Part Of World Cultural Heritage Research Articles

Digital preservation of classical gardens at the San Su Shrine

Chinese classical gardens, an essential part of World Cultural Heritage, are well exemplified by Xishu Garden as a notable branch of this tradition. This research focuses on the San Su Shrine—a quintessential example of Xishu Garden—and explores the application of digital technologies in the commemorative research and quantitative preservation of these gardens. By integrating terrestrial laser scanning and terrestrial digital photogrammetry, we acquired quantitative data and constructed digital models to innovate upon the methodological approach to garden conservation. The innovation of this study is its analysis of Xishu Garden’s commemorative spaces through both temporal and spatial dimensions. 1) Temporally, this study examines the evolution and stratification of the garden's commemorative elements across various historical periods. 2) Spatially, it explores the interconnectedness of commemorative elements within the garden's buildings, rockery stones, water landscape and plant landscape. This dual-faceted approach yields novel insights and methods for assessing the universal value of the commemorative aspects of Xishu Garden. Moreover, it promotes the application of digital technology in the study and preservation of Xishu and other Chinese classical gardens.

World Cultural Heritage Designated Impacts in Jatiluwih Agritourism, Bali, Indonesia

Purpose: This research examined the economic and socio-cultural impacts on the villages of Jatiluwih in Bali after the listing of subak as World Cultural Heritage. In addition, this study also aims to identify the constraints encountered by the Operations Management and establish management programs in managing Jatiluwih Tourist Attraction as part of World Cultural Heritage. Theoretical framework: Tourism, as a product, cannot be exported but imports the consumers to consume the product in the exporting country. Therefore, tourism cannot exist in separation from the host community. When planning for tourism, local regional and national governments should be aware of the pressures on the physical and social environment caused by the inflow of tourists. Host communities also need to be aware that tourism is likely to cause a wide range of impacts. Design/methodology/approach: This study used qualitative methods supported by quantitative data through Interpretive Structural Modeling (ISM) analysis. Data collection techniques used were observation, interviews, document studies, and focus group discussion. Findings: This study contributes a concise analysis of the various impacts, due to the growth of tourism, on the local community living within the World Cultural Heritage, such as increased in income, changes in personal relationships, modernization of agriculture, and the readiness of the society to move into social organizations. Increasing the number of tourism jobs while simultaneously maintaining World Cultural Heritage properties were significant challenges faced by Operations Management of Jatiluwih Tourist Attraction. Research, Practical & Social implications: By analyzing tourism impacts around the World Cultural Heritage, one could realize the benefits acquired by the local community. Originality/value: This research examines the constraints encountered by World Cultural Heritage site based on tourism impacts by applying Interpretive Structural Modeling analysis.

Wall Mosaics: A Review of On-Site Non-Invasive Methods, Application Challenges and New Frontiers for Their Study and Preservation.

This review concerns the challenges and perspectives of on-site non-invasive measurements applied to wall mosaics. Wall mosaics, during the centuries, decorated numerous buildings, nowadays being part of world cultural heritage. The preservation and maintenance of these valuable decorations are undoubtedly directly dependent on identifying possible problems that could affect their hidden structure. On-site non-invasive methods, using different contact or no-contact technologies, can offer support in this specific field of application. The choice of the appropriate technique or combination of different techniques depends, in general, on the depth of investigation, the resolution, the possibility to have direct contact with the surfaces or, on the contrary, limited accessibility of the wall mosaics due to their location (e.g., vaults), as well as deterioration problems, (e.g., voids, detachments, or humidity effects). This review paper provides a brief overview of selected recent studies regarding non-invasive methods applied to the analysis of wall mosaics. This review, discussing the assessment of advantages and limitations for each method here considered, also considers possible future developments of imaging techniques in this specific context for cultural heritage applications.

Traditional Agricultural System as Tourism Icon in Jatiluwih Tourism Village, Tabanan Regency, Bali Province

Traditional farming systems based on local wisdom was applied on a rice field in Jatiluwih Tourism Village is a very attractive tourism icon for tourists. Icons of tourism have been more interesting after Jatiluwih Subak was decreed as part of World Cultural Heritage by UNESCO on July 2012. This research was used qualitative method, aims to know the influence of traditional agricultural systems in Jatiluwih Tourism Village as a tourism icon, to know the attractiveness of traditional agricultural systems in Jatiluwih Tourism Village, and to know the influence of traditional agricultural systems on the tourism development of Jatiluwih Tourism Village. The results show that a fixed traditional farming systems applied by the member of Jatiluwih Subak, namely as pula pali metandur padi bali ring carik most of the farmers in Jatiluwih Tourism Village. Tourist attraction related traditional farming system that was applied in Jatiluwih Tourism Village is the aspect of the activity of each stage in the system of traditional agriculture and its accompanying ceremonies. The influence of traditional agricultural systems against tourism in the Jatiluwih Tourism Village can be seen from the increasingly community involvement in tourism (direct, indirect, and induced), revenue of the operation management of Jatiluwih Tourism Village was increased, as well as the number of tourists visit (foreign and domestic) was increased.

Management Strategy of Jatiluwih Tourist Attraction as Part of World Cultural Heritage in Tabanan Regency, Bali Province

Various attempts have been made to achieve the goals of the management of Jatiluwih Tourist Attractions as part of the World Cultural Heritage, but there are some obstacles in its implementation. This research aims to develop strategies and programs in the management of sustainable Jatiluwih Tourist Attraction as part of the World Cultural Heritage. This study used qualitative methods supported by quantitative data through the use of Interpretive Structural Modeling (ISM) analysis. Data collection was conducted through interviews, Focus Group Discussion, and document studies. The ISM (expert survey) questionnaire as a research instrument was used to obtain information about the contextual relations of each element in the Interpretive Structural Modeling (ISM) analysis involving 11 experts. The results of the study indicate that the management of Jatiluwih Tourist Attraction as part of the World Cultural Heritage requires strategies and programs for sustainability. The formulated strategies are management more structured to increase tourist visits and improve community welfare; increasing the competence of human resources to increase participation; infrastructure development and diversification of tourism products; and increasing support for the preservation of cultural heritage sites through increase community awareness, land use policies, and the involvement of all stakeholders. Programs are formulated based on the strategies set.

Initiation Plants and their Role in Treatment in the Vaupes Region, South America

In this article, we focus on plants used during initiation rites in Colombia. The aim of this paper is to describe the initiation plants of Cubeo and Curripaco people living in the Vaupés region.and explain how their application changed to be therapeutical only with the loss of rich cultural and ritual uses because the rites were abandoned by ethnic groups, who originally performed them. There are described plants of Cubeo and Curripaco people living in the Vaupés region. These ethnic groups are recognized to have an extensive knowledge on medicinal plants, venoms and aphrodisiacs. Finally, we declare that conservation tools and cross cultural research projects are needed to be established to preserve initiation rites for future generations, because they are part of world cultural heritage.

Reception of Medea’s Image in Grigol Robakidze’s Novel „Megi the Georgian Girl“

Greek mythology (myth about the Argonauts) have made character of Medea of Colchis the indivisible part of world cultural heritage. For centuries character of Medea has maintained its significance and comprised source of inspiration for the representatives of various spheres of fine arts.[1] Of course, regarding the contexts of the epochs (conceptual and esthetic position) and author’s intent, some motifs of the Argonauts’ myth and character of the woman of Colchis have been changing.
 In this respect, novel „Megi, Georgian Girl“ by Georgian modernist writer, Grigol Robakidze is of interest. Text, first published in 1932 in Germany[2] was translated into Georgian in 2012 and it is not properly studied till now.

Procedural rhythmic character animation: an interactive Chinese lion dance

AbstractThe creation of a stylistic animation through the use of high‐level controls has always been a design goal for computer animation software. In this paper, we propose a procedural animation system, called rhythmic character animation playacting (RhyCAP), which allows a designer to interactively direct animated characters by adjusting rhythmic parameters such as tempo, exaggeration, and timing. The motions thus generated reflect the intention of the director and also adapt to environmental obstacle constraints. We use a sequence of martial‐art steps in the performance of a Chinese lion dance to illustrate the effectiveness of the system. The animation is generated by composition of common motion elements, concisely represented in an action graph. We have implemented an animation control program that allows Chinese lion dance to be choreographed interactively. This authoring tool also serves as a useful means for preserving this part of world cultural heritage. Copyright © 2006 John Wiley & Sons, Ltd.

Othello in Estonia

Othello in Estonia Maris Peters Estonia is, despite the invasions from East and West for nearly a thousand years, virtually a mono-racial country. Although Estonia has various minorities—the largest such group is Russian—it can hardly be compared to the ethnic mix of most Western countries. The rest are likely to be either tourists, Chinese exchange students, visiting scholars, or people who are just "passing through." Before Estonians regained independence in the 1990s, which ultimately gave people a chance to travel, the most multi-racial experience Estonians had was by being moved, either voluntarily or involuntarily, around parts of the vast Soviet empire. An Estonian production of Othello, therefore, involves Estonians, themselves considered non-temperamental northerners, producing the play for the same type of cool northerners (with probably a rare exception of a visiting foreigner in the audience). Racial elements, obviously, cannot be an issue in the same way they are for a Western production;1 something else must be foregrounded. There is another element one must consider. If the vast masses of English-speaking people around the world see performing Shakespeare as their self-evident right, almost a duty of honor, all the non-native speakers have learnt to appreciate Shakespeare in their native tongue as a part of world cultural heritage that belongs to them as much as to anybody else. Estonians, like many others, perform Shakespeare in their native language simply for the joy of it. The first translations (and adaptations) at the end of the 19th century were transcribed from the German, and translations from English appeared soon after. In 1910 Shakespeare was for the first time translated into Estonian from English. Not surprisingly, the translation was of Hamlet. It was published in St. Petersburg. Translations of other plays followed. In the circles of the cultural elite of that time there was no doubt that Shakespeare should become available in the Estonian language; it was seen as shameful that so little of Shakespeare was translated. A lot of the work of disseminating Shakespeare in the first half of the twentieth century was done by Ants Oras, who translated some of Shakespeare's sonnets and eight of his plays. The beginning of the Second World War and ensuing Soviet Occupation created some setbacks in the development of Estonian Shakespeare "business." Many academics, Oras among them, fled Estonia, and others were sent to Soviet prison camps. It was not until 1959 that the seven volumes of the complete works managed [End Page 74] to reach a press. Published over 16 years, the last volume coming out in 1975, this set still remains the definitive Complete Works of Shakespeare in Estonian. The translation, though deemed too "bookish" because of its extensive notes and commentary, is still occasionally used for stage productions. Some new translations exist, commissioned by theatres for their companies. The theatre critics who grew up with the originally translated Complete Works under their pillow complain occasionally about the loss of poetry in the new translations. This situation could be altered if new translations could be published, but the Estonian publishing houses consider such projects too esoteric and expensive. Since Shakespeare is produced in translation, he cannot be put on stage for the sake of his poetry. The new purpose-made translations usually cater for the needs of a particular production, stressing elements that support the reading the director wishes to apply. It allows the language that people hear from the stage to be less strained (the iambic pentameter is not natural to Estonian) and closer to their everyday speech. Those who are used to hearing their Shakespeare in English may ask why Estonians should produce him at all, and particularly why they should produce Othello when it must, apparently, be robbed of some of its most important, perhaps essential, elements. Shakespeare has become so deeply embedded in Estonian culture that at present it would extremely awkward removing him from the local theatrical scene: as early as 1939 the special issue of magazine Teater (Theatre), dedicated to Shakespeare, stated that he was more closely connected to Estonian theatre than any other classical author. Shakespeare has remained the touchstone by which the artistic ripeness of a...