A Dissertation of limited scope submitted to the Faculty of Arts in partial fulfillment of the requirements for the course-work degree of Masters of Recreation and Tourism in the Department for Recreation and Tourism at the University of Zululand, South Africa, 2012. / Cultural heritage tourism refers to travelling to experience the places and activities that authentically represent the stories and people of the past and present, such activities are found in living communities, these are signs that the past and present spoken of is authentic and rooted in the experience of the people. The importance of this study was to help create cultural heritage awareness among the people of the Zululand District Municipality. This was to be achieved by focusing on establishing the potential of cultural heritage tourism and finding out if cultural heritage tourism can be a driver of rural development. Cultural heritage tourism can be used to generate financial and social benefits using resources within the communities. The intention was to find out if the study area does have such cultural heritage resources, if so, how these resources could contribute to the development of the study area. The key objectives of this research study were achieved as reflected in Chapter 4. The objectives of this study are as follows:  To identify cultural heritage resources available in the study area.  To view local communities perception towards cultural heritage tourism development.  To assess the level of participation by the local community in cultural heritage development.  To discover strategies used by the Zululand District Municipality to transform cultural heritage assets into tourism products.  To establish the contribution of cultural heritage tourism resources towards the economic upliftment of the community in the study area. The findings of the research study revealed that, the study area has cultural heritage resources which are available but are not utilised to the benefit of the community as yet. The level of the community participation in the development of cultural heritage tourism is therefore limited. The major problem with participation is caused by the lack of involvement in decision making of the respondents; the findings indicate that they are willing to learn more about cultural heritage tourism which will enhance their capacity to participate in tourism development.

With the current upsurge of a technological era, there is an underlying global threat to the cultural development of theatre, especially opera. Therefore, there is a need for a paradigm shift that will re-imagine and transcend opera into the 21st century. Site-specific opera merges the potential of theatrical entertainment and the value of an existing site. Both the location and the performance have the ability to remove the audience from their lives and submerge them in a fantasy or created reality. With the focal approach being the interpretation of the Magic Flute Opera at a site-specific location, a concept of cultural heritage awareness is revealed. With this in mind, the preservation extends into a consideration of the existing site. The site, Fort Daspoortrand, is currently in a state of physical degradation, and the decay of heritage and cultural fabric is prominent. Thus, the potential for preservation and cultural celebration arises. It is proposed that through a site-specific opera performance of William Kentridge’s adaptation of The Magic Flute by Mozart, a sense of wareness can be created for both the site and a South African interpretation of opera. The opera will catalyse the awareness of the site, and the scenography will act as a vehicle to bring site and opera together in a visual and spatial experience. Through the merging of opera and site, the heritage and cultural significance of both entities will be explored, allowing the opportunity for life to be breathed back into both the fort and opera in general. The design intention of this project is to bring awareness to the existing fabric of the site, as well as the dramatic opportunities that the site naturally presents. In this way, the physical and cultural decay of both Fort Daspoortrand and opera are brought to the public’s attention. The intention in this creation of site awareness is to promote an afterlife for the site, by exposing its character in an attempt to ignite future development at the site once the opera has finished. Through combining opera and site, the audience will be exposed to the beauty of the site and the cultural richness of opera simultaneously. The temporary design intervention aims to strategically link the themes of The Magic Flute with the characteristics of the site to explore the relationship between narrative, fort and opera. Emphasis is placed on how to take the audience on a winding and intertwining journey of the site during the performance of the opera adaptation. The fluidity and natural progression of the audience through the site will ultimately create a reflective and emotive understanding of The Magic Flute’s theme of the journey from darkness to light. / Mini-dissertation Mint(Prof)--University of Pretoria, 2018. / Architecture / MInt(Prof) / Unrestricted

Cette recherche est consacrée aux pratiques de protection des monuments à Athènes, et ce depuis l’Indépendance. Elle est ainsi associée à une analyse précise de la législation, des débats qui l’ont accompagnée et des pratiques de sauvegarde des monuments historiques et des sites archéologiques de la capitale. Ce travail espère contribuer ainsi à une meilleure connaissance de l’évolution de la notion de patrimoine en Grèce. Une évolution qui est ponctuée par les évènements politiques qui ont mené à la construction de l’État grec pendant tout un siècle, mais aussi par les différentes ratifications des conventions européennes et internationales relatives à la protection du patrimoine. Cependant, la traduction de ces instruments normatifs s’avère contraignante dans un pays où l’héritage culturel est associé essentiellement aux témoignages matériels conformes à l’histoire nationale. Le régime patrimonial grec s’orchestre de ce fait, non sans difficultés, à une notion de patrimoine en perpétuelle évolution. Cet héritage qui était un bien national à l’image d’un peuple homogène héritier de la Grèce antique et de l’Empire byzantin devient aujourd’hui synonyme de legs diversifiés et produits de différentes « communautés ». Athènes à qui l'on a réfuté les témoignages « post-byzantins » inaugure aujourd’hui son premier « archontikó » ottoman. / This research is devoted to the practical conservation of monuments in Athens since Independence. It is thus associated with a precise analysis of the legislation, debates that accompanied it, as well as practical conservation of historical monuments and the capital of archaeological sites. This work hopes to contribute to a better understanding of the evolution of the concept of heritage in Greece. This evolution is punctuated by political events that led to the construction of the Greek State for a whole century, but also by the different ratifications of European and international conventions concerning the heritage protection. However, the translation of these normative instruments proves compelling in a country where cultural heritage is associated primarily with material evidence in accordance with the national history. Greek patrimonial regime orchestra thus not without difficulty, to a notion of heritage in constant evolution. This legacy was a national asset for the image of a homogeneous people heir of ancient Greece and the Byzantine Empire now becoming synonymous with diverse legacies and products of different "communities". Athens who are denied the "post-Byzantine" testimony today inaugurated its first "archontikó" Ottoman.