By Lynn Meskell
Examines the social, cultural and moral dimensions of background study and perform, and the underlying foreign politics of defending cultural and typical assets all over the world. * makes a speciality of ethnographic and embedded views, in addition to a dedication to moral engagement * Appeals to a vast viewers, from archaeologists to background execs, museum curators to most of the people * The participants contain a superb workforce, representing the most well-known students during this extensive box, with a mix of senior and rising students, and an emphasis on overseas contributions
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Additional info for Global Heritage: A Reader
Helskog and B. Olsen (eds), Perceiving Rock Art: Social and Political Perspectives. Oslo: Institute for Comparative Research in Human Culture, pp. 295–316. Merry, S. E. (2006) Human Rights and Gender Violence: Translating International Law into Local Justice. Chicago: University of Chicago Press. Meskell, L. M. ) (1998) Archaeology under Fire: Nationalism, Politics and Heritage in the Eastern Mediterranean and Middle East. London: Routledge. Meskell, L. M. (2002) Negative heritage and past mastering in archaeology.
J. Ashworth, and J. E. Tunbridge (2000) A Geography of Heritage: Power, Culture and Economy. London: Arnold. Green, E. L. ) (1984) Ethics and Values in Archaeology. New York: Free Press. Hall, M. (1984) The burden of tribalism: the social context of southern African Iron Age Studies. American Antiquity 49: 455–467. Hall, M. (1988) Archaeology under apartheid. Archaeology 41: 62–64. Hall, M. (2001) Social archaeology and the theaters of memory. Journal of Social Archaeology 1: 50–61. Hall, M. (2005) Situational Ethics and Engaged Practice: The Case of Archaeology in Africa, in L.
He distinguishes the UNESCO and New World Orders 31 “endo‐nostalgia” of those who have actually grown up in the place and whose mem ories of the good old days are based, however selectively, on actual experience from the “exo‐nostalgia” of many tourists and technical experts for a colonial Indochina they have never seen themselves or which never existed to begin with. Just as nos talgia is performative, so too is the creation and transformation of heritage spaces by UNESCO experts and national civil servants.