid-twentieth century impacted religious 'heritage.' Author Denis Byrne argues that the campaign by archaeologists and heritage professionals against the private collecting and 'looting' of antiquities in Asia largely ignores the regimes of value which heritage discourse has helped erect and into which collectors and local diggers play. Focussing on the Philippines, Thailand, and Taiwan but also referencing China and other parts of Southeast Asia, richly detailed portraits are provided of the way people live with 'old things' and are affected by them. Narratives of the author's fieldwork are woven into arguments built upon an extensive and penetrating reading of the historical and anthropological literature. The critical stance embodied in the title 'counterheritage' is balanced by the optimism of the book's vision of a different practice of heritage, advocating a view of heritage objects as vibrant, agentic things enfolded in social practice rather than as inert and passive surfaces subject to conservation.

The book approaches museums of the Great War as political entities, some more overtly than others, but all unable to escape from the politics of the war, its profound legacies and its enduring memory. Their changing configurations and content are explored as reflections of the social and political context in which they exist. Curating of the Great War has expanded beyond the walls of museum buildings, seeking public engagement, both direct and digital, and taking in whole landscapes. Recognizing this fact, the book examines these museums as standing at the nexus of historiography, museology, anthropology, archaeology, sociology and politics as well as being a lieux de memoire. Their multi-vocal nature makes them a compelling subject for research and above all the book highlights that it is in these museums that we see the most complete fusion of the material culture of conflict with its historical, political and experiential context. This book is an essential read for researchers of the reception of the Great War through material culture and museums.

The Holocaust and Representations of Jews examines how prominent national exhibitions in Europe represent the Jewish minority and its cultural and religious self-understandings, historically and today, in particular in the context of the Holocaust. Insights from the New Museology are brought to the field of Jewish Studies through an exploration of the visual representation of Jewish history and Jewish identifications in the display of photographs. Drawing on case studies which focus on the Holocaust Exhibition at the Imperial War Museum in London and the permanent exhibition at the Jewish Museum Berlin, these themes become the prism through which aspects of historiography and the display of the 'otherness' of minorities are addressed. Casting new light on the issues surrounding the visual representation of Jews, the work of museum practitioners in relation to historical presentations and to the use of photographs in exhibitions, this book is an important contribution not only to the fields of Jewish Studies, Religion and History, but also to the study of the representation of minority-majority relations and the understanding of exhibition visits as an educational tool.

Bringing together an international forum of experts, this book looks at how museums, libraries and further public cultural institutions respond to the effects of globalisation, mobility and migration across Europe. It puts forward examples of innovative practice and policies that reflect these challenges, looking at issues such as how cultural institutions present themselves to and interact with multicultural audiences, how to support networking across European institutions, and share practice in core activities such as archiving interpreting and exhibiting artefacts. Academics, practitioners from museums and public institutions and policymakers explore theoretical and practical approaches from a range of different disciplines such as museum and cultural heritage studies, cultural memory studies, social anthropology, sociology of organizations, cultural heritage management and cultural heritage informatics.

In 1966, American historic preservation was transformed by the passage of the National Historic Preservation Act, which created a National Register of Historic Places. Now comprising more than 1.4 million historic properties across the country, the National Register is the official federal list of places in the United States thought to be worthy of preservation. One of the fundamental principles of the National Register is that every property is evaluated according to a standard set of criteria that provide the framework for understanding why a property is significant in American history. The origins of these criteria are important because they provide the threshold for consideration by a broad range of federal preservation programs, from planning for continued adaptive use, to eligibility for grants, and inclusion in heritage tourism and educational programs. Crafting Preservation Criteria sets out these preservation criteria for students, explaining how they got added to the equation, and elucidating the test cases that allowed for their use. From artworks to churches, from 'the fifty year rule' to 'the historic scene', students will learn how places have been historically evaluated to be placed on the National Register, and how the criteria evolved over time.

Challenging History in the Museum explores work with difficult, contested and sensitive heritages in a range of museum contexts. It is based on the Challenging History project, which brings together a wide range of heritage professionals, practitioners and academics to explore heritage and museum learning programmes in relation to difficult and controversial subjects. The book is divided into four sections. Part I, 'The Emotional Museum' examines the balance between empathic and emotional engagement and an objective, rational understanding of 'history'. Part II, 'Challenging Collaborations' explores the opportunities and pitfalls associated with collective, inclusive representations of our heritage. Part III, 'Ethics, Ownership, Identity' questions who is best-qualified to identify, represent and 'own' these histories. It challenges the concept of ownership and personal identification as a prerequisite to understanding, and investigates the ideas and controversies surrounding this premise. Part IV, 'Teaching Challenging History' helps us to explore the ethics and complexities of how challenging histories are taught. The book draws on work countries around the world including Brazil, Cambodia, Canada, England, Germany, Japan, Northern Ireland, Norway, Scotland, South Africa, Spain and USA and crosses a number of disciplines: Museum and Heritage Studies, Cultural Policy Studies, Performance Studies, Media Studies and Critical Theory Studies. It will also be of interest to scholars of Cultural History and Art History.

Innovative tourism industry leader Rosemary Rice McCormick guides the reader through the basics of marketing and tourism know-how for museum store managers and other museum and heritage marketing professionals. Packed with valuable ideas and case studies, you will learn how to build your business in the fast-growing, global tourism market, increase museum visitation and museum store sales, leverage business partnerships and tap into that "drive market" that comprises 85% of US travelers. This valuable resource is a must for all those in the business of connecting people with the cultural wealth of our museums and parks. The book received a 2011 SASI-ONE Gold Award from the Shop America Alliance.

The museum boom, with its accompanying objectification and politicization of culture, finds its counterpart in the growing interest by social scientists in material culture, much of which is to be found in museums. Not surprisingly, anthropologists in particular are turning their attention again to museums, after decades of neglect, during which fieldwork became the hallmark of modern anthropology - so much so that the "social" and the "material" parted company so radically as to produce a kind of knowledge gap between historical collections and the intellectuals who might have benefitted from working on these material representations of culture. Moreover it was forgotten that museums do not only present the "pastness" of things. A great deal of what goes on in contemporary museums is literally about planning the shape of the future: making culture materialize involves mixing things from the past, taking into account current visions, and knowing that the scenes constructed will shape the perspectives of future generations. However, the (re-)invention of museum anthropology presents a series of challenges for academic teaching and research, as well as for the work of cultural production in contemporary museums - issues that are explored in this volume.

Taking the significant Faro Convention on the Value of Cultural Heritage for Society (Council of Europe 2005) as its starting point, this book presents pragmatic views on the rise of the local and the everyday within cultural heritage discourse. Bringing together a range of case studies within a broad geographic context, it examines ways in which authorised or 'expert' views of heritage can be challenged, and recognises how everyone has expertise in familiarity with their local environment. The book concludes that local agenda and everyday places matter, and examines how a realignment of heritage practice to accommodate such things could usefully contribute to more inclusive and socially relevant cultural agenda.

Twentieth-century war is a unique cultural phenomenon and the last two decades have seen significant advances in our ability to conceptualize and understand the past and the character of modern technological warfare. At the forefront of these developments has been the re-appraisal of the human body in conflict, from the ethics of digging up First World War bodies for television programmes to the contentious political issues surrounding the reburial of Spanish Civil War victims, the relationships between the war body and material culture (e.g. clothing, and prostheses), ethnicity and identity in body treatment, and the role of the 'body as bomb' in Iraq, Afghanistan and beyond. Focused on material culture, Bodies in Conflict revitalizes investigations into the physical and symbolic worlds of modern conflict and that have defined us as subjects through memory, imagination, culture and technology. The chapters in this book present an interdisciplinary approach which draws upon, but does not privilege archaeology, anthropology, military and cultural history, art history, cultural geography, and museum and heritage studies. The complexity of modern conflict demands a coherent, integrated, and sensitized hybrid approach which calls on different disciplines where they overlap in a shared common terrain - that of the materiality of conflict and its aftermath in relation to the human body. Bodies in Conflict brings together the diverse interests and expertise of a host of disciplines to create a new intellectual engagement with our corporeal nature in times of conflict.

Over the last twenty years the educational role of the museum has come to be central to its mission. There are now far more educational opportunities, new spaces, new interfaces - both digital and physical, and a growing number of education and interpretation departments, educational curators and public engagement programmes. Despite these developments, however, higher education has remained a marginal collaborator compared to primary and secondary schools and to other forms of adult learning. This has meant that the possibilities for partnerships between universities, colleges, museums and galleries has remained relatively unexplored, especially in relation to their potential for generating innovative patterns of research and learning. This book addresses the key issues which are preventing such partnerships and examines how to enable more effective and creative connections between museums and higher education. The authors identify conceptual and practical barriers and explore whether current academic models are fit for purpose. They argue that as pressures mount on public educational resources around the world, there needs to be an urgent increase in the exchange of knowledge across these sectors and the forging of world-class scholarly partnerships. Examples of research undertaken internationally offer best practice models for collaboration and integration. This book will be compulsory reading for museum and educational specialists and those interested in engaging in museum/higher education partnerships. It will also be of interest to those involved in policy and decision-making in education, the museum sector and national and local government.

Public Art acknowledges the trend among contemporary museums to promote participatory and processual exhibition strategies meant to elicit subjective experience. At the same time it valorizes the object-oriented tradition that has long differentiated museums from other institutions similarly committed to public service and the perpetuation of cultural values. To blend and expand these aims, Hein draws upon a movement toward ephemerality and impermanence in public art. She proposes a new dynamic for the museum that is temporal and pluralistic, while retaining a grounding in material things. The museum is an agent, not a repository; and like public art, it interacts constructively with passing and transitory publics. As an actor with social clout, the museum has moral impact and responsibilities beyond those of the individuals that comprise its collective identity. The book should be read by museum workers and students, by arts and foundation administrators, critics, educators, aestheticians, institutional historians and theorists, and by anyone interested in the transmission of cultural concepts and values.

The Making of Modern Finance is a path-breaking study of the construction of liberal financial governance and demonstrates how complex forms of control by the state profoundly transformed the nature of modern finance.

Challenging dominant theoretical conceptions of liberal financial governance in international political economy, this book argues that liberal economic governance is too often perceived as a passive form of governance. It situates the gold standard in relation to practices of monetary governance which preceded it, tracing the evolution of monetary governance from the late middle Ages to show how the 19th century gold standard transformed the way states relate to finance. More specifically, Knafo demonstrates that the institutions of the gold standard helped to put in place instruments of modern monetary policy that are usually associated with central banking and argues that the gold standard was a prelude to Keynesian policies rather than its antithesis. The author reveals that these state interventions played a vital role in the rise of modern financial techniques which emerged in the late 18th and 19th century and served as the foundation for contemporary financial systems.

This book will be of strong interest to students and scholars of international political economy, economic history and historical sociology. It will appeal to those interested in monetary and financial history, the modern state, liberal governance, and varieties of capitalism.

The museum field is experiencing a critical gaze that is both "of the moment" and long overdue. Museums were built as colonial enterprises and are slow to awaken to the harm caused by their actions which are not limited to the capturing and keeping of Indigenous ancestors, the exclusion and erasure of Black voices, bodies, and creativity, and the positioning of white power in the C-suite and board rooms. For decades, the conversation about equity and inclusion in the museum field has become louder. It is no longer possible to ignore the systemic racism embedded in our society and our profession. The Inclusive Museum Leader offers insights and perspectives from two recognized museums leaders who have joined together to offer practical solutions and opportunities for today's museum leaders. Authors share their journeys to becoming inclusive leaders, as well as decisions they have made and actions they have taken to build equitable practices within their organizations. Throughout the book are personal exercises and provocations the reader is invited to respond to, making the book a valuable tool for any museum leader looking to enhance their style and re-frame their decision-making process.

Interpretative Master Planning: A Framework for Historical Sites begins with the basics of any planning experience: why do an interpretative master plan (IMP) and is your institution ready to undergo such a process? These chapters are followed with straightforward guidance on how to go about organizing the necessary funding to pay for an IMP's development, the core members of your planning team, choosing stakeholders, hosting focus groups, and using all the information gathered to develop an engaging interpretative master plan that is unique to your museum, historic site, or organization. The book features five case studies highlighting organizations that have undergone the interpretative master planning process. Each case study offers a unique point of view about the process and provides the organization's conclusions as to what they would or would not do again if they had the choice. The end results showcase the wealth of useful information that can be garnered from an Interpretative Master Planning experience. Interpretative Master Planning: A Framework for Historical Sites offers a complete framework complemented by real-world examples for creating a blueprint that will strengthen any organization's interpretation.

The past decade has seen a profound shift in our collective understanding of the digital network. What was once understood to be a transcendent virtual reality is now experienced as a ubiquitous grid of data that we move through and interact with every day, raising new questions about the social, locative, embodied, and object-oriented nature of our experience in the networked world. In The Emergence of the Digital Humanities, Steven E. Jones examines this shift in our relationship to digital technology and the ways that it has affected humanities scholarship and the academy more broadly. Based on the premise that the network is now everywhere rather than merely "out there," Jones links together seemingly disparate cultural events-the essential features of popular social media, the rise of motion-control gaming and mobile platforms, the controversy over the "gamification" of everyday life, the spatial turn, fabrication and 3D printing, and electronic publishing-and argues that cultural responses to changes in technology provide an essential context for understanding the emergence of the digital humanities as a new field of study in this millennium. The Open Access version of this book, available at https://doi.org/10.4324/9780203093085, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

As the hundredth anniversary approaches, it is timely to reflect not only upon the Great War itself and on the memorials which were erected to ensure it did not slip from national consciousness, but also to reflect upon its rich and substantial cultural legacy. This book examines the heritage of the Great War in contemporary Britain. It addresses how the war maintains a place and value within British society through the usage of phrases, references, metaphors and imagery within popular, media, heritage and political discourse. Whilst the representation of the war within historiography, literature, art, television and film has been examined by scholars seeking to understand the origins of the 'popular memory' of the conflict, these analyses have neglected how and why wider popular debate draws upon a war fought nearly a century ago to express ideas about identity, place and politics. By examining the history, usage and meanings of references to the Great War within local and national newspapers, historical societies, political publications and manifestos, the heritage sector, popular expressions, blogs and internet chat rooms, an analysis of the discourses which structure the remembrance of the war can be created. The book acknowledges the diversity within Britain as different regional and national identities draw upon the war as a means of expression. Whilst utilising the substantial field of heritage studies, this book puts forward a new methodology for assessing cultural heritage and creates an original perspective on the place of the Great War across contemporary British society.

This volume explores how Italian institutions, dealers, critics, and artists constructed a modern national identity for Italy by exporting - literally and figuratively - contemporary art to the United States in key moments between 1929 and 1969. From artist Fortunato Depero opening his Futurist House in New York City to critic Germano Celant launching Arte Povera in the United States, Raffaele Bedarida examines the thick web of individuals and cultural environments beyond the two more canonical movements that shaped this project. By interrogating standard narratives of Italian Fascist propaganda on the one hand and American Cold War imperialism on the other, this book establishes a more nuanced transnational approach. The central thesis is that, beyond the immediate aims of political propaganda and conquering a new market for Italian art, these art exhibitions, publications, and the critical discourse aimed at American audiences all reflected back on their makers: they forced and helped Italians define their own modernity in relation to the world's new dominant cultural and economic power. The book will be of interest to scholars working in art history, social history, exhibition history, and Italian studies.

One might believe that museum studies is a stable field of academic inquiry based on a set of familiar institutional forms and functions. But as institutions museums have never been stable or singular, and neither has the discipline of museum studies. Museum studies as a field of academic inquiry has received little critical attention. One result of this neglect has arguably been a lack of invention in museum studies; another is the distancing of academic museum studies from museum practice. Doing Museology Differently charts a different course. A critical-creative reflection on academic practice, the book takes the form of a narrative account of museological fieldwork. A research story unfolds, challenging academic conventions at the level of its own presentation: the book combines critical museum visiting with an autobiographical voice. The identification of a previously underexplored interdisciplinary space leads the author to experiment with museum studies using contemporary developments in the theory and practice of human geography. The new approaches to museological research and representation that emerge from this unique inquiry challenge assumed institutional and intellectual boundaries and act as a call to further creative experimentation.