This thesis examines the history of the cultural heritage site of Eketorp, a prehistoric ring-fort, on the island of Öland, Sweden. The archaeological excavations at Eketorp, which began in 1964, lasted for a decade and soon turned into one of the largest archaeological research projects in Sweden. The scale and the implementation of the excavations, as an interdisciplinary and international research project, fostered a whole generation of archaeologists and resulted in numerous research publications. After the excavations the archaeological site was transformed into a full-scale archaeological reconstruction by the Swedish National Heritage Board. Since the mid-1980s the site has been a popular tourist attraction and open-air museum. The history of the site itself connects to several academic fields, including archaeology, history of archaeology, cultural heritage and museum studies. Through Ludwig Fleck’s concept thought collective and Donna Haraway’s situated knowledge, which are used as analytical tools, the aim of this thesis is to explore how these different fields interacted throughout the history of Eketorp. Further, the analytical tools are used to highlight how these interactions have generated notions of time, space, and gender. The study takes an interdisciplinary approach with the history of Eketorp analysed in three analytical chapters, each of them with different chronological and empirical focus. First, Eketorp is explored as a contemporary museum space through ethnographic fieldwork. Second, archive material is used to analyse how the archaeological excavation and the following archaeological reconstruction were conducted during the 1960s and onwards. Third, scientific texts are used to analyse how interpretations of Eketorp as a prehistoric site has changed. The concluding chapter integrates the results of the three chapters in order to critically examine how notions of time, space and gender interconnect between these fields. Illustrated by a wide chronological and interdisciplinary approach, the central argument of the thesis is thus that the Eketorp thought collective and thought style, intimately connected to hierarchies in academic practice, were created, performed, and maintained through several scientific and heritage institutions.

Ämnet för denna uppsats är dans som arkivmaterial. Teckningar, dansnotation, recensioner, fotografier, rörlig bild och motion capture studeras som handlingstyper som dans bevaras genom. Syftet är att ta reda på vad som har hänt mellan dans och danshandling. Vilken slags representanter av dansen är handlingarna? Vidare knyter studien an till ett användarperspektiv och en annan frågeställning lyder: vad får forskare som studerar rörelse som har skett ut av handlingarna? Hur kan handlingstyperna användas av dansforskare? Den teoretiska utgångspunkten är semiotik och jag använder mig av Ferdinand de Saussures begrepp signifie och signifiant för att orientera mig i skillnaden mellan dansen som skett i tid- rum och danshandlingarna, som berättar om dansen. Charles Sanders Peirce begrepp symbolisk, ikonisk och indexikal används för att beskriva vilket slags förhållande handlingen har till sin signifie, dansen. Metoden är kvalitativa intervjuer. Jag har intervjuat fyra dansvetenskapliga forskare och de inspelade intervjuerna är källan. Forskarna har kunskap om vilken slags representanter för dansen handlingarna är, eftersom de i sitt arbete studerar dans som har skett genom handlingar. Genom intervjuerna har jag även fått reda på vad forskare som studerar rörelse som har skett får ut av handlingarna och hur de kan använda dem. Forskare som studerar rörelse som har skett föredrar ofta rörlig bild som källa. Detta för att den rörliga bilden har ett ikoniskt förhållande (liknelseförhållande) till dansen och för att den, likt dansen, är rörlig. Dock så finns det ingen handlingstyp som är en absolut återgivning av en rörelse som har skett, alla handlingstyper har sina förutsättningar. Det finns inte heller en handlingstyp som kan anses vara bättre än en annan, vilken handlingstyp som är bättre skiftar beroende på forskarens syften. Handlingstyperna kompletterar varandra och många forskare vill använda sig av flera olika handlingstyper. Därför rekommenderas dansarkiv att satsa på pluralitet i handlingstyper som dans bevaras genom. / The subject of this thesis is dance as archive material. Illustrations, dance notation, reviews, photographs, moving imagery and motion capture are studied as different types of records which preserve dance. The purpose is to find out what has happened between dance and dance record. What kind of representation of dance are the records? The study also connects to a user perspective and poses another question: what do scholars who study movement which has happened get out of these types of records? In what way can dance scholars use these record types? The theoretical stance is semiotics and I use Ferdinand de Saussures concepts ‘signifiant’ and ‘signifié’ to orientate myself in the difference between dance which has happened and the records, which tell us something about this dance. Charles Sanders Peirce concepts ‘symbolic,’ ‘iconic’ and ‘indexical’ are used to describe the relationship between dance and record. The method is qualitative interviews. I have interviewed four dance scholars and the recorded interviews are the source material. The scholars have knowledge of what types of representatives of dance the records are, since they study dance which has happened through records. The interviews also answer the question related to the scholar’s perspective: what do dance scholars get out of the records when they study dance which has happened? Scholars who study dance which has happened often prefer moving imagery as a source. They do so because the moving image has an iconic relationship to the dance (a relationship built on likeness) and because it, like dance, is moving. There is no record which could give an absolute transferral of a movement which has happened, all types of records have their prerequisites. Nor is there a record type which is ‘better’ than another, which record is prefered depends on the scholar’s purpose of their study. The different record types complement each other and many scholars prefer to use several different types. Hence, this study recommends dance archives to aim for plurality of record types in their collections.

Lietuvoje sukurta daug įvairaus rango, paskirties, dydžio, skirtingos funkcinės paskirties saugomų teritorijų. Širvintų rajone saugomos teritorijos užima 4,2 proc. rajono ploto. Paveldo objektai – atskiri arba tankias grupes sudarantys gamtos ir kultūros paveldo objektai – kraštovaizdžio elementai, kuriems dėl jų vertės teisės aktais nustatytas specialus apsaugos ir naudojimo režimas. Tyrimas atliktas siekiant įvertinti minėtų objektų apsaugą Širvintų rajone. Šiame darbe atlikta norminių dokumentų, teritorijų planavimo, mokslinių darbų ir kitos aktualios literatūros analizė, nuvykus į Kultūrinį Kernavės rezervatą apžiūrėti paveldo objektai ir įvertinta jų būklė. Pagrindinis tokių objektų apsaugos tikslas – perleisti paveldą ateities kartoms. Vienas svarbiausių uždavinių paveldo objektų saugojime – atsakingas šių objektų stebėjimas ir jų būklės vertinimas. Tyrimo rezultatai parodė, kad Širvintų rajono nekilnojamojo kultūros ir gamtos paveldo teritorijos yra geros būklės, nuolat vykdomi objektų būklės gerinimo darbai, nekilnojamojo kultūros paveldo objektų teritorijų naudojimas ir apsauga yra reglamentuota pakankama teisine baze. / Lithuania has created a lot of protected areas, which differ in ranks, purpose, size and function. In Širvintos district protected territories cover 4,2 percent of area. Heritage sites - individual or groups of natural and cultural heritage objects – are the landscape elements, which are protected by special statutory protection and recovery mode. Aim of the research is to evaluate the protection of natural and cultural heritage in Širvintos district. This work analyzes normative documents, planning, research papers and other relevant literature, presents results of on-site evaluation of heritage objects in Kernave Cultural Reserve. The main purpose of the protection of these objects is to conduct the heritage to future generations. This is achievable only with the help of responsible observation and evaluation of condition of these objects. The results show that in Širvintos district areas of immovable cultural and natural heritage are in good condition, regularly maintained. Protection and use of immovable cultural heritage objects are regulated by a sufficient legal basis.

The purpose of my research has been to analyze the communi-cation of three cultural heritages and how they are being ex-posed on their respective webpages. The essay has also touched the subject as to how webpages can, through marketing of cul-tural heritages, create a connection to the marketed locations and their cultural environment. A phenomenon you could call “creating a location”. My study has also resulted in an under-standing of how historical sites as cultural actors position them-selves to attract visitors to the location. In this study I will fo-cus on only three of Sweden’s many renaissance castles. These three are Calmare-, Vadstena- and Gripsholm’s castle.My sources consist of the above mentioned cultural heritag-es own webpages, their administrators as well as their partner’s webpages. The information which is communicated in connec-tion to, or directly with the cultural heritages demonstrates what is relevant and important to see and experience.By illuminating these attributes, the possibility for self-interpretation of the cultural landscape can be lessened. Instead, a more direct picture can be created as of what the visitor should relate to and remember of the location. This way, the actors create a location.

This critical examination of the concept of cultural heritage is based on an overall phenomenological approach, with focus on Alfred Schütz’s further development of Edmund Husserl’s idea of the lifeworld. With strong emphasis on the subjective and intersubjective dimensions, the concept of cultural heritage is contextualized, analysed and criticized from different aspects for the purpose of enriching the discourse of cultural heritage. A literature based methodology is used, including a hermeneutic analysis of theoretical texts in the field of cultural heritage studies and the new Swedish Culture Environmental Law (“Kulturmiljölagen”) and related bills. Qualitative interviews deal with people’s notions about the concepts of culture, cultural heritage and intangible cultural heritage. Finally, this study includes field observations of the Mount Dajti National Park in Albania, involving a visual methodology (photos) and non-visual field notes. A linguistic analysis with a gender perspective, finds that the concept of cultural heritage can be criticized for its patriarchal connotations. The central issue with the concept of cultural heritage concerns its involvement in the complexity of fixed notions and definitions, causing arbitrariness and ambivalence. The interview data indicates a strong connection between cultural heritage and history, despite their distinction. The field observations verify this complexity through an account of the relationship between cultural and natural heritage. The constitutions and values of cultural heritage are established within the Authorized Heritage Discourse (AHD), obviating alternative notions of heritage. Thence, this thesis stresses the importance of going beyond the discursive frames and of transparency and critical reflection within the field of cultural heritage. Phenomena can always be interpreted in a subjective or intersubjective way, leading to dissonant and contested heritage, and a new term called “life values”. This is a two-year master’s thesis in Archive, Library and Museum studies.

Since 1999 it has been possible for Swedish municipalities and the Swedish county administrative board to establish cultural reserves to protect particularly valuable cultural landscape. The protective character of the cultural reserve is supposed to be equivalent to the one found in nature reserves. The separation between the two protective forms have led to a marginalization of the protection of cultural landscape. This thesis has, using Posthumanist theory, studied the investigation process preceding the establishing of three maritime cultural reserves. The thesis also investigates if the general work with cultural landscape could benefit from a Posthumanist approach. To reach the purpose of this thesis, three research questions were formed: how does laws and conventions relate to Posthumanist theory, which values are highlighted in the process of investigating valuable landscapes and how does the practical work with investigating maritime cultural landscape manifest itself? The source material for the thesis consists of a study of documentation, laws and conventions. It also includes an interview study with informants at the Swedish heritage board, The Swedish National Maritime Museums and two persons responsible for the Cultural reserves at the municipality of Haninge and the Swedish county administrative board of Gävleborg. Research shows that the work with managing maritime cultural landscape and preservation would benefit from the use of a Posthumanist approach. The laws and guidelines that exists, based on euro-american definitions of what a valuable landscape is, limits the informants in their work to preserve all aspects of the landscape. Nature and culture are interlaced and cannot be separated. A landscape management system that acknowledge this and allows the public to be a part of the creation of cultural heritage, will lead to a more sustainable preservation. This document is a two years’ master´s thesis in Archive, Library and Museums studies.

La conservation des monuments implique fréquemment une étape de substitution des parties dégradées par des pierres de tailles neuves. Cependant, la pierre d’origine est souvent indisponible, ce qui soulève la question du choix d’une pierre de remplacement compatible. La question de la compatibilité de la pierre est abordée à travers une démarche transversale considérant à la fois des critères physicochimiques et des critères d’aspect visuels. Les objectifs principaux ont été d’une part l’identification les mécanismes d’altération les plus impactants en termes de changement de couleur et d’autre part, la prise en compte du contexte visuel sur la compatibilité esthétique des matériaux de remplacement. L’étude porte sur un calcaire oolitique échantillonnée en carrière et sur des monuments bâtis à différentes époques. Il résulte que les lichens endolithiques ont un effet déterminant sur la durabilité et l’aspect à long terme de la pierre via un mécanisme protecteur d’imperméabilisation de la surface. Concernant l’aspect visuel, une méthode est proposée pour mesurer la gamme de couleur acceptable dans un monument à l’aide d’un test psychovisuel. Pour cela, une chaine de traitement d’image depuis l’acquisition jusqu'à l’affichage a été mise au point pour simuler des remplacements virtuels à partir d’images colorimetriquement calibrées. A partir d’un panel d’observateurs, un protocole de test a été conçu pour identifier la gamme de couleur indiscernable au sein d’une façade de monument. La discussion s’appuie sur des résultats préliminaires concernant la muraille de la cité médiévale d’Aigues-Mortes. / The preservation of monuments frequently involves the replacement of deteriorated stones by new ones. However, the original stone is often unavailable, which raises the question of the selection of a compatible replacement stone. In this study, the compatibility of the stone is addressed through a transverse approach considering both physicochemical and aesthetic criteria. The main aims were firstly to identify the weathering mechanisms with the greatest impact in terms of colour change and secondly to study the effect of visual context on aesthetic compatibility of replacement materials. Regarding the weathering mechanisms, the study focuses on an oolitic limestone sampled on quarry and on monuments built at different periods. It results that endolithic biological colonization determines the long-lasting durability of the stone through a waterproofing protective effect. In a second step, a methodology is proposed in order to measure the acceptable colour range in a monument using psychovisual experimentation. An image processing chain from the acquisition to the display was developed to simulate realistic virtual replacements from colorimetrically calibrated images. Based on a panel of observers, a test protocol was designed to locate color thresholds that separate a perceptible from an imperceptible replaced stone. The discussion is based on preliminary results from the Aigues-Mortes medieval city walls.

Care of the intangible cultural heritage is nowadays dependent on several elements. The main element is people and community in the places where the habit or tradition is still kept. But their effort must be supported by national and international authorities who invest considerable resources into their preservation. Except this also the general awareness of public that is a guarantee of passing the tradition to the next generations is very important. On the example of the Ride of Kings there is captured historical evolution of the tradition, which during the previous century undergo the change in the people's celebrations. By their formation was conditioned preservation of tradition, which began to vanish in the second half of the 20th century. Key words Intangible cultural heritage, cultural people's tradition, Ride of the Kings, folklore.

Legal regulation of World Cultural and Natural Heritage Diploma Thesis deals with legal regulation of World Cultural and Natural Heritage and examines legal protection of sites inscribed on the World Heritage List. The thesis consists of five chapters. Chapter one is introductory and defines basic terminology used in the thesis and concisely documents the historic development of the idea of preservation of Cultural and Natural Heritage. Chapter two is subdivided in two parts. Part One presents international organisations dealing with World Heritage. Part Two analyses in particular Convention concerning the Protection of the World Cultural and Natural Heritage adopted by UNESCO in 1972 as well as other relevant international treaties. Chapter Three explores purposes of selected international programmes concerning protection of cultural and natural property that are organized by UNESCO. Chapter Four deals with the process of the inscription of properties on the World Heritage List with respect to the Operational Guidelines for the Implementation of the World Heritage Convention. The last chapter provides an outline of relevant Czech laws on conservation of cultural and natural heritage mentions some of the imperfections which are subject to critique in professional circles. The aim of my thesis is...

Ce travail de recherche porte sur la numérisation du patrimoine culturel dans les musées nationaux coréens en nous interrogeant sur les différents types de dispositifs qui s’adaptent à la tendance actuelle du tout digital, tout en redéfinissant la médiation numérique. Afin d’aborder la particularité de la numérisation dans un contexte coréen, nous mettons en évidence d’une part un paysage global de l’évolution des musées nationaux ainsi qu’une analyse de la mise en application de la technologique numérique dans les institutions culturelles, et d’autre part les actions de médiation culturelle réalisées selon deux principes : démocratisation de la culture au sens global et démocratie culturelle dans le cadre du bien-être culturel et de médiation numérique au sein des musées nationaux coréens. Au-delà de ces recherches préalables indispensables, nous analysons des dispositifs numériques proposés par le musée national de Corée, ainsi que le comportement du public coréen, largement composé de ‘ressourceurs’ depuis des années, à l’égard des institutions muséales. Nous examinons la nouvelle tendance actuelle de la numérisation dans la société coréenne : l’établissement du nouveau concept de musée numérique constitué principalement d’une base de données sans objets réels, ainsi que la diffusion de l’exposition numérique utilisant essentiellement des supports digitaux pour mettre en avant et reproduire des œuvres. Dans cette perspective, nous évaluons un état des lieux actuel de la numérisation des institutions muséales coréennes selon les fonctions du musée. Cette thèse apporte des éléments de réflexion sur la numérisation pour développer la médiation numérique muséale tout comme elle se sert d’un modèle permettant aux institutions muséales d’évaluer l’état et l’utilité de la numérisation en fonction de leur situation propre. / This research work focuses on the digitization of cultural heritage in Korean National Museums by asking different types of devices that adapt to the current trend in the digital age by redefining a digital interpretation. In order to approach the particularity of digitization in a Korean context, we emphasis on a global view of the evolution of national museums as we analyze the application of digital technology in cultural institutions on one hand, the cultural interpretation’s actions carried out by two principles on the other hand: democratization of Culture in a large sense and Cultural Democracy in the context of cultural well-being and digital interpretation in Korean National Museums. In addition to these indispensable preliminary researches, we analyze digital devices provided by the National Museum of Korea, as well as the behavior of the Korean audience towards museum institutions, which has been 'rechargers' for years for most of it. Also, we study the new trend of digitization in Korean society: the establishment of the new concept of a Digital Museum consisting mainly of a database without any actual object, as well as the diffusion of the digital exhibition using mostly a digital media for exhibiting and reproducing a work of art. In this perspective, we evaluate the present state of the digitization of Korean Museums according to museum functions. This thesis provides the elements of reflection on digitization in order to develop museum’s digital interpretation as it uses a model that allows museum institutions to assess their state and utility of digitization according to their own situation.