Veronica and Innes Flashcards

(53 cards)

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
Urry 1996
Saved for the nation, moral good and national ideal
26
Rivero 2017
Coney Islanc, who decides what is protected, endurance and authenticity, engaging with the past
27
Harrowell 2016
Natural or cultural heritage sites can be exploited because they hold a geopolitical significance
28
Labudi and Long 2010
Heritage and globalisation are linked
29
Bryne 1991
Ideas have been accused of being Eurocentric
30
Smith 2006
European ideas of conservation have become naturalised and used across the globe
31
Whiteley 1995
Naational trust conserving interrgated and historical ambience, protection of heritage
32
While 2006
attempts to remove post-war architecture, however over time has become more valuabel
33
Graham 2000
Heritage is manifested in space and used to create space
34
Johnson 2014
Heritage is reproduced through shared cultural values and performance
35
Grydehøj 2010
Heritage physical properties, tradtition is the immaterial, customs and rituals
36
Garrett 2014
Photos create worlds, not represent them
37
Marwick 2015
creation of the self image, selling ourselves for consumption
38
Schwarz 2010
selfies and attempt to show a place in landscape, a position in the world
39
Harding 2008
Kodak Brownie allowed for people to begin documenting their lives
40
Ryan 1997
photography used on a colonial scale to emphasise differences
41
Urry 2002/ 2011
The tourist gaze, people see what fulfills their fantasies and what they expect to see
42
Magasic 2016
greater power, faster, approval, proving our presence
43
Geoghegan 2010
Always political spaces,subjective and always
44
Black 2000
museums arose in quick popularity as they provided and antithesis to the modern day london
45
Boetsch 2014
Cabinets of curiosity and objects of the foreign.
46
Cuno 2011
Cabinets of curiosity and objects of the foreign.
47
O'Neill 2004
Universal museums have the authority to project the world
48
macGregor 2004
The desire to place cultural objects in a national context only limits their value
49
Curtis 2013
Objectivity does simply not exist when it comes to displays and colleections
50
Forgan 2005
Curation, display and interpretation is ultimately the cultural power of museums
51
Kohlstedt 2017
Smithsonian museum in Washington DC, moved around to rpresent curatorial views
52
Qureshi 2012
peolpes were displayed at museums to help justify colonial actions
53
Stylianou 2015
museums are inherently spatial, they occupy space and arrange exhibits to occupy internal space in a certain way.