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Ebook and Course Reserves Readings for ARTH 224G (Fall 2020): Home
ARTH 224G: Electronic Reading (Fall 2020)
Welcome to this launching pad for your investigation of the role of an encyclopedic museum - a museum that seeks to present all of world art under one roof. Note that if you click on an e-book of interest, you can explore that book by examining the table of contents and index. Also note that your PDF readings require a password that will be provided to you by Dr. Warden.
Cultural policy is changing. Traditionally, cultural policies have been concerned with providing financial support for the arts, for cultural heritage and for institutions such as museums and galleries. In recent years, around the world, interest has grown in the creative industries as a source of innovation and economic dynamism. This book argues that an understanding of the nature of both the economic and the cultural value created by the cultural sector is essential to good policy-making. The book is the first comprehensive account of the application of economic theory and analysis to the broad field of cultural policy. It deals with general principles of policy-making in the cultural arena as seen from an economic point of view, and goes on to examine a range of specific cultural policy areas, including the arts, heritage, the cultural industries, urban development, tourism, education, trade, cultural diversity, economic development, intellectual property and cultural statistics.
In this comparative, international study Marilena Alivizatou investigates the relationship between museums and the new concept of "intangible heritage." She charts the rise of intangible heritage within the global sphere of UN cultural policy and explores its implications both in terms of international politics and with regard to museological practice and critical theory. Using a grounded ethnographic methodology, Alivizatou examines intangible heritage in the local complexities of museum and heritage work in Oceania, the Americas and Europe. This multi-sited, cross-cultural approach highlights key challenges currently faced by cultural institutions worldwide in understanding and presenting this form of heritage.
The Bibliotheca Alexandrina was launched with great fanfare in the 1990s, a project of UNESCO and the Egyptian government to recreate the glory of the Alexandria Library and Museion of the ancient world. The project and its timing were curious--it coincided with scholarship moving away from the dominance of the western tradition; it privileged Alexandria's Greek heritage over 1500 years of Islamic scholarship; and it established an island for the cultural elite in an urban slum. Beverley Butler's ethnography of the project explores these contradictions, and the challenges faced by Egyptian and international scholars in overcoming them. Her critique of the underlying foundational concepts and values behind the Library is of equal importance, a nuanced postcolonial examination of memory, cultural revival, and homecoming. In this, she draws upon a wide array of thinkers: Freud, Derrida, Said, and Bernal, among others. Butler's book will be of great value to museologists, historians, archaeologists, cultural scholars, and heritage professionals.
Between the 1880s and 1980s, British excavations at locations across Egypt resulted in the discovery of hundreds of thousands of ancient objects that were subsequently sent to some 350 institutions worldwide. These finds included unique discoveries at iconic sites such as the tombs of ancient Egypt's first rulers at Abydos, Akhenaten, and Nefertiti's city of Tell el-Amarna and rich Roman Era burials in the Fayum. This book explores the politics, personalities, and social histories that linked fieldwork in Egypt with the varied organizations around the world that received finds. Case studies range from Victorian municipal museums and women's suffrage campaigns in the United Kingdom to the development of some of the United States's largest institutions, and from university museums in Japan to new institutions in post-independence Ghana. By juxtaposing a diversity of sites for the reception of Egyptian cultural heritage over the period of a century, this book presents new ideas about the development of archaeology, museums and the construction of Egyptian heritage. It also addresses the legacy of these practices, raises questions about the nature of the authority over such heritage today and argues for a stronger ethical commitment to its stewardship.
Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders." Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. Cuno explains how partage broadened access to our ancient heritage and helped create national museums in Cairo, Baghdad, and Kabul. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial. Some images inside the book are unavailable due to digital copyright restrictions.