Veronica and Innes Flashcards

1
Q

Kong 1997

A

parades succeed to a large extent in creating a sense of awe, wonderment and admiration. National identity are social constructions

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2
Q

Anderson J 2010

A

cultural actions take place, and affect the globe

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3
Q

Duncan 1990

A

The city acts to be read and meanings and undrestandings drawn from it. A written account of culture

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4
Q

Wylie 2007

A

he person is entwined and emergent with the landscape

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5
Q

Tutton 2004

A

Social and cultural dominance is (re)produced in the landscape by the exclusion or marginalisation of subordinate and minority groups. city agencies to create landscapes of reconciliation through symbolic gestures such as renaming parkland areas, these are argued to be contentious.

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6
Q

Johnson 1995

A

important centres around which local and national political and cultural positions have been articulated

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7
Q

McGeachan 2014

A

The aim is to expose the need for historical geography to engage with the darkest corners of human experience

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8
Q

Mills 2006

A

a narrative of multicultural tolerance; and the narrative of the neighbourhood, the mahalle, as the urban space of belonging and familiarity.

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9
Q

Mitchell K 2003

A

city is vital for commemorative events

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10
Q

Till 2012

A

Artists and residents in wounded cities encourage political forms of witnessing to respect those who have gone before, attend to past injustices that continue to haunt contemporary cities, and create experimental communities to imagine different urban futures.

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11
Q

Shah 2013

A

what we argue, however, is that a new understanding of suburbia must reach beyond study of built form, morphology and travel flows, to include the geographies of organisations, material cultures, practices, beliefs and feelings.relationships between space, faith and mobilities.

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12
Q

Fenster 2011

A

complicated nature of secularism, physical boundaries can occur between peoples in secular cities

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13
Q

Beaumont 2011

A

postsecular conceived as a wider liminal space where we embark on journies across thresholds

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14
Q

Holloway 2003

A

duality of sacred and profane as the relational outcome of both embodied action and the action of other objects

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15
Q

Sauer 1925

A

landscape is a geographical area with an assemble of objects

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16
Q

Mitchell 2000

A

Dark side of landscape, people working on hills that appear attractive

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17
Q

Cosgrove 1988

A

pictoral way of symbolising surroundings

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18
Q

Mitchell 1996

A

studies of house types ultimately irrelevant

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19
Q

Wylie 2007

A

person is intertwined with and emergent from the landscape

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20
Q

Hillier and Tzortzi, 2006

A

Curatorial intent has been more prominent in current geographies

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21
Q

Moore and Wheelan 2007

A

memories and heritage is controlled and selected. Memorial, stately home, how does it communicate meaning

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22
Q

Geoghegan 2013

A

development of a closeness with a space

23
Q

Craggs 2015

A

people can build strong emotional attachments to places of heritage, creating indentity and personal understandings

24
Q

Harvey 2015

A

Heritage and landscape are part of how people

25
Q

Urry 1996

A

Saved for the nation, moral good and national ideal

26
Q

Rivero 2017

A

Coney Islanc, who decides what is protected, endurance and authenticity, engaging with the past

27
Q

Harrowell 2016

A

Natural or cultural heritage sites can be exploited because they hold a geopolitical significance

28
Q

Labudi and Long 2010

A

Heritage and globalisation are linked

29
Q

Bryne 1991

A

Ideas have been accused of being Eurocentric

30
Q

Smith 2006

A

European ideas of conservation have become naturalised and used across the globe

31
Q

Whiteley 1995

A

Naational trust conserving interrgated and historical ambience, protection of heritage

32
Q

While 2006

A

attempts to remove post-war architecture, however over time has become more valuabel

33
Q

Graham 2000

A

Heritage is manifested in space and used to create space

34
Q

Johnson 2014

A

Heritage is reproduced through shared cultural values and performance

35
Q

Grydehøj 2010

A

Heritage physical properties, tradtition is the immaterial, customs and rituals

36
Q

Garrett 2014

A

Photos create worlds, not represent them

37
Q

Marwick 2015

A

creation of the self image, selling ourselves for consumption

38
Q

Schwarz 2010

A

selfies and attempt to show a place in landscape, a position in the world

39
Q

Harding 2008

A

Kodak Brownie allowed for people to begin documenting their lives

40
Q

Ryan 1997

A

photography used on a colonial scale to emphasise differences

41
Q

Urry 2002/ 2011

A

The tourist gaze, people see what fulfills their fantasies and what they expect to see

42
Q

Magasic 2016

A

greater power, faster, approval, proving our presence

43
Q

Geoghegan 2010

A

Always political spaces,subjective and always

44
Q

Black 2000

A

museums arose in quick popularity as they provided and antithesis to the modern day london

45
Q

Boetsch 2014

A

Cabinets of curiosity and objects of the foreign.

46
Q

Cuno 2011

A

Cabinets of curiosity and objects of the foreign.

47
Q

O’Neill 2004

A

Universal museums have the authority to project the world

48
Q

macGregor 2004

A

The desire to place cultural objects in a national context only limits their value

49
Q

Curtis 2013

A

Objectivity does simply not exist when it comes to displays and colleections

50
Q

Forgan 2005

A

Curation, display and interpretation is ultimately the cultural power of museums

51
Q

Kohlstedt 2017

A

Smithsonian museum in Washington DC, moved around to rpresent curatorial views

52
Q

Qureshi 2012

A

peolpes were displayed at museums to help justify colonial actions

53
Q

Stylianou 2015

A

museums are inherently spatial, they occupy space and arrange exhibits to occupy internal space in a certain way.