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Il patrimonio culturale. Un approccio critico
Historic sites, memorials, national parks, museums...we live in an age in which heritage is ever-present. But what does it mean to live amongst the spectral traces of the past, the heterogeneous piling up of historic materials in the present? How did heritage grow from the concern of a handful of enthusiasts and specialists in one part of the world to something which is considered to be universally cherished? And what concepts and approaches are necessary to understanding this global obsession?
Over the decades, since the adoption of the World Heritage Convention, various 'crises' of definition have significantly influenced the ways in which heritage is classified, perceived and managed in contemporary global societies. Taking an interdisciplinary approach to the many tangible and intangible 'things' now defined as heritage, this book attempts simultaneously to account for this global phenomenon and the industry which has grown up around it, as well as to develop a 'toolkit of concepts' with which it might be studied. In doing so, it provides a critical account of the emergence of heritage studies as an interdisciplinary field of academic study. This is presented as part of a broader examination of the function of heritage in late modern societies, with a particular focus on the changes which have resulted from the globalisation of heritage during the late twentieth and early twenty-first centuries.
Developing new theoretical approaches and innovative models for more dialogically democratic heritage decision making processes, Heritage: Critical Approaches unravels the relationship between heritage and the experience of late modernity, whilst reorienting heritage so that it might be more productively connected with other pressing social, economic, political and environmental issues of our time.
Over the decades, since the adoption of the World Heritage Convention, various 'crises' of definition have significantly influenced the ways in which heritage is classified, perceived and managed in contemporary global societies. Taking an interdisciplinary approach to the many tangible and intangible 'things' now defined as heritage, this book attempts simultaneously to account for this global phenomenon and the industry which has grown up around it, as well as to develop a 'toolkit of concepts' with which it might be studied. In doing so, it provides a critical account of the emergence of heritage studies as an interdisciplinary field of academic study. This is presented as part of a broader examination of the function of heritage in late modern societies, with a particular focus on the changes which have resulted from the globalisation of heritage during the late twentieth and early twenty-first centuries.
Developing new theoretical approaches and innovative models for more dialogically democratic heritage decision making processes, Heritage: Critical Approaches unravels the relationship between heritage and the experience of late modernity, whilst reorienting heritage so that it might be more productively connected with other pressing social, economic, political and environmental issues of our time.
285 pages, Paperback
First published September 10, 2012
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About the author
Rodney Harrison
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Displaying 1 - 5 of 5 reviews
June 23, 2021
HERITAGE: CRITICAL APPROACHES Rodney Harrison Routledge: Abingdon, 2013, 268 pp. ISBN 978-0-415-59197-3.
Rodney Harrison's Heritage: Critical Approaches is an important and timely addition to heritage studies. Drawing on his background as an academic, field-based practitioner and heritage expert in America, the United Kingdom and Australia, Harrison sets out to provide an overview for understanding the polymorphous nature of heritage in the opening decades of the twenty-first century. The critical theoretical and political turn in heritage studies is currently a topical one that Harrison describes as the discourse of heritage and refers to as the 'discursive turn' (p.9). In many respects, the discursive turn constitutes a reformulation of the discipline, as well as an overdue attempt to theorise the field. Harrison's book stands above many other similar publications because it quite overtly uses case studies to explain complex conceptual positions about heritage and does not eschew the importance of material culture, despite recent trends to embrace intangible heritage. There are many 'straw men' in the still nascent field of heritage studies (like many emergent and recent disciplines), for instance, criticism of the World Heritage Convention and the role of UNESCO agencies such as ICOMOS, yet Harrison resists them all, instead opting to provide a sustained analysis of critical heritage. Whereas some researchers invoke the need for theory as part of a hermeneutic discussion without contextualising the need for it, Harrison actually theorises and historicises Western epistemologies of heritage studies. In this respect, the approach of this book sits comfortably alongside Laurajane Smith's and Emma Waterton's recent work, as well as Smith's and Logan's edited series, Key Issues in Cultural Heritage. Highlights of the book include the emphasis upon, and analysis of, crises in heritage that have occurred in recent decades, discussion of the antecedents of the World Heritage movement and the implications of the two World Heritage Conventions. In his chapter titled 'Heritage and the Problem of Memory', Harrison persuasively argues the need to open 'the canonical status of heritage registers and lists to debate, in the hope that this will promote a more informed engagement' (p.202). A subtle criticism of the book, and this is more by way of an observation, is that some of the work regarding heritage and memory has already occurred in other academic conversations. Harrison's discussion of commemoration would have benefited from an engagement with the memory work undertaken in historical studies and other allied disciplines. This is a comprehensive book, thoughtfully structured into sections and clearly delineated conceptual chapters. It will be of great benefit for cultural heritage academics, archaeologists, historians, musicologists, government heritage agencies, and both undergraduate and postgraduate students, as well as those with a specialised lay interest in heritage strategies at grass roots and local government levels. Perhaps the wide audience reveals the underlying strength of this book, which is that it successfully seeks to connect seemingly disparate groupings within heritage studies with a view to bringing new meaning and critical appraisals to the field. Clearly Harrison has written an engaging and thoughtful book that raises many issues, including heritage and sustainability, human rights and the democratised processes of heritage management that are best understood as problems in the present day.
(Review by Keir Reeves McDonald)
Rodney Harrison's Heritage: Critical Approaches is an important and timely addition to heritage studies. Drawing on his background as an academic, field-based practitioner and heritage expert in America, the United Kingdom and Australia, Harrison sets out to provide an overview for understanding the polymorphous nature of heritage in the opening decades of the twenty-first century. The critical theoretical and political turn in heritage studies is currently a topical one that Harrison describes as the discourse of heritage and refers to as the 'discursive turn' (p.9). In many respects, the discursive turn constitutes a reformulation of the discipline, as well as an overdue attempt to theorise the field. Harrison's book stands above many other similar publications because it quite overtly uses case studies to explain complex conceptual positions about heritage and does not eschew the importance of material culture, despite recent trends to embrace intangible heritage. There are many 'straw men' in the still nascent field of heritage studies (like many emergent and recent disciplines), for instance, criticism of the World Heritage Convention and the role of UNESCO agencies such as ICOMOS, yet Harrison resists them all, instead opting to provide a sustained analysis of critical heritage. Whereas some researchers invoke the need for theory as part of a hermeneutic discussion without contextualising the need for it, Harrison actually theorises and historicises Western epistemologies of heritage studies. In this respect, the approach of this book sits comfortably alongside Laurajane Smith's and Emma Waterton's recent work, as well as Smith's and Logan's edited series, Key Issues in Cultural Heritage. Highlights of the book include the emphasis upon, and analysis of, crises in heritage that have occurred in recent decades, discussion of the antecedents of the World Heritage movement and the implications of the two World Heritage Conventions. In his chapter titled 'Heritage and the Problem of Memory', Harrison persuasively argues the need to open 'the canonical status of heritage registers and lists to debate, in the hope that this will promote a more informed engagement' (p.202). A subtle criticism of the book, and this is more by way of an observation, is that some of the work regarding heritage and memory has already occurred in other academic conversations. Harrison's discussion of commemoration would have benefited from an engagement with the memory work undertaken in historical studies and other allied disciplines. This is a comprehensive book, thoughtfully structured into sections and clearly delineated conceptual chapters. It will be of great benefit for cultural heritage academics, archaeologists, historians, musicologists, government heritage agencies, and both undergraduate and postgraduate students, as well as those with a specialised lay interest in heritage strategies at grass roots and local government levels. Perhaps the wide audience reveals the underlying strength of this book, which is that it successfully seeks to connect seemingly disparate groupings within heritage studies with a view to bringing new meaning and critical appraisals to the field. Clearly Harrison has written an engaging and thoughtful book that raises many issues, including heritage and sustainability, human rights and the democratised processes of heritage management that are best understood as problems in the present day.
(Review by Keir Reeves McDonald)
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September 22, 2023Kurslitteratur. Asså den är ju bra och förklarande och jag förstår den mer efter en andra läsning och två år av studier men älskar fortfarande inte Harrisons sätt att skriva? Är dock intresserad av hans nyare bok som behandlar framtiden men tvek om jag kommer prioritera att läsa den inom en nära framtid….
November 16, 2024
Good and clear overview of the history and challenges of heritage studies.
January 15, 2014
This book is a good account of heritage, heritage studies and the development of heritage as a concept. I must say I found it quite repetitive at times. A lot of the concepts, personal opinions etc, are repeated in every chapter. This is understandable however considering this book is trying to be a good sourcebook for people doing research on heritage. And you don't always read an entire book when you are doing research on a specific subject.
However the fact that the Harrison wants this book to be considered a sourcebook conflicts with the overal tone of the book. Sometimes the language used, the excess of examples and the constant repeating of concepts, feels like he wanted to dumb down the book so a non-academic reader could inform himself on heritage. This bothers me, as by dumbing down the language he doesn't only underestimate his audience but he also goes against the basic statements he makes about the universal aspect of heritage. Making academic knowledge and results available to the public is not a question of dumbing down the language used, but just taking the basic statements made in the academic research and presenting them without the redundant elements (aka elements that belong in every academic publication but aren't always necessary in presenting your statements to a general public). Mary Beard does this for example through giving suggestion of other authors that talk about a certain subject, and making general references to ancient sources. Where as in an academic publication this would be replaced by an extensive bibliography and source-list.
I also mentioned it goes against the basic statements he makes about heritage. Harrison promotes an intensive dialogue between heritage brokers, laymen, academics and bigger organisations like UNESCO. These conversations are meant to be on equal footing, but he presents the information to the reader in a dumbed down language.
I'll take the time here to say I could be misinterpreting the language of the book entirely! This might just be the result of the very structured writing style of Harrison where he clearly states what he's going to talk about in a chapter and where the next one is going. I haven't read any of his other works so I can't say if this is the case.
Another problem with the book is the focus on the UK and USA. Harrison does mention Western Europe and also utilizes examples from all over the globe to reinforce his statements. However some aspects about heritage he mentions are things that just aren't the same in every European country. This is problematic for example in his explanation of the heritage boom in late modern society. He argues that the economic shift from heavy industry to an economy of services in the 20th century caused industrial sites in countries like the UK to be reinstated as heritage sites. Heritage as a result, took over as a main economic source of income. This just isn't the case everywhere. Not every country is as in tune with it's national history and heritage as the UK and the USA are. You aren't going to find many shows like "Horrible Histories," selling out venues as big as the Royal Albert Hall, outside of the UK. This undermines his statements of heritage as a valuable source of income in many countries. Not every country can promote heritage as easily as others. I would have liked to see a part of the book dedicated to how countries like the UK made heritage into a valuable industry.
Of course I can't blame the author for not giving a detailed account of every heritage situation in the world. He did well, for the amount of space he was allowed.
However the fact that the Harrison wants this book to be considered a sourcebook conflicts with the overal tone of the book. Sometimes the language used, the excess of examples and the constant repeating of concepts, feels like he wanted to dumb down the book so a non-academic reader could inform himself on heritage. This bothers me, as by dumbing down the language he doesn't only underestimate his audience but he also goes against the basic statements he makes about the universal aspect of heritage. Making academic knowledge and results available to the public is not a question of dumbing down the language used, but just taking the basic statements made in the academic research and presenting them without the redundant elements (aka elements that belong in every academic publication but aren't always necessary in presenting your statements to a general public). Mary Beard does this for example through giving suggestion of other authors that talk about a certain subject, and making general references to ancient sources. Where as in an academic publication this would be replaced by an extensive bibliography and source-list.
I also mentioned it goes against the basic statements he makes about heritage. Harrison promotes an intensive dialogue between heritage brokers, laymen, academics and bigger organisations like UNESCO. These conversations are meant to be on equal footing, but he presents the information to the reader in a dumbed down language.
I'll take the time here to say I could be misinterpreting the language of the book entirely! This might just be the result of the very structured writing style of Harrison where he clearly states what he's going to talk about in a chapter and where the next one is going. I haven't read any of his other works so I can't say if this is the case.
Another problem with the book is the focus on the UK and USA. Harrison does mention Western Europe and also utilizes examples from all over the globe to reinforce his statements. However some aspects about heritage he mentions are things that just aren't the same in every European country. This is problematic for example in his explanation of the heritage boom in late modern society. He argues that the economic shift from heavy industry to an economy of services in the 20th century caused industrial sites in countries like the UK to be reinstated as heritage sites. Heritage as a result, took over as a main economic source of income. This just isn't the case everywhere. Not every country is as in tune with it's national history and heritage as the UK and the USA are. You aren't going to find many shows like "Horrible Histories," selling out venues as big as the Royal Albert Hall, outside of the UK. This undermines his statements of heritage as a valuable source of income in many countries. Not every country can promote heritage as easily as others. I would have liked to see a part of the book dedicated to how countries like the UK made heritage into a valuable industry.
Of course I can't blame the author for not giving a detailed account of every heritage situation in the world. He did well, for the amount of space he was allowed.
September 20, 2017
Harrison's argument is pretty straightforward, and I quite like what he's positing, about the dynamic, active use and creation of "heritage". But as a lay reader to this field, I'm wondering if something so elegant and 'duh' (in some ways) hasn't already been put forth somewhere else, by someone else. Sometimes this guy spends half his chapters going "in the previous chapters i...." and/or "in the next few chapters I will..." so that the real meat in this sandwich isn't as substantial as it would look on a first glance. I think Harrison's a decent thinker and writer but sometimes the redundancy and repetition of some pages/chapters read like he's padding a metaphorical heritage bra.
Displaying 1 - 5 of 5 reviews