Memory and Heritage

Question 1

McCannell (1992)

Answer 1

‘an ideological framing of history, nature and tradition; a framing that has the power to reshape culture and nature to is own needs.’

Question 2

On the other hand heritage is referred to as

Answer 2

heritage is used to refer to a suite of shared cultural values and memories, inherited over time and expressed through a variety of cultural performance.

Question 3

Heritage, as a concept begins with?

Answer 3

Heritage, as a concept, begins with a highly individualised notion of what we either personally inherit or bequeath.

Question 4

Anderson (1983)

Answer 4

nations are collectively imagined because ‘members of even the smallest nation will never know most of their cello-members… yet in the minds of each lives the image of their communion’. National states therefore attempt to maintain this identity by highlighting the historical trajectory of the cultural group through the preservation of elements of the built environment, through spectacle and parade, through art and craft etc

Question 5

Urry (1990)

Answer 5

‘postmodernism involves a dissolving of boundaries, not only between high and low cultures, but also between different cultural forms such as tourism, art, music, sport, shopping and architecture’.

Question 6

Nora (1989)

Answer 6

before the 19th Century memory was such a part of the practices of everyday life through storytelling that people were hardly aware of its existence. While elite classes had an institutionalised memory preserved through archives and biographies, ordinary people neither recorded nor objectified their past. From the 19th Century onwards, modern memory became more democratised, and it became self-consciously preserved and archival - rather than viewing heritage as a false, disrupted history impounded on the masses, we can view heritage sites as forming one link in a chain of popular memory.

Question 7

Cosgrove (2003)

Answer 7

‘preserving the heritage fragment inescapably involves its ‘relocation, reconstruction and representation within the different landscape of the present’.

Question 8

Sherman and Rogoff (1994)

Answer 8

4 conceptual keystones in the arch of museum politics and practices that will help throw the light on how representation worlds. 
First, museums are comprised of a series of objects, which are ordered and classified in a specific sequence. 
Second, the sequences of objects are woven into an external narrative that may relate, for instance, to local history, class relations or the nation. 
Third, museums are designed to serve a specified public and exhibits are structured to disclose the story to that public.
Finally, the audience’s responses to a display becomes an integral part of the design process.