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Article descriptions such as "Allgäuer Emmentaler," "Dresdner Christstollen" or "Bayerisches Bier" do not simply name culinary products, but locate them in certain regions and link them to memories and associations. They prove not only a spatial (geographic), but also a temporal (traditional) embedding in a certain region of origin. Such names are self-evidently attractive to clients, who have the choice between similar products, to producers, who are involved in international competition, and not least to politicians, who are interested in the protection and promotion of the economy in their areas of responsibility. Accordingly, the European Union (EU) established a legal instrument which regulates the use of geographical indications. It is based on the assumption that regions have common climatic, geological, biological and cultural characteristics. Using the example of geographical indications and four exemplarily chosen specialties (the cheeses: Allgäuer Emmentaler, Odenwälder Frühstückskäse, Piave and Parmigiano Reggiano), Sarah May has developed an ethnographically thick, internationally comparative description of local and transnational practices in the system of EU quality schemes for agricultural products. She combines terms and theses of law and economics and translates them into an issue of cultural anthropology: She focuses on regional (culinary) culture and its economic valorization, on the interests, strategies and conflicts which accompany the transformation of regional handed-down practices and products into legally protected, spatially limited collective property.

Cultural property.

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From time immemorial, works of art have been moved in space and time to locations that are significantly different from the places they are thought to originate from. But how do such translocations come about? What are the consequences for the appearance, semantics, and function of the artefacts? And how are they categorized or manipulated by contemporaries and researchers? These questions are addressed by the publication's contributions which, in particular, analyze the ideological and power-political dimensions of such migrations. The case studies cover stolen god statues in antiquity through to borrowed motifs in the early modern age, misunderstood works of supposedly "primitive" art through to "rescued" architecture fragments at the present time. Seit jeher werden Kunstwerke räumlich wie zeitlich in Kontexte verschoben, die sich von ihren vermeintlich ursprünglichen Wirkungsorten deutlich unterscheiden. Doch wie kommen solche Translozierungen zustande? Welche Folgen haben sie für Gestalt, Semantik und Funktion der Artefakte? Und wie werden diese von den Zeitgenossen ebenso wie von der Forschung kategorisiert oder manipuliert? Diesen Fragen widmen sich die in der Publikation versammelten Beiträge, die insbesondere ideologische und machtpolitische Dimensionen solcher Migrationen betrachten. Die Fallstudien reichen von geraubten Götterstatuen in der Antike bis zu entlehnten Motiven in der Frühen Neuzeit, von missverstandenen Werken angeblich »primitiver« Kunst bis hin zu »geretteten« Architekturfragmenten in der Gegenwart.

Cultural property.

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In quanto segno, il patrimonio materiale è la traccia più visibile del passato nella nostra vita quotidiana. In costante dialettica con il patrimonio immateriale, esso costituisce una presenza fisica che ci costringe a prese di coscienza concrete. La conoscenza dei testi e delle storie, che è per Vitruvio la strada maestra per l'ideazione e la costruzione di un edificio, è fondamentale anche nei processi di decostruzione, secondo le varie tappe e le differenti percezioni, attraverso le epoche e i costumi, fino a ripercorrere il processo che ha trasformato un bene in 'patrimonio'. Il lessico e la terminologia dei beni culturali sono in questo senso il vettore più importante di conoscenza, di valorizzazione e di diffusione del patrimonio. Il volume cerca di riunire coloro che studiano la lingua del patrimonio, da diversi paesi e attraverso metodologie diverse, e coloro che sono coinvolti nella sua gestione, al fine di offrire punti di vista e idee sulla narrazione e la percezione dei beni culturali, materiali e immateriali, in mediazione attraverso le epoche, le culture e le identità. As a sign, tangible heritage is the most visible trace of the past in our daily life. In constant dialectic with the intangible heritage, it constitutes a physical presence that forces us to take concrete awareness. Knowledge of texts and stories, which for Vitruvius is the high road for the design and construction of a building, is also fundamental in the processes of deconstruction, according to the various stages and different perceptions, through ages and customs, up to retrace the process that transformed it into 'heritage'. The lexicon and the terminology of cultural heritage are in this sense the most important vector of knowledge, enhancement and dissemination. The volume seeks to bring together those who study the language of heritage, from different countries and through different methodologies, and those involved in its management, in order to offer points of view and ideas on the narration and perception of tangible and intangible heritage, in mediation across eras, cultures and identities.

Cultural property.

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Cultural property