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“a welcome addition to a growing body of scholarly writing… a comprehensive critical survey of the literature on cultural heritage and tourism and associated issues in the fields of cultural and media studies over the previous decade. These concepts and issues are clearly presented and exemplified in the case studies of numerous sites of cultural display…” Southern Review Why is culture so widely on display? What are the major characteristics of contemporary cultural display? What is the relationship between cultural display and key features of contemporary society: the rise of consumerism; tourism; ‘identity-speak’; globalization? What can cultural display tell us about current relations of self and other, here and there, now and then? Culture on Display invites the reader to visit culture. Reflecting on the contemporary proliferation of sites displaying culture in visitable form, it offers fresh ways of thinking about tourism, leisure and heritage. Bella Dicks locates diverse exhibitionary locations within wider social, economic and cultural transformations, including contemporary practices of tourism and travel, strategies of economic development, the staging of identities, globalization, interactivity and relations of consumerism. In particular, she critically examines how culture becomes transformed when it is put on display within these contexts. In each chapter, key theoretical issues of debate, such as authenticity, commodification and representation, are discussed in a lively and accessible manner. This is an important book for undergraduate and postgraduate students of cultural policy, cultural and media studies and sociology, as well as academic researchers in this field. It will also be of considerable value to students of sociology of culture, cultural politics, arts administration and cultural management.
Reflecting on the contemporary proliferation of sites displaying culture in visitable form, this text introduces readers to fresh ways of thinking about tourism, leisure and heritage.
The assumption that museum exhibitions, particularly those concerned with science and technology, are somehow neutral and impartial is today being challenged both in the public arena and in the academy. The Politics of Display brings together studies of contemporary and historical exhibitions and contends that exhibitions are never, and never have been, above politics. Rather, technologies of display and ideas about 'science' and 'objectivity' are mobilized to tell stories of progress, citizenship, racial and national difference. The display of the Enola Gay, the aircraft which dropped the atomic bomb on Hiroshima is a well-known case in point. The Politics of Display charts the changing relationship between displays and their audience and analyzes the consequent shift in styles of representation towards interactive, multimedia and reflexive modes of display. The Politics of Display brings together an array of international scholars in the disciplines of sociology, anthropology and history. Examples are taken from exhibitions of science, technology and industry, anthropology, geology, natural history and medicine, and locations include the United States of America, Australia, the United Kingdom, France, the Netherlands and Spain. This book is an excellent contribution to debates about the politics of public culture. It will be of interest to students of sociology, anthropology, cultural studies, museum studies and science studies.
A "highly recommended" (Library Journal) contribution to interdisciplinary debate about how cultural differences are implicit within visual forms.
This book examines postsocialist transformations reflected in urban middle-class domestic spaces and in museums dedicated to socialism in Romania. It focuses on the significance and circulation of porcelain and crystal sets and ornaments during late socialism and after 1989, following the experiences of consumers, workers in the glassware and porcelain industry, and artists. By tracing the values and temporalities embedded in materiality, the book sheds light on how objects shape daily life in a time of cultural, economic, and social change. Drawing on ethnographic research, the book offers an in-depth analysis of the ambiguous relation between the middle-class and the socialist state, using materiality and consumption to shed light on contradictions between aspirations and resources and between official discourses and everyday practices. The book reveals changes in practices of display, gift exchange, and barter, in the perception and use of time, as well as in gender and inter-generational relations. This work will be of interest to sociologists, anthropologists and cultural historians, especially researchers interested in consumption, material culture, postsocialism, the anthropology of value and gift, the study of social time, practices of the middle-class, and the history of consumption in Eastern Europe.
In the late-nineteenth century, British travelers to the Andaman and Nicobar Islands compiled wide-ranging collections of material culture for scientific instruction and personal satisfaction. Colonial Collecting and Display follows the compelling history of a particular set of such objects, tracing their physical and conceptual transformation from objects of indigenous use to accessioned objects in a museum collection in the south of England. This first study dedicated to the historical collecting and display of the Islands' material cultures develops a new analysis of colonial discourse, using a material culture-led approach to reconceptualize imperial relationships between Andamanese, Nicobarese, and British communities, both in the Bay of Bengal and on British soil. It critiques established conceptions of the act of collecting, arguing for recognition of how indigenous makers and consumers impacted upon "British" collection practices, and querying the notion of a homogenous British approach to material culture from the Andaman and Nicobar Islands.
"Noordegraaf describes how in the nineteenth and twentieth centuries, museums communicated with their audience through their presentations. Drawing upon ideas developed in film studies, she argues that presentations are based on a 'script' that includes all the elements that mediate between the museum and its audience. These include the location, architecture and layout of the building, the arrangement of the objects, the display techniques and the different means of communicating with the visitor. [This volume] contributes to the international discussion about the role and function of the museum in contemporary society among both those in charge of setting up and designing presentations and those who visit them. From its first appearance in 2004 the book has become widely used for research and teaching in the field of museum and curating history and theory internationally"--Publisher's description.
The Negro Motorist Green Book was a groundbreaking guide that provided African American travelers with crucial information on safe places to stay, eat, and visit during the era of segregation in the United States. This essential resource, originally published from 1936 to 1966, offered a lifeline to black motorists navigating a deeply divided nation, helping them avoid the dangers and indignities of racism on the road. More than just a travel guide, The Negro Motorist Green Book stands as a powerful symbol of resilience and resistance in the face of oppression, offering a poignant glimpse into the challenges and triumphs of the African American experience in the 20th century.
Long before Harlem became one of the trendiest neighbourhoods in the red-hot property market of Manhattan, it was a metaphor for African American culture at its richest. This is the classic record of Harlem life during some of the most exciting and turbulent years of its history, a beautiful - and poignant - reminder of a powerful moment in African American history. Includes the work of some of Harlem's most treasured photographers, extraordinary images are juxtaposed with articles recording the daily life of one of New York's most memorialised neighbourhoods.