The article discusses certain heritage interpretation challenges posed by both the hybridisation of heritage institutions (the blurred boundaries between libraries/museums/ archives) and the ...visitor’s increasingly mediatised experience of heritage. The Mundaneum – a Belgian archival, museum and exhibition centre – is used as a case study. It is analysed as a semiotic condenser – a heritage object that actively reinforces and develops its symbolic status as a ‘paper Google’, thereby emphasising its significance for the past, present and future. I offer narratological analysis of the genesis of this symbolism in scientific discussions and focus on heritage interpretation in the context of the Mundaneum’s archive of 30,000 optical lantern glass slides in order to highlight the challenges such symbolic and conceptual approaches to heritage bring to its responsible interpretation.
Avtorici v članku na podlagi analize trinajstih intervjujev s tujimi, nacionalnimi, regionalnimi in lokalnimi predstavniki muzejev in festivalov narodnozabavne glasbe (NZG) predstavita, na kakšne ...načine ti dediščinski vratarji razumejo NZG kot dediščino. Pri tem analizirata tudi, v kolikšni meri definicije popularnoglasbenih žanrov kot kulturne dediščine v diasporah sovpadajo oz. se razlikujejo od tistih, ki jih uporabljajo deležniki iz matične domovine. Ugotavljata, da sodelujoči vratarji NZG kot dediščino praviloma razumejo bolj vključujoče, kot jo obravnavajo v praksi, ter da na razumevanje NZG pomembno vpliva premislek deležnikov o pomenu izseljencev in tujih vplivov na oblikovanje slovenske kulture.
Družbenokulturno učinkovanje sodobne popularne glasbe je večplastno in večsmerno. Po eni strani je sodobna popularna glasba v veliki meri deteritorializirana; produkcijsko, distribucijsko in ...recepcijsko namreč ni enoznačno prostorsko usidrana, temveč je vpeta v izrazito transnacionalen kontekst. Po drugi strani je ravno popularna glasba pomemben izrazni medij, ki lahko na ravni zvoka, besedil in uprizoritveno-recepcijskih praks ter z njimi povezanih prostorov deluje družbeno kohezivno, kot povezovalno in identifikacijsko sredstvo, lahko pa tudi konfliktno oziroma razdiralno. Z drugimi besedami: popularno glasbo zadnjega stoletja močno zaznamujeta fluidnost in vpetost v različne migracijske tokove ter z njimi povezane identifikacijske procese.
The dawn of the space age in the early 1960s first provoked unabashed awe. Then, it
inspired numerous attempts to explain (away) the evental status of the first examples of manned spaceflight ...accounts that mainly interpreted Yuri Garagin’s flight (1961) and the Moon landing (1969) as logical consequences of technological progress, a certain constellation of political circumstances, and a pinch of ‘imagination’ to begin with. Curiously enough, conclusions of the vast majority of such accounts cannot but resort to ‘terrestrial’ metaphors in order to explain why these endeavours were worth undertaking in the first place. In the 21st century, reflections on outer space seem to have settled within three conceptually designed research fields within the social sciences and humanities: astrosociology, noocosmology and cultural studies of outer space. The text analyses conceptualisations and accounts of the dawn of the space age exhibited by the core texts and methodologies of these research fields to demonstrate how they actually hinge on variant epistemologies, and interpret the role of metaphor in world-formation in radically differing ways.
The article discusses certain heritage interpretation challenges posed by both the hybridisation of heritage institutions (the blurred boundaries between libraries/museums/ archives) and the ...visitor’s increasingly mediatised experience of heritage. The Mundaneum – a Belgian archival, museum and exhibition centre – is used as a case study. It is analysed as a semiotic condenser – a heritage object that actively reinforces and develops its symbolic status as a ‘paper Google’, thereby emphasising its significance for the past, present and future. I offer narratological analysis of the genesis of this symbolism in scientific discussions and focus on heritage interpretation in the context of the Mundaneum’s archive of 30,000 optical lantern glass slides in order to highlight the challenges such symbolic and conceptual approaches to heritage bring to its responsible interpretation.
This article investigates the fictionalization of the space age in contemporary Russian spaceflight history blockbusters Gagarin: Pervyi v kosmose / Gagarin: First in Space (2013), Vremia pervykh / ...Spacewalk (2017), and Saliut 7 (2017). This “second wave” of Russian films on spaceflight exhibits a greater affinity for the patriotic Soviet canon of portraying Soviet spaceflight history than their predecessors from the 2000s – Pervye na lune / First on the Moon (2004), Kosmos kak predchuvstvie / Dreaming of Space (2005), and Bumazhnyi soldat / Paper Soldier (2008) – which subverted the narrative conventions established by Soviet feature films on the history of spaceflight, i.e. their linearly progressive, normatively-optimistic plots, standard sets of historical characters, and common reliance on an authoritative third-person narrator. The article argues that blockbusters of the past decade, in contrast, reinvent the patriotic Soviet narrative in a particular, (no(w)stalgic) way. Drawing on the discussion on the chronotope (Bakhtin) of outer space in Soviet and Russian cinema, this article explores the productions in question through the lens of their constructions of literal and metaphorical diagonality, verticality and horizontality. In doing so, it argues that the examined films embed historical events into fictional narratives and audio-visual worlds that monumentalise and mythologise the Soviet space age through the use of these spatial vectors, creating a novel, yet eerily familiar fictional collage of a past. Table of contents image from Saliut 7 (Klim Shipenko, 2017, Russia).
