Titlebook: Global Iconoclasm: Contesting “Official” Mnemonic Landscapes; Michael Ripmeester,Matthew W. Rofe Book 2024 The Editor(s) (if applicable) a

Incumbent

Beautiful or Mournful? The Contested Meanings of the Tsunami Museum in the Post-disaster Landscape ysis of the Tsunami Museum, we argue that while memorials adopt authority and tranquillity to enhance a sense of remembering, this very beauty can be manoeuvred to exclude ugly memories. In sum, we contend that what you see in public spaces is not a complete story.

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Decolonizing the Mosi-oa-Tunya/Victoria Falls World Heritage Site: Engaging the Unspoken Truths,on focuses on the appropriateness of maintaining these statues and monuments while the intangible heritage important to local communities is ignored and marginalized. This paper aims at exploring the discourse of surrounding the reverence given by the colonial past?while community cultural values ar

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乳白光

Acts of Ongoing Repression? Aboriginal Cultural Heritage and Landscape Protection in Postcolonial Auitable framework for Aboriginal people to reclaim Country and their cultural heritage or whether these documents remain entrenched in colonial modes of thinking/acting that continue to disempower Aboriginal people, denying them restitution of Country and cultural heritage.

嫻熟

Do We Need to Topple Watson?,otion to remove the monument. These events produced active public engagement through three channels: direct lobbying of local officials, traditional mass media coverage, and social media commentary. In this chapter, we attempt to understand the motivations held by individuals on both sides of this c

Senescent

Changing the Collective Narratives of Nation and Self? Explorer and Massacre Memorials in Twenty-Fiand, is now being actively countered by social protests focused on memorials to ‘explorers’ and colonial administrators. In addition, a trend to memorialise and commemorate the massacres of Aboriginal peoples as part of the colonisation process is overturning the myth that Australia was peacefully s

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