The aim of this study is to illuminate how the 19th century’s researchers Carl Axel Gottlund and Albrekt Segerstedt contributed to the design of the cultural heritage of the Forest Finns in northern Värmland. One book from each author was analyzed: Dagbok öfver mina vandringar på Wermlands och Solörs Finnskogar 1821 (1821/2021) by Gottlund, and Segerstedts samling: skogsfinnarna i Skandinavien: en kommenterad och illustrerad källutgåva (1888/2006) by Segerstedt. Theories from the ethnographic field, the critical heritage field and from the field of scientific theories were all utilized. This study shows that the construction of a cultural heritage can be affected by multiple different factors, and that the researchers’ and their different practices often have a central role.

<p>In the early 1860s three Swedes, Nils Wilhelm Mitander,Julius Ramsay and Gustaf Wittenström, were engaged by theBritish to build and run charcoal-based ironworks in India.These works, the Burwai Iron Works of the British Government inthe case of Mitander and the privately owned Kumaon Iron Worksin the case of Ramsay and Wittenström, were both to bebased on the most modern European technology. The projects werepioneering in Indian ironmaking. The ambitions were high andstakes big, but after only a few years the projects were closedand the Swedes returned home.<i>Landscapes of Technology Transfer</i>presents a detailedstudy of the Kumaon and Burwai Iron Works, from their firstconception to their final closure. The investigation isbasically empirical and a fundamental question is: Why were theworks never brought into full and continuous production?</p><p>The ironworks projects should be considered as processes oftechnology transfer rather than fully fledged and completedtransfers. In spite of this lack of success, or maybe becauseof it, the history of the ironworks and the Swedes also forms afruitful case to put other questions of wide relevance. Itexposes workings and effects of colonialism and offers anexplanation of the late development of India's iron and steelindustry and analyses of the complex totality forming theprerequisites for a successful transfer of technology. The longtraditions of bloomery ironmaking in India and ismarginalisation is also discussed.</p><p><i>Landscapes of Technology Transfer</i>is a comprehensiveempirical study. From a local and individual perspective ittraces lines of connection across boundaries of time andgeography. The historical landscapes of technology transfer aredescribed in their cultural, social, economic and politicaldimensions and the thesis underlines the importance of a closeacquaintance with local settings and conditions, where historyis manifested in a physical presence. The remains of theironworks and theirlocal landscapes in present-day India areused as a central source for writing their histories. There isalso a strong emphasis on the use of photographs and drawingsas sources.</p><p>The outcome of the projects was the result of the interplaybetween the local and the global, between a diversity ofconcrete factors influencing the construction of the works andtheir running and their colonial character. The studyemphasises the importance of technological systems andnetworks, both on a micro and a macro level. On a local leveldemanding logistics, a sometimes adverse climate, theprocurement of charcoal and iron ore in sufficient quantitiesand the build up of knowledge of ironmaking posed serious butnot insurmountable difficulties. Most obstacles were overcomealready during the first few years of the 1860s, the period ofthe Swedes, but to put the works into full and continuousproduction would have needed perseverance and purposefulefforts to support and protect the iron production, at leastduring an initial period. In the end the position of India as acolonial dependency, subjected to the primacy of Britishinterests, set the limits of the projects.</p><p><b>Key words:</b>History of technology, industrial heritagestudies, industrial archaeology, technology transfer,diffusion, technological systems, landscapes of technology,iron and steel, charcoal iron, direct and indirect ironmaking,bloomeries, 19th century, industrial history,industrialisation, de-industrialisation, underdevelopment,colonialism, India, Sweden, Great Britain, global history,annales.</p>

In the early 1860s three Swedes, Nils Wilhelm Mitander,Julius Ramsay and Gustaf Wittenström, were engaged by theBritish to build and run charcoal-based ironworks in India.These works, the Burwai Iron Works of the British Government inthe case of Mitander and the privately owned Kumaon Iron Worksin the case of Ramsay and Wittenström, were both to bebased on the most modern European technology. The projects werepioneering in Indian ironmaking. The ambitions were high andstakes big, but after only a few years the projects were closedand the Swedes returned home.Landscapes of Technology Transferpresents a detailedstudy of the Kumaon and Burwai Iron Works, from their firstconception to their final closure. The investigation isbasically empirical and a fundamental question is: Why were theworks never brought into full and continuous production? The ironworks projects should be considered as processes oftechnology transfer rather than fully fledged and completedtransfers. In spite of this lack of success, or maybe becauseof it, the history of the ironworks and the Swedes also forms afruitful case to put other questions of wide relevance. Itexposes workings and effects of colonialism and offers anexplanation of the late development of India's iron and steelindustry and analyses of the complex totality forming theprerequisites for a successful transfer of technology. The longtraditions of bloomery ironmaking in India and ismarginalisation is also discussed. Landscapes of Technology Transferis a comprehensiveempirical study. From a local and individual perspective ittraces lines of connection across boundaries of time andgeography. The historical landscapes of technology transfer aredescribed in their cultural, social, economic and politicaldimensions and the thesis underlines the importance of a closeacquaintance with local settings and conditions, where historyis manifested in a physical presence. The remains of theironworks and theirlocal landscapes in present-day India areused as a central source for writing their histories. There isalso a strong emphasis on the use of photographs and drawingsas sources. The outcome of the projects was the result of the interplaybetween the local and the global, between a diversity ofconcrete factors influencing the construction of the works andtheir running and their colonial character. The studyemphasises the importance of technological systems andnetworks, both on a micro and a macro level. On a local leveldemanding logistics, a sometimes adverse climate, theprocurement of charcoal and iron ore in sufficient quantitiesand the build up of knowledge of ironmaking posed serious butnot insurmountable difficulties. Most obstacles were overcomealready during the first few years of the 1860s, the period ofthe Swedes, but to put the works into full and continuousproduction would have needed perseverance and purposefulefforts to support and protect the iron production, at leastduring an initial period. In the end the position of India as acolonial dependency, subjected to the primacy of Britishinterests, set the limits of the projects. Key words:History of technology, industrial heritagestudies, industrial archaeology, technology transfer,diffusion, technological systems, landscapes of technology,iron and steel, charcoal iron, direct and indirect ironmaking,bloomeries, 19th century, industrial history,industrialisation, de-industrialisation, underdevelopment,colonialism, India, Sweden, Great Britain, global history,annales. / <p>Qc 20170119</p>

This is a study of the intersection between art historical theory and practice, and cultural heritage, where the revivals and mediations of the neoclassical Gustavian style have been used as a platform for further exploration. In relation to this, the use and changing meanings of the concepts authenticity and style have been examined. The research has a historiographical and multidisciplinary character, drawing on the fields of art history, critical heritage studies and design history. The study shows how the Gustavian style has been routinely used when Swedish culture has been staged, nationally and internationally, but also when shaping ideas of the ideal home and good taste. The focus is placed on three periods – the 1890s, the 1930s-40s and the 1990s – during which the Gustavian style was defined, revived and mediated in different modes of representation such as textbooks, exhibitions, period furniture and historically informed performances. In the study we meet the actors, human and non-human, that have contributed to the resilient position of the Gustavian style in the public consciousness and in a commercial context. The Gustavian style, perhaps like no other, has been systematically embraced by the official heritage institutions in Sweden, including the academic discipline of art history, which has been an important influence on the way the past has been presented, valued, categorised, preserved and re-used. The author argues that the style has been able to maintain its relevance due to its ability to embody many different prevailing aspects across the 20th century, for example tradition and modernity, nationalism and internationalism, but also the past, present and visions of retro-utopia.

There are approximately 1300 completely or partially preserved medieval churches in Sweden. Many of these have remains of kalkmåleri (mural paintings at least partially created in lime) from the 12th throughout the 17th century. This dissertation discusses the enactments that formed the revival of this kalkmåleri between 1850 and 1980, with a focus on restoration and conservation. The decorative and monumental paintings that were created at the same time are also discussed. The study is divided into two sections: one concentrates on the mural paintings and the networks that made their (re-)enactment possible, and the second is a case study that examines kalkmåleri in four medieval churches; Vendel and Ed north of Stockholm, and Floda and Vadsbro south of Stockholm. To come close to the paintings, an eclectic methodology with analysis of written and depicted sources, interviews, and studies in situ of the paintings through mapping and analysis of taken samples was designed. The objectives were to investigate the formation of kalkmåleri as phenomena, significant concepts, and conservation practices throughout time and space. Theoretical inspiration was taken from Actor-Network-Theory, critical discourse analysis, and speculative realism. Throughout the study the kalkmåleri is thus seen to have agency. The weave of enactments stemming from different professions and thought collectives that formed the paintings was made visible by following the actors. Some of these enactments were analyzed: i.e. the aesthetic shaping of the room, as religious and iconographic images, historical documents, art, style, technical, or hybrid objects. The latter refers to conservation that did not entirely rely on science, humanist scholarship, craftsmanship, or artistic creativity. Thus conservation is seen as a hybrid activity. Three periods of conservation principles were explored: stylistic restoration, original conservation, and precautionary conservation, which were related to what was perceived as the authentic original. Furthermore some Swedish "traditions" are discussed: that no institute for technical studies of art was formed, the use of "Curman’s principles", restricted retouching from the 1960s onward, and the use of gomma pane for cleaning. Finally appendices are included containing terminology, an index of conservators, and a DVD with mapping, chemical analysis, and photographs. / <p>Forskningsfinansiärer: FoU-medel: Riksantikvarieämbetet, Brandförsäkringsverkets stiftelse för bebyggelsehistorisk forskning, Elna Bengtsssons fond och Tyréns stiftelse.</p><p>Ett läsår på Columbia University kunde genomföras med stöd av Fulbright Commission. Erik &amp; Lily Philipsons minnesfond och Axelson Johnsons stiftelse.</p>

Denna uppsats rör sig inom fältet kritiska kulturarvsstudier och fokuserar på svensk utförselreglering av kulturhistoriska föremål genom tiderna. Utgångspunkten ligger i 2014 års omformulering av kulturmiljölagens portalparagraf, vilken numera inkluderar mångfaldsmål. Kulturmiljölagens utförselreglering (reglerad i 5:e kapitlet), som inte uppdaterades samtidigt, är tänkt att läsas mot bakgrund av de inledande bestämmelserna. Eftersom den sedan tidigare uppfattats vila på ålderdomliga nationalistiska värdegrunder, uppstod frågan ifall det fanns en diskrepans i förhållande till de nya målen. För att hitta svar söker sig uppsatsen tillbaka till utförselregleringens formativa moment samt förändring från 1920-talet och framåt och sätter detta i relation till nuvarande kulturpolitiska mål och kulturvård i dagens samhälle. Motiv till utförselreglering men också vilka föremålstyper som skyddats genom tiderna har studerats, analyserats och jämförts kvalitativt. Källmaterialet utgörs framförallt av lagtexter, statliga offentliga utredningar och propositioner. Undersökningen visar att lagen från att ha skyddat ett fåtal föremåltyper succesivt har utökats och detaljerats både vad gäller föremålstyp, ålder, värde och ursprung. Med den högre graden särskiljning och utpekande följer problematik kring vad som räknas in och inte. Vissa traditionellt högt värderade föremålstyper och perioder har skyddats hela tiden medan andra mindre värderade konsekvent har uteslutits, trots långt gånga diskussioner om en mer inkluderande lagstiftning redan i tidiga förarbeten. Den breddade synen kring vad som är bevarandevärt, vilken kan skönjas i museers nutida insamlingspolicys, återspeglas inte i lagtexten. Istället har tydliga ekonomiska, kulturella, etniska och åldersmässiga hierarkier skapats. Flytt från en ursprunglig historisk miljö till en annan plats i Sverige kan orsaka skador på kulturarvet som är större än de skador som kan uppstå om ett föremål som redan flyttats från sin ursprungliga miljö istället flyttas utomlands, något som ignoreras i lagtexten. Lagen utgår ifrån att vissa föremål är svenska folkets egendom och att nationen Sverige är en trygg, ursprunglig och naturlig miljö för dem trots att motsatsen ofta har bevisats. En paradox skönjas i det faktum att vanskötsel och förvanskning av värdefulla och utförselskyddade kulturföremål inte är olagligt, så länge föremålet stannar innanför landsgränsen. De kulturpolitiska målen har alltsedan 1970-talets slut påverkat de uttalade motiven till utförsellagstiftningen. Eftersom ålderdomliga värdegrunder och normer, däribland en hel del nationalistiska sådana, där svensk kultur ses som tydlig avgränsad, högtstående och suverän, fortfarande lyser igenom i utförsellagstiftningen, tydliggörs tendensen till en retorisk men inte grundläggande förändring inom kulturarvssektorn. Hypotesen om att kapitel 5 fortfarande står på en grund av nationalistiska värderingar, nationell protektionism och nationellt identitetsskapande kan därmed sägas stämma. / This paper is located in the field of critical heritage studies and focusses on Swedish cultural heritage law and the export control of moveable heritage objects. The starting point for the research lies in the 2014 redrafting of the opening section of the cultural heritage law, which for the first time includes objectives relating to pluralism and diversity. Export control (which is regulated in the 5th chapter of the cultural heritage law), was not updated at the same time, but it is nevertheless intended to be read in the light of the preliminary provisions. Since chapter 5 previously was perceived to rest on outdated nationalistic values, the question arise as to whether there is a discrepancy in relation to the new objectives that were formulated in 2014. In order to address the question the study looks back at the formative moments and change of the export control regulations from the 1920s onwards and relates this to current cultural policy objectives and goals of conservation. The motives for export control and the type of objects protected through the ages are analysed and compared qualitatively. The source material primarily consists of legal documents, state government investigations and government bills. The study shows that the law gradually changed from protecting a few object types to become more expansive and detailed in terms of the type of artifact and it´s age, value, and origin. This increased degree of segregation and designation leads to concerns relating to what is included and what is not. Some traditionally highly valued object types and periods have continued to be protected whilst others are consistently less valued and excluded, despite ongoing discussions about the need for a more inclusive legislation since the early preparatory work. The broadened idea about what is worth preserving, which can be seen in the contemporary collection policies of museums, is not reflected in the legislation. Instead evident economic, cultural, ethnic and age hierarchies have been created. The law ignores the fact that moving an artifact from its original historical setting to another location in Sweden can cause greater harm than moving an object that has already been moved from its original location overseas. Instead the law assumes that certain objects are the property of the Swedish people and that the nation of Sweden is a safe, original and “natural” environment for them, despite the fact that the opposite often proves to be the case. A paradox is evident in the fact that the mismanagement and distortion of valuable artifacts that are protected against export is not illegal, as long as the object stays inside the borders of Sweden. Cultural policy objectives have, since the late 1970s, influenced the stated rationale for cultural heritage law and export legislation. Since outdated values and standards, including numerous nationalistic ones, where Swedish culture is seen as being distinct, high-cult and sovereign, still shines through in the export legislation, it is clear that there is a tendency to a rhetorical but not a fundamental change in parts of the cultural heritage sector, including the legislative context. The hypothesis that chapter 5 is still underpinned and characterised by nationalistic values, national protectionism and the creation of national identity can thus be said to be proven.

The presented dissertation deals with the perception and methods of management of the mining heritage from the perspective of individual stakeholders, entities and interest groups involved in the process of its creation, inventory, interpretation, use, protection or reconstruction. At the same time, it discusses the ways of using the mining heritage, the benefits and risks of its presence in the territory or its connection to territorial identities. The general starting points of the research are based on a search and critical discussion of scientific literature and key geographical concepts (heritage, place, identity). In the first part, the thesis deals with the conceptualization of heritage in general, discussing various ways of defining and looking at heritage, its characteristics and properties, and also it discusses possible approaches to it. The thesis also brings different perspectives on classification of heritage and analysis of its individual phases, as the heritage is seen as a socio-cultural process conditioned by individual actors, entities and interest groups who enter and influence it at various stages. The thesis also deals with the ways heritage shapes and affects the environment in which it is located, including its inhabitants and visitors. After a general discussion, the thesis...

En cette époque de profonds bouleversements environnementaux, les motifs invoqués par la communauté internationale en vue de protéger la nature sont multiples. Si la préservation de la biodiversité est souvent mise à l’avant-plan, les préoccupations témoignent également d’une sensibilité omniprésente à la beauté des paysages. Cette thèse étudie donc le rôle de l’appréciation esthétique de la nature dans la désignation internationale d’aires protégées. Elle emploie pour cela l’exemple de la Convention concernant la protection du patrimoine mondial, culturel et naturel, adoptée en 1972 par l’UNESCO. Les préceptes de cet instrument de conservation de portée globale admettent l’importance de sauvegarder la beauté du monde naturel, sans toutefois prescrire de moyens clairs pour identifier et sélectionner les sites méritant protection à ce titre. Face à ce flou méthodologique, la thèse examine les facteurs historiques, structurels et techniques qui façonnent, de façon relativement implicite et spontanée, l’inscription d’aires naturelles d’une beauté exceptionnelle sur la Liste du patrimoine mondial. La thèse est constituée de six chapitres. Le premier chapitre introduit le problème et la question de recherche. La revue de la littérature pose ensuite les bases contextuelles et théoriques de la recherche en explorant différents facteurs historiques et philosophiques d’appréciation de la nature. Le troisième chapitre expose la méthodologie qualitative et historique employée dans la thèse. Il est suivi d’un chapitre qui retrace l’origine des préoccupations esthétiques qui ont été intégrées à la Convention du patrimoine mondial lors de sa création, avant de détailler le développement et l’application de ces idées durant les cinq décennies de sa mise en œuvre. Le cinquième chapitre est quant à lui dédié à l’étude spécifique de l’application du critère de sélection (vii), qui prévoit la reconnaissance « […] d’aires d'une beauté naturelle et d'une importance esthétique exceptionnelles ». Finalement, la conclusion renferme une synthèse et une discussion des résultats, appelant à une reconsidération de la valeur esthétique de la nature à travers une meilleure prise en compte de ses dimensions humaine et sociale. Elle aborde également la contribution et les limites de la thèse et suggère des pistes de recherches ultérieures. Les résultats de la recherche brossent un portrait précis des enjeux théoriques et pratiques qui caractérisent l’interprétation de la valeur esthétique des espaces naturels dans le cadre du patrimoine mondial. Celle-ci s’avère largement influencée par la séparation conceptuelle et disciplinaire entre culture et nature ainsi que par le paradigme scientifique, objectiviste et universaliste qui prédominent au sein de la Convention de 1972. Réalisée sans assise théorique claire, l’évaluation de la beauté naturelle est vulnérable aux jugements subjectifs et aux incohérences. Pour y conférer plus de structure et de rigueur, la thèse appelle à une meilleure prise en compte du rôle de la perspective humaine et des facteurs socioculturels dans la construction de la valeur esthétique de la nature. / In this era of substantial environmental disruption, incentives given by the international community to protect nature are many. While the preservation of biodiversity is often at the forefront, preoccupations also show an enduring sensitivity to scenic beauty. This thesis therefore examines the role of the aesthetic appreciation of nature in the international designation of protected areas, through the example of the 1972 UNESCO Convention concerning the Protection of the World Cultural and Natural Heritage. The principles of this global conservation instrument recognize the importance of safeguarding the beauty of the natural world, but do not prescribe clear means for identifying and selecting sites deserving protection as such. In the face of this methodological uncertainty, this thesis examines the historical, structural, and technical factors that shape, in a relatively implicit and spontaneous way, the inscription of natural areas of outstanding beauty on the World Heritage List. The thesis consists of six chapters. The first chapter introduces the problem and research question. The literature review then sets the contextual and theoretical basis for the research by exploring various historical and philosophical factors of nature appreciation. The third chapter outlines the qualitative and historical methodology used in the thesis. This is followed by a chapter tracing the origin of the aesthetic concerns that were incorporated into the World Heritage Convention at its inception, before detailing the development and application of these ideas over the five decades of its implementation. The fifth chapter is dedicated to the specific study of the application of selection criterion (vii), which provides for the designation of "...areas of outstanding natural beauty and aesthetic importance". Finally, the conclusion contains a synthesis and discussion of the results, calling for a rethinking of the aesthetic value of nature through a better consideration of its human and social dimensions. It also addresses the contribution and limitations of the thesis, and suggests avenues for further research. The results of the research provide a clear picture of the theoretical and practical issues that characterize the interpretation of the aesthetic value of natural areas in the context of World Heritage. This interpretation is largely influenced by the conceptual and disciplinary separation between culture and nature, as well as by the scientific, objectivist and universalist paradigm that prevail in the 1972 Convention. Carried out without a clear theoretical foundation, the assessment of natural beauty is vulnerable to subjective judgments and inconsistencies. To provide more structure and rigor, this thesis calls for a better consideration of the role of the human perspective in constructing the aesthetic value of nature.

. This thesis consists of an introduction and four previously published articles. The joint empirical focus is papermaking based on textile rags as fibre raw material. Furthermore the physical environment is central in the studies. The relationship between continuity and change is a prevailing theme. The thesis also pays attention to the use of different sorts of rags and to the connection between this kind of papermaking and the textile industry. The overall purpose is to throw new light upon the paper industry based on rags – a part of early industry seldom mentioned in historical surveys of the industrialization process in Sweden. The aim is also to question the prevalent Swedish historical writing commissioned by the branch, characterized by set divisions between different phases of technical and industrial development, from simple craft to modern industry. One of these borderlines has been drawn between papermaking by hand and papermaking by machine, with the 1830s as the selected transition period. By studying and analysing changes in the traditional and seemingly static papermaking as well as the opposite: the traditional that has lingered in the new, this thesis shows that the course of events was much more complicated than that. An outcome of the studies is that the industrialization of the rag based paper industry has been a complex, uneven and prolonged process. The first main part of the thesis consists of two Swedish regional studies centred on the province of Östergötland in a long-time perspective. The focus is mainly on the long continuity of papermaking by hand, which was carried out between 1628 and 1968. The study shows that a variety of types and sizes of mills regarding ownership, forms of production, location, paper qualities and techniques can be identified. Continuity was the dominating feature but within this framework technological and industrial change also took place. The second main part of the thesis has a Nordic perspective and deals with a shorter period, mainly 1830-1870. One study examines the introduction of the paper-machine and the establishment of the first machine-made paper mills in Denmark, Sweden, Norway and Finland with special attention given to the Swedish mill Holmen in Norrköping and the Finnish Tammerfors mill, both situated in textile mill towns. A second Nordic study surveys hand-made paper mills founded during and after the time when the paper-machine technology had been established. As the studies show, two parallel development tracks were prevalent in the paper industry in the Nordic countries during the period 1830-1870 – papermaking by machine and papermaking by hand. The first paper machines were imported from Britain to some of the oldest and largest paper mills. The introduction of the new technology led to changes in for instance the paper mill buildings and the organization of work regarding the papermaking process. In the preparatory and finishing work manual methods remained, and as before it employed mostly women. At the same time, papermaking by hand continued to change and new hand-made paper mills were founded until as late as the 1890s. The study discusses possible explanations, among them growing markets for special qualities and combinations with other branches of industry. All the studies show a connection between hand-made paper mills and wool mills on one hand, and machine-made paper mills and cotton and linen mills on the other hand. The paper industry based on rags could in fact be characterized as a kind of textile industry / <p>QC 20101129</p>

This thesis investigates the crossover from and intersection between tangible and intangible heritage in the context of World Heritage. Since the start of the twenty-first century, intangible heritage has become increasingly important in international cultural heritage conservation theory and practice. In heritage literature, intangible heritage has been theorized in relation to tangible or built heritage, thereby extending the definition of cultural heritage to consider a holistic perspective. New heritage conservation instruments have been created for the protection of intangible heritage, such as most prominently the 2003 UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage. The changing conception of cultural heritage that goes beyond tangible heritage has also influenced existing instruments like the 1972 UNESCO Convention concerning the protection of the World Cultural and Natural Heritage. The thesis studies how intangible heritage has been recognized and interpreted in implementing the concept of cultural heritage as defined by the World Heritage Convention. It examines the historical development of the concept of World Cultural Heritage with the aim of tracing the construction of intangible heritage in this context. The thesis consists of six chapters. The introduction sets out the research problem and research question. In the literature review, international cultural heritage conservation is portrayed as the research context, the knowledge gap between World Heritage and intangible heritage is identified and an understanding of the research problem deepened, and methods from similar research in the subject area are presented. The methodology in the third chapter describes choices made concerning the research paradigm, research approach and strategy, the use of concepts and illustrative examples, as well as data collection and analysis methods. Knowledge is constructed using primarily a historical approach and related methods. Through the analysis of pertinent documents and heritage discourses, an understanding of the concept of intangible heritage is developed and the concept of World Cultural Heritage is investigated. In the fourth chapter, intangible heritage is studied by looking at specific cultural heritage discourses, that is, a scientific, a UNESCO, and an ICOMOS discourse. Intangible heritage is theorized in relation to the concepts of tangible heritage, heritage value, and cultural heritage. Knowledge gained in this chapter serves as a theoretical lens to trace the recognition of and tease out interpretations of intangible heritage in the context of implementing the concept of World Cultural Heritage. The results are presented in chapter five. A historical development is portrayed in five time periods and for the concepts of cultural heritage, Outstanding Universal Value, the criteria to assess World Heritage value, and authenticity. The conclusion summarizes the main outcomes, assesses the thesis’ contribution to scientific knowledge as well as its limitations, and outlines possible further research. The main results include the identification of the term intangible heritage as an indicator for a paradigm shift and a new approach to conceiving cultural heritage in international cultural heritage conservation. By focusing on processes and the living relationship between people and their environment or place, intangible heritage emphasizes the anthropological. In the context of this conception, intangible heritage takes on two meanings. First, value is attributed by people and hence, is inherently immaterial. Secondly, place is constituted of a tangible-intangible continuum in terms of attributes. A paradigm shift and increasing recognition of an anthropological approach to cultural heritage were identified for all discourses, that is, UNESCO, ICOMOS, the scientific field, and World Heritage. For World Heritage, intangible heritage was recognized indirectly in terms of historical associations during the 1970s and 1980s. The anthropological shift occurred in the early 1990s. The term intangible was introduced and the meaning of intangible heritage was extended to include cultural associations. The subsequent decade is characterized by a process of internalization and implementation of the new approach to cultural heritage. The 2003 Intangible Cultural Heritage Convention created momentum. By the early 2010s, while not explicitly recognizing the immaterial character of values, a holistic approach to cultural heritage was fully endorsed that considers the idea of intangible attributes as carriers of values. An understanding of the recognition of intangible heritage through the implementation of the World Heritage Convention and scientific research in general provide an important knowledge base for implementing the Convention in a more coherent, objective, and well-informed way. / Cette thèse étudie le croisement et l’intersection entre le patrimoine matériel et immatériel dans le contexte du patrimoine mondial. Depuis le début du vingt-et-unième siècle, le patrimoine immatériel est devenu de plus en plus important dans la théorie et la pratique de la conservation internationale du patrimoine culturel. Dans la littérature, le patrimoine immatériel a été théorisé par rapport au patrimoine matériel ou bâti et la définition du patrimoine culturel a été envisagée dans une perspective holistique. De nouveaux instruments de conservation du patrimoine ont été créés pour la protection du patrimoine immatériel, comme notamment la Convention pour la sauvegarde du patrimoine culturel immatériel de l’UNESCO de 2003. La conception du patrimoine culturel, qui va au-delà du patrimoine matériel, a également influencé des instruments existants comme la Convention concernant la protection du patrimoine mondial, culturel et naturel de l’UNESCO de 1972. La thèse étudie comment le patrimoine immatériel a été reconnu et interprété dans la mise en œuvre du concept du patrimoine culturel, tel que défini par la Convention du patrimoine mondial. Dans ce contexte, elle examine le développement historique de la notion du patrimoine mondial culturel dans le but de retracer la construction du patrimoine immatériel. La thèse se compose de six chapitres. L’introduction expose la problématique et la question de recherche. La revue de littérature dépeint la conservation internationale du patrimoine culturel comme contexte de recherche, identifie l’écart de connaissances entre le patrimoine mondial et le patrimoine immatériel en approfondissant une compréhension de la problématique, tout en présentant des méthodes de recherche similaires dans le domaine. La méthodologie du troisième chapitre décrit les choix faits concernant le paradigme de recherche, l’approche et la stratégie de recherche, l’utilisation des concepts et des exemples, ainsi que les méthodes de collecte et d’analyse des données. La connaissance est construite principalement en utilisant une approche historique et des méthodes qui lui sont reliées. La compréhension de la notion de patrimoine immatériel et l’étude du concept du patrimoine mondial culturel se basent sur l’analyse de documents pertinents et de discours du patrimoine. Le quatrième chapitre examine le patrimoine immatériel en regardant des discours spécifiques au patrimoine culturel, soit le discours scientifique, de l’UNESCO et de l’ICOMOS. Le patrimoine immatériel est théorisé par rapport aux concepts du patrimoine matériel, de la valeur du patrimoine et du patrimoine culturel. Les connaissances acquises dans ce chapitre servent de perspective théorique pour retracer la reconnaissance et clarifier les interprétations du patrimoine immatériel dans le contexte de la mise en œuvre du concept du patrimoine mondial culturel. Les résultats de cette analyse sont présentés dans le chapitre cinq. À travers cinq périodes différentes, une analyse historique retrace l’interprétation des concepts de patrimoine culturel, de valeur universelle exceptionnelle, ainsi que les critères d’évaluation de la valeur du patrimoine mondial et de l’authenticité. La conclusion résume les principaux résultats, évalue la contribution de la recherche à la connaissance scientifique, ainsi que ses limites, tout en décrivant d’autres avenues de recherches ultérieures. Les principaux résultats comprennent l’identification du terme de patrimoine immatériel comme l’indicateur d’un changement de paradigme et d’une nouvelle approche de la conception du patrimoine culturel dans la conservation internationale du patrimoine culturel. En se concentrant sur les processus et la relation continue entre les personnes et leur environnement ou le lieu, le patrimoine immatériel en souligne l’aspect anthropologique. Dans le cadre de cette conception, le patrimoine immatériel prend deux significations. Tout d’abord, la valeur est attribuée par les gens et par conséquent, est intrinsèquement immatérielle. Deuxièmement, le lieu est constitué d’un continuum matériel-immatériel en termes d’attributs. Un changement de paradigme et la reconnaissance croissante d’une approche anthropologique de patrimoine culturel ont été identifiés dans tous les discours, c’est-à-dire, ceux de l’UNESCO, de l’ICOMOS, le discours scientifique, et le patrimoine mondial. Dans le contexte du patrimoine mondial, le patrimoine immatériel a été reconnu indirectement en termes d’associations historiques durant les années 1970 et 1980. Le changement anthropologique se manifeste au début des années 1990. Le terme de patrimoine immatériel a été introduit dans le discours et sa signification a été élargie pour inclure les associations culturelles. La décennie suivante est caractérisée par un processus d’internalisation et de mise en œuvre de la nouvelle approche du patrimoine culturel. La Convention du patrimoine culturel immatériel de 2003 a créé une dynamique. Au début des années 2010, même si le caractère immatériel des valeurs n’est pas reconnu explicitement, une approche holistique du patrimoine culturel a été mise en œuvre, laquelle considère l’idée d’attributs immatériels comme porteurs de valeurs. Une compréhension de la reconnaissance du patrimoine immatériel à travers la mise en œuvre de la Convention du patrimoine mondial et de la recherche scientifique en général fournit une base de connaissances importante pour la mise en œuvre de la Convention d’une manière plus cohérente, objective, et mieux informée.