Titlebook: Cultural Heritage as Civilizing Mission; From Decay to Recove Michael Falser Book 2015 Springer International Publishing Switzerland 2015 A

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苦澀

God Save the King: , in Wonder-lande of all fields of artistic expression as well as the construction of hundreds of buildings, new towns, urban extensions, and infrastructure designed in an innovative style called “New Khmer Architecture.” A phenomenon like this is rare in any society and one questions what socio-political context e

CRUE

More of a Prodigy than a Prophecybe undertaken and important finds made between the years 1966 and 1970. Archaeology re-entered the public stage in July 1971 when the Palace Museum in Beijing re-opened with an exhibition of .. The show was followed in 1972 by two publications with the same title: a high-price folio with reproductio

podiatrist

God Save the King: , in Wonder-landn era in the Khmer Rouge’s (KR) megalomaniac, utopian imagination. Was this modelled on an illusory future or on an imagined past? Even before the KR seized power, they managed to fashion a bizarre amalgam of royalty, revolution, and past glory through the propaganda trip made by Norodom Sihanouk to

Oscillate

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,“Sturm und Drang” (1897–1927),d the decadence of its cultural heritage and traditions. In this sense, UNESCO’s international campaigns to “Save Angkor,” launched in 1991, and the subsequent World Heritage nomination in 1992 (Angkor was simultaneously inscribed on the list of World Heritage Sites in Danger) were to become civiliz

狂怒

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Cultural Heritage as Civilizing Mission: Methodological Considerations,f the ruled country’s past and present, and (b) the enactment of a concrete committed action programme to guide the nation towards a better future. The interest in this dynamic of a normative . on the one hand, and—as a practical consequence—of an applied, action-oriented . on the other, forms the b

陰郁

Colonialism without Colonies: The Civilizing Missions in the Habsburg Empireious cultural missions in the Habsburg Monarchy on exemplary problem areas such as the protection of cultural monuments and the depictions of Austrian national history. This central question will be examined from the perspective of art history and of post-colonial studies. During the late nineteenth

intertwine

German Colonialism and the Formation of African Heritagetudies in Germany, was one of the first to underline the cultural achievements in African history. Because Frobenius constructed the immaterial heritage of African culture, he is seen in Africa as a forerunner of African emancipation; this view forms the starting point for my argument. The example o