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When UNESCO adopted the "Recommendation on the Safeguarding of Traditional Culture and Folklore" in 1989, a new concept was articulated in the context of international cultural policy (Kurin 2001). The understanding of cultural heritage The Aims of the Vigoni ConferencesThe starting point for three international and interdisciplinary conferences held at Villa Vigoni in 2010, 2011 and 2012 was the circulation of the concepts of community and participation, their entanglement with notions of territoriality, and different political and social fields concerned with matters of cultural heritage. How and by whom were these concepts interpreted and re-interpreted, and what effects did they bring forth in their implementation? What impact, rhetorically and practically, was wielded by these terms, and what kinds of discursive formations did they bring forth? How do actors from local to national levels interpret this new component of the heritage regime, and how do actors within heritage-granting national and international bodies work it into their cultural and political agency? Which new relationships and networks unfold within the negotiation processes between different representatives of communities and those actors who think and act within UNESCO's "professional heritage enterprise" (Kirshenblatt-Gimblett 2004: 55). What is the role of experts and expertise, indeed, what counts as expertise and when is scientific knowledge expertise and when is it partisan, supportive matter in the nomination process of the future (in)tangible heritage of humankind? How do Community, Participation and Territory from a Legal PerspectiveThe critical approaches of disciplines working and arguing ethnographically are only one discursive contribution in heritage implementation. The Vigoni program sought explicitly to analyze the participation paradigm within heritage making from an interdisciplinary perspective. In such an arrangement, interpretive perspectives confront the more normative approaches, which are, generally, also those drawn on by state and local bureaucracies in the implementation of heritage conventions. Legal expertise is, after all, what a polity draws on to explain and, in the process, contribute to the development and implementation of guidelines for any new legislation. Within the Vigoni conferences, we sought to understand the inner, discipli-***** Christoph Brumann differentiated between heritage believers, heritage atheists and heritage agnostics in an earlier article (2014), and the Vigoni meetings brought together representatives of these different groups. Several papers in this volume are examples of academic engagement in heritage making and in heritage policy making, and provide evidence of a scholarly, multidisciplinary "will to improve" (Li 2007). The tension between personal convictions, local and professional engagement as experts, and scientific analysis are not easy for some authors to bridge. The contributions of this volume also constitute further extensions of the UNESCO heritage assemblage. The materi...
© École des hautes études en sciences sociales L'ANCIENNETÉ DE L'INTÉRÊT pour les ressorts de la création, artistique et intellectuelle d'une manière générale, est bien connue et documentée depuis l'Antiquité. Ernst Kris et Otto Kurz (1987[1934) en avaient dégagé, il y a plus de quatre-vingts ans, les sources et formes principales rendant compte notamment de la fabrication du « mystère de la création » dans le goût général pour les « vies » (des artistes, des philosophes, des savants, etc.). Intérêt ancien mais également continu, avec des phases particulièrement actives d'enquêtes visant au percement obsessionnel du « secret » des créateurs.Le milieu du XVII e siècle voit ce mouvement se stabiliser à un très haut niveau d'intensité qui a pu prendre des formes très diverses, complexifiées encore par l'intervention, volontaire ou sollicitée, des créateurs euxmêmes. Ces derniers participent à l'explicitation de leur mécanique intérieure en disant leur vie, en se laissant « visiter » (une pratique qui se répand au XVIII e siècle), en se soumettant à des projets d'enquête (ante puis post mortem : les autopsies de « génies » vont se multiplier au XIX e siècle), en élevant enfin, à partir des années 1920, l'acte de création au niveau de l'oeuvre elle-même, puis la dépassant : « Nous voulons montrer notre travail, et non faire des oeuvres », aimait à dire Pablo Picasso, selon Francis Ponge (cité p. 35). Et cela renvoyait, pour Picasso et pour d'autres dans des champs distincts des arts et des sciences, à un véritable projet d'anthropologie générale : « Sans doute existera-t-il un jour une science, que l'on appellera peut-être science de l'homme, qui cherchera à pénétrer plus avant l'homme à travers l'homme créateur… À PROPOS
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