By Russell Staiff
This e-book demanding situations conventional ways to history interpretation and provides an alternate theoretical structure to the present learn and perform. Russell Staiff means that the discussion among viewers and history areas has been too inquisitive about studying results, and so background interpretation has turn into ruled by way of psychology and academic concept, and over-reliant on superseded pondering. utilizing his historical past as an paintings historian and adventure educating historical past and tourism classes, Russell Staiff weaves own remark with thought in a fascinating and full of life method. He acknowledges that the 'digital revolution' has replaced perpetually the best way that individuals have interaction with their surroundings and new strategy is required.
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Additional info for Re-imagining Heritage Interpretation: Enchanting the Past-Future
Over lunch the conversation ranges widely but it is to the exhibition that we return over and over. Have archaeological objects from Italy and under the auspices of the Soprintendenza Archeologica Napoli e Pompei been subordinated to the context? Has the integrity of the archaeological objects been affected by the spectacle of the exhibition? Does the blurring between museums and theme parks and the influences of cinema and multimedia matter? Is the emphasis on visual interpretation (with language-based interpretation in a secondary and supporting role) a response to the view that visual culture has become the dominant mode of communication in the twenty-first century?
This ‘gap’ between representation and reality (irrespective of whether the reality is an imagined one, a memory or something actual) is a constant as is the co-implication of representation and reality. All interpretations of heritage are representations and all of them have the characteristics associated with the description of the Sicilian guidebook. Heritage interpretation has a ‘life’ independent of the material object or place it represents. Tilden: beyond resurrection 31 Stuart Hall’s edited book Representation: Cultural Representations and Signifying Practices (1997) provides a useful introduction to the notion of ‘representation’ and its relation to culture and meaning-making.
By placing the emphasis on the performative, heritage interpretation is changed. Rather than being a matter of communicating something to a (passive and temporary) visitor, it is the production of meaning by the visitor in their interaction with the place. In this conception – and contrary to the ‘common-sense’ one – the visitor is the author of meaning(s), not the site. Finally, there is heritage interpretation itself. When the orthodox definitions of interpretation are considered, several things become apparent.
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