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.

This thesis investigates the aesthetic interpretation of learning processes in television produced and broadcast in Sweden between 1956 and 1969. The thesis explores how these programmes are linked to concepts of Bildung by their aesthetics, by which the intangible cultural heritage is entrusted in the form of oral and visual traditions, storytelling and games/play, where learning is the common denominator. The programmes are divided into three categories: aesthetics of attentiveness, aesthetics of tale/storytelling and aesthetics of play. The detailed, thick, descriptions of the programmes emanating from the close-readings shall be, together with the aesthetic categories that I have formulated and expressed in a model, regarded as the survey’s key findings. The starting point of the central theoretical model of the thesis is André Malraux’s idea of an imaginary museum of imagination in which photo reproductions can constitute a collective memory, and thus bepart of an intangible heritage. Based on this idea of ​​an imaginary museum, I have constructed a conceptual model called a medial museum, valid in its own time as well as for posterity. The theoretical models that the study gain support from are characterized by phenomenological and hermeneutical perspectives, as I refer to  a phenomenological-hermeneutical method when analysing the programmes, and at the same time underline the phenomenological-hermeneutically based aesthetics in the analysed programmes, where aesthetic interpretation of learning processes in terms of attentiveness, tale and play is of a phenomenological-hermeneutic character. For a broad perspective on learning processes, theoretical support is acquired both from the German philosopher Hans-Georg Gadamer and his hermeneutic of traditions and from the French philosopher Jacques Rancière and his emancipatory ideas of pedagogy and aesthetics. Furthermore, the French philosopher Paul Ricœur and his thoughts on importance of storytelling for knowledge formation have had significant influence on the work. Regarding the concepts of play, I have made use of both Gadamer’s ideas of ​​art experience as play and of Donald W. Winnicott’s theories about play as transitional area. In the programmes’ aesthetics is found a depiction of a broadened interpretation of Bildung, where processes of learning comprise a direct sensual perceiving, attentiveness, storytelling/tale and play. Moreover, within the programmes’ managing of an intangible cultural heritage, I have found an expression of an interplay between modernity and tradition, with emphasis on the historical significance of the present, and rooting in the past of everyday life, where expectation on the future and the memory of the past can co-exist. To summarise, the study suggests the possibility to understand aesthetics as an epistemology using sensuous experience as basis for a conceptual knowledge about how to understand the world. Thereby, one can comprehend aesthetics as pedagogy per se.

A pesquisa observa as novas relações de produção e difusão da arte que surgiram com a utilização da internet e das novas tecnologias, pelas instituições culturais, para a expansão de suas atividades. A investigação propõe que essa nova forma de comunicação pode unir o alcance das plataformas virtuais, a credibilidade de grandes centros artísticos e a força dos processos colaborativos de criação em rede para ampliar a propagação da arte e da cultura. O estudo pretende mostrar como museus, galerias e instituições culturais em geral, têm desenvolvido trabalhos na world wide web, desde o começo dos anos 90, de forma a ampliar o acesso do público, não apenas a seus acervos e exposições, mas também à possibilidade de criação conjunta do conhecimento museológico e de nossa herança cultural. Através da observação dos conteúdos disponibilizados na rede por museus variados, nacionais e internacionais, relacionados a artigos sobre questões contemporâneas da museologia, são analisados como os objetivos das instituições artísticas quanto ao uso do ciberespaço têm evoluído. Há um crescente esforço em suprir as necessidades culturais dos novos espectadores da era conectada da internet. Hoje, modelos de exposições virtuais permitem que formatos de arte efêmera, como performances ou intervenções, possam efetivamente fazer parte dos espaços museológicos. Foi criada uma nova ligação com o visitante do museu, que pode estar em qualquer lugar do mundo e, utilizando redes sociais e mídias móveis, passa a ser criador e difusor de conteúdo, além de receptor. Por fim, há a reflexão sobre como, enquanto se adéquam às novas relações do homem com a arte e a cultura através do mundo virtual, as instituições devem se preocupar com a responsabilidade social e a democratização do acesso aos bens culturais por aqueles que ainda não tem contato frequente com as novas tecnologias. / The research points the new relations of production and dissemination of art that emerge with the use of the Internet and new technologies, by cultural institutions to expand their activities. The research suggests that this new form of communication can put together the reach of virtual platforms, the credibility of major artistic centers and the strength of networks for collaborative creation processes, to enlarge the propagation of art and culture. The study aims to show how museums, galleries and cultural institutions in general, have developed activities on the world wide web since the early \'90s, in order to increase public access, not only to their collections and exhibitions, but also to the possibility of joint creation of the museological knowledge and cultural heritage. How the goals of art institutions in the use of cyberspace have evolved are analyzed through observation of the content provided on the net by various museums, national and international, related with articles about issues on contemporary museology. There is a growing effort to meet the cultural needs of the new spectators of internet connected age. Nowadays, virtual exhibitions models allow ephemeral art formats, such as performances or interventions, to effectively be part of the museum spaces. A new connection was created with the museum visitor, who can be anywhere in the world and, using social networks and mobile media, becomes a creator and disseminator of content, as well as a receiver. Finally, there is the observation on how, while adapting with the man\'s new relationship with art and culture through the virtual world, institutions should concern also about social responsibility and democratic access to culture for those who do not have frequent contact with new technologies.

Made available in DSpace on 2016-04-26T20:23:30Z (GMT). No. of bitstreams: 1 Mariana Battochio.pdf: 1323681 bytes, checksum: 31c6f600da075e729878c60253358ace (MD5) Previous issue date: 2015-02-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The purpose of this paper is to provide a study on the possibility of recognized the injuries caused to the right of the ecological balance, collective interest that transcends the private sphere of human damage, affecting the whole community. Initially, it will be necessary to analyze the Law in Postmodernity, checking the inevitable axiological content of standards involving the law of nature, inserted as a human right third generation. We will analyze some philosophical currents that support and assist the perception of contemporary environmental law, in particular his interpretation. Also be traced an overview of the evolution of environmental law by addressing their social, economic and ecologic character; and these pillars necessary for the realization of human dignity. Then, we intend to recognize the existence of a collective intangible heritage, analyzing the possibilities and difficulties of obtaining and quantify the damage of this nature, given the basic principles that will guide the collective protection. For this, we will study the civilian view of moral damage, through the transition that culminated in the extent of injuries caused to an ecologically balanced environment damage. Finally, we see the evolution of matter in the higher courts, analyzing aspects such as the quantification of collective damages and allocation of its resources to the defense fund of diffuse rights / A proposta do presente trabalho é oferecer um estudo sobre a possibilidade do reconhecimento de danos imateriais às lesões causadas ao direito ao equilíbrio ecológico, interesse metaindividual que transcende a esfera privada dos seres humanos, atingindo toda a coletividade. Inicialmente, será necessária uma análise do Direito na Pós-Modernidade, verificando o inevitável conteúdo axiológico das normas que envolvem o direito da natureza, inserido como direito humano de terceira geração. Para tanto, analisaremos algumas correntes filosóficas que embasam e auxiliam a percepção do direito ambiental contemporâneo, em especial a sua interpretação. Ainda, será traçado um panorama da evolução do Direito Ambiental, abordando o viés sustentável em seus aspectos social, econômico e ambiental; sendo esses pilares necessários para a concretização da dignidade da pessoa humana. Em seguida, pretendemos reconhecer a existência de um patrimônio imaterial coletivo, examinando as possibilidades e dificuldades de auferir e quantificar os danos dessa natureza, diante dos princípios basilares que vão nortear a tutela coletiva. Para isso, estudaremos a visão civilista dos danos morais, passando pela transição que culminou na extensão dos danos imateriais às lesões causadas ao meio ambiente ecologicamente equilibrado. Por fim, veremos a evolução da matéria nos tribunais superiores, analisando aspectos como a quantificação dos danos morais coletivos e a destinação de seus recursos ao fundo de defesa dos direitos difusos

A pesquisa observa as novas relações de produção e difusão da arte que surgiram com a utilização da internet e das novas tecnologias, pelas instituições culturais, para a expansão de suas atividades. A investigação propõe que essa nova forma de comunicação pode unir o alcance das plataformas virtuais, a credibilidade de grandes centros artísticos e a força dos processos colaborativos de criação em rede para ampliar a propagação da arte e da cultura. O estudo pretende mostrar como museus, galerias e instituições culturais em geral, têm desenvolvido trabalhos na world wide web, desde o começo dos anos 90, de forma a ampliar o acesso do público, não apenas a seus acervos e exposições, mas também à possibilidade de criação conjunta do conhecimento museológico e de nossa herança cultural. Através da observação dos conteúdos disponibilizados na rede por museus variados, nacionais e internacionais, relacionados a artigos sobre questões contemporâneas da museologia, são analisados como os objetivos das instituições artísticas quanto ao uso do ciberespaço têm evoluído. Há um crescente esforço em suprir as necessidades culturais dos novos espectadores da era conectada da internet. Hoje, modelos de exposições virtuais permitem que formatos de arte efêmera, como performances ou intervenções, possam efetivamente fazer parte dos espaços museológicos. Foi criada uma nova ligação com o visitante do museu, que pode estar em qualquer lugar do mundo e, utilizando redes sociais e mídias móveis, passa a ser criador e difusor de conteúdo, além de receptor. Por fim, há a reflexão sobre como, enquanto se adéquam às novas relações do homem com a arte e a cultura através do mundo virtual, as instituições devem se preocupar com a responsabilidade social e a democratização do acesso aos bens culturais por aqueles que ainda não tem contato frequente com as novas tecnologias. / The research points the new relations of production and dissemination of art that emerge with the use of the Internet and new technologies, by cultural institutions to expand their activities. The research suggests that this new form of communication can put together the reach of virtual platforms, the credibility of major artistic centers and the strength of networks for collaborative creation processes, to enlarge the propagation of art and culture. The study aims to show how museums, galleries and cultural institutions in general, have developed activities on the world wide web since the early \'90s, in order to increase public access, not only to their collections and exhibitions, but also to the possibility of joint creation of the museological knowledge and cultural heritage. How the goals of art institutions in the use of cyberspace have evolved are analyzed through observation of the content provided on the net by various museums, national and international, related with articles about issues on contemporary museology. There is a growing effort to meet the cultural needs of the new spectators of internet connected age. Nowadays, virtual exhibitions models allow ephemeral art formats, such as performances or interventions, to effectively be part of the museum spaces. A new connection was created with the museum visitor, who can be anywhere in the world and, using social networks and mobile media, becomes a creator and disseminator of content, as well as a receiver. Finally, there is the observation on how, while adapting with the man\'s new relationship with art and culture through the virtual world, institutions should concern also about social responsibility and democratic access to culture for those who do not have frequent contact with new technologies.