INTRODUCTION AND JUSTIFICATION Cultural landscape is an instrument of force (Mitchell, 2008) and it is knowledge (Graham, 2001). As such it represents cultural capital (Bourdieu, 1977) of a society, state or nation, where through diverse social processes and practices directly or indirectly helps to form cultural identity. More specifically, cultural heritage, as a symbolic and visual language of cultural landscape, intersects with a “range of social and cultural debates about the legitimacy of a range of values and identities, and subsequently plays a part in their validation, negotiation and regulation” (Smith 2006). Being an important element of cultural identity, heritage is thus often used as an instrument of power among contested parties …show more content…
Or is branding as such also a narrative and thus a form of cultural hegemony, an instrument of neo-capitalist globalized which shows the tendency to reduce everything to a product easy to consume? For that purposes we have deconstructed our research question onto more specific questions that are both our aims, and steps, in the research analysis: 1. How do we understand cultural heritage as an important part of the cultural identity in terms of power relations in a post-conflict society? 2. How contested narratives shape cultural landscapes visually in a post conflict multicultural society? 3. Does cultural landscape, as an important part of cultural identity, influences the creation of nation image? 4. Is there a difference between a nation-image and a cultural identity in a post-conflict society? 5. Does country branding, due to its symbolic nature of visual and textual language, can also be seen as a narrative? And as such, does it represents an authentic image of cultural identity in a multiethnic post-conflict society? To this aims, we propose a theoretical framework composed of these concepts: • Cultural landscape • Cultural
...has a national identity, an identity borne of many cultures and in the spirit of cooperation.
Blij has clearly put this book into historical significance by mentioning the idea of geography and how it plays a role in societies all over the world. However, the five themes of culture regions, cultural diffusion, cultural interaction, cultural ecology, and cultural landscapes are all clearly defined within a specific context to a particular nation. Through reading this intriguing piece of literature I received the underlying notion that Blij firmly believes that landscapes of the world realm are not going to change. De Blij worldview of regions, diffusion, interaction, ecology, and landscapes has allowed him to simultaneously link issues together from the United States all the way to Southeast Asia.
...estions of resilience and capacity of the government value of heritage and people who are dedicated in preserving it.
...ic culture to a nation is the foundation of a nation-state, and also the sole reason why nation-states will continue to be around for centuries, regardless of if globalization follows suit.
Branding is defined as “the promot[ion] of a product or service by identifying it with a particular brand” (Merriam-Webster, 2015). Branding is also used to create a corporate image or brand by utilizing logos, corporate statements, and other images that will be associated with or displayed on all of that company’s products (Wolak, 2002). A brand is a valuable, enduring asset that is essential in creating and maintaining competitive advantage in an industry (Wolak, 2002; Murphy, 1988). This corporate asset can be just as important as the product or service behind it, because it carries name recognition and peace of mind to customers in the purchase decisions they make everyday (Hall, 2008). Brands essentially work as a “shorthand device” for consumers to evaluate product decisions by conveying a message of uniform quality, credibility, and experience
“Cultural identity is not something that is easy to manipulate by acting on the mass media, nor does it seem to be much influenced by media culture. It survives and flourishes in many a form, and the general expansion of television, music and other media have added some widely (internationally) shared cultural elements without evidently diminishing the uniqueness of cultural experience in different nations, regional and localities of Europe” (McQuail, 2000, p. 237) Cultural imperialism thesis has also lead to many cultural protectionism policies, designed “to defend indigenous cultures against their corruption, pollution or destruction by foreign elements” (Morley,2006, p.36). Problems arise when trying to understand what is meant by foreign (and to who) and also when trying to examine and define the purity, originality and indigenousness of one’s culture that needs to be defended. Cultural imperialism tends to assume that the most countries from the global South had indigenous, pure and authentic cultures before the Western influence came along via transnational corporations. One could argue that this view tends to be a romanticized perspective of the Third World which disregards the complex relations between countries and their former colonial powers while also ignoring the fact that most cultures are hybrids. There is a problem with the inaccurate presumption that the phenomenon of cultural mixing is recent, when actually all cultures have, to certain extent, absorbed elements from another cultures through history. Therefore, the complexity of intercultural flows must be acknowledged, along with the ambivalence of their meaning when being brought into new
It has become impossible to avoid marketing and branding. Everywhere a consumer turns, they are being persuaded and influenced by all sorts of symbols, logos, slogans etc. These aspects of a brand create the culture we live in. “The effect, if not always the original intent, of advanced branding is to nudge the hosting culture into the background and make the brand the star. It is not to sponsor culture but to be the culture.” 30 no logo. Humanity has become one large sponsored event, making it impossible in order to escape.
In a word, cultural heritage belongs to where it is created. Based on this precondition, cultural artifacts can be shared by all the human being only when its owner offers this on his own.
Now within the rest of this paper you will be finding a few different things getting discussed. Staring it off we will be discussing the articles that we have found to make our arguments and hypotheses. After wrapping up the literature reviews we will be discussing the hypotheses thus continuing onto our variables and indicators. Once we discuss our hypotheses we will be moving onto the research design. The research design will have our general issues, sampling, and methods.
In landscape design, points define outdoor attractions and line indicates the movement and flow between those attractions. Namely, the line gives the park a strong linear focus. The result in Ballast Point Park melted with geological expressiveness, while remain relevant and accessible through the sequential walls and paths. In John L. Motloch’s book ‘Introduction to Landscape Design’, he points out that the geology of the site is referenced with the palette used, not only for their structural integrity but spatial quality（John L. Motloch，2001）. In today’s world where the used as sandstone quarry transformed into lubricating oil manufactory finally becomes park, the composition of cultural geology is what the public has to notice. In this way, this project is read as a refined palette of recycled material that gives the site a geological atmosphere. Precisely, dominant new terrace walls sit atop the sandstone cliffs in the park but these walls are not made of precious sandstone excavated from another site, rather from the rubble of the past; these walls negotiate a series of terraces and walkways on the site, leaving and skimming over remnant sandstone and use some gravel materials to bring a fine-grain textural quality to this otherwise geological context. This is a design that evokes a deep emotional response from the natural geology environment. For design technique used in site, this experience is comparable to that is viewing a cinematic montages, with the point and line – industrial and geological expression – contrasting scenes juxtaposed and superimposed against one another. Additionally, Tim Ingold underpins that the landscape line system is in the movement from place to place – from topic to topic – that knowledge is integrated (Tim Ingold, 2007). What under those words is the idea of expression transformation occurs along the combination
.... As every era, every civilization leaves behind monuments and artistic culture in the form of cities and works of art, all this forms the basis for the nation’s memory of its historical heritage.
I have discovered that the three main causes of the loss of cultural identity are immigration, industrialization, and globalization. When people migrate to a new country, they often have to assimilate to the culture. They strive to fit in to the host culture, and then they start to lose their own culture. With industrialization, the rise of industry and growth of population is causing an outward expansion of cities. More and more land is needed for the cities and industrialized areas. It has become a growing problem that smaller cities and villages are being destroyed by this expansion. Globalization is becoming more and more of a problem with the rise of technology. Areas all over the world are getting to view the cultures and customs of other countries. As dominant countries and cultures arise, other countries are striving to become like these countries, whether economically or
[5] Nandan, S. (2005) An exploration of the brand identity-brand image linkage: A communications perspective, Brand Management. (pp 264 – 278)
The term 'branding' in modern marketing is generally originated in the agricultural practices of the medieval age. The farmers 'branded' their animals with the iron and then they were able to identify to whom a particular animal belonged. Artisans 'branded' their products, for example, expensive silver tableware. Smiths 'branded' their swords. The role of the brand is to identify products by the same way as for medieval farmers and for modern corporations as well.
International Cultural Tourism Charter: Managing Tourism at Places of Heritage Significance, ICOMOS, viewed 3 May 2014, http://www.icomos.org/tourism/charter.html