HERITAGE VS. FETISH
Abstract
This paper discusses the strategic importance of understanding, accepting and preserving heritage as material and spiritual values as well as the value of its experience. We explain the potential of heritage as life-long practice of advancement based on difference that exists between inheritance (that which is an excess) and heritage (which is appropriated as a value for individual practice). Although analysis of our social practice of management and the delight in its fruits as heritage re-veals complete inactivity, we maintain that the experi-ence of inheriting as such is the only real general re-source with which we will enter the era of knowledgeReferences
[1] I. Babić, Od ubavog do gubavog (From graceful to grotesque), Split, 1994. [2] P.Bourdieu, L'amour de l'art, les musees d'art et leur public, Paris, 1966.
[3] ЧауÑидиÑ, ÐÐ¸ÐºÐ¾Ñ (N. Chausaidis), Проектот Скопје 2014: Ñкици за едно наредно иÑтражување, Скопје, 2013, http://ukim. academia. edu/NikosChausidis/Books.
[4] W.Gluzinski, V podstav muzeologii, Varsava 1981.
[5] D. Bulatović, „Museology and/as hermeneutics“, in: Žarka Vujić, Marko Špikić. ed, in: Ivi Maroeviću baštinici u spomen, Zagreb 2009, 61-71.
[6] D. Bulatović, â€Cultural Heritage as a Brand or Museum as Economy of a Wishâ€, in: Зборник Матице ÑрпÑке за ликовне уметноÑти 39 (Ðови Сда 2011),285-295.
[7] I. Maroević, Introduction to Museology: The European Ap-proach, München, 1998 [8] T. Šola, Essays On Museums And Their Theory: towards the cy-bernetic museum. Helsinki: Finnish Museums Association, 1997
[9] D. Bulatović, „Digitalizacija i promena paradigme u istorijskoj nauci o umetnosti“ (DIGITALIZATION AND THE PARADIGM SHIFT IN THE HISTORICAL SCIENCE OF ART), in: Зборник радова Ñа VII међународног научног Ñкупа ÑрпÑки језик, књижевноÑÑ‚, уметноÑÑ‚, књига III, Музика и неизрециво & иÑторија уметноÑти – методи и методологија и њихова примена, Филолошко – уметнички факултет, Крагујевац, 2013, 325-337
[10] W. Benjamin, The Work of Art in the Age of Mechanical Repro-duction, 1936.
[3] ЧауÑидиÑ, ÐÐ¸ÐºÐ¾Ñ (N. Chausaidis), Проектот Скопје 2014: Ñкици за едно наредно иÑтражување, Скопје, 2013, http://ukim. academia. edu/NikosChausidis/Books.
[4] W.Gluzinski, V podstav muzeologii, Varsava 1981.
[5] D. Bulatović, „Museology and/as hermeneutics“, in: Žarka Vujić, Marko Špikić. ed, in: Ivi Maroeviću baštinici u spomen, Zagreb 2009, 61-71.
[6] D. Bulatović, â€Cultural Heritage as a Brand or Museum as Economy of a Wishâ€, in: Зборник Матице ÑрпÑке за ликовне уметноÑти 39 (Ðови Сда 2011),285-295.
[7] I. Maroević, Introduction to Museology: The European Ap-proach, München, 1998 [8] T. Šola, Essays On Museums And Their Theory: towards the cy-bernetic museum. Helsinki: Finnish Museums Association, 1997
[9] D. Bulatović, „Digitalizacija i promena paradigme u istorijskoj nauci o umetnosti“ (DIGITALIZATION AND THE PARADIGM SHIFT IN THE HISTORICAL SCIENCE OF ART), in: Зборник радова Ñа VII међународног научног Ñкупа ÑрпÑки језик, књижевноÑÑ‚, уметноÑÑ‚, књига III, Музика и неизрециво & иÑторија уметноÑти – методи и методологија и њихова примена, Филолошко – уметнички факултет, Крагујевац, 2013, 325-337
[10] W. Benjamin, The Work of Art in the Age of Mechanical Repro-duction, 1936.
How to Cite
BULATOVIć, Dragan J..
HERITAGE VS. FETISH.
Култура/Culture, [S.l.], n. 8, p. 33-42, mar. 2015.
ISSN 1857-7725.
Available at: <http://journals.cultcenter.net/index.php/culture/article/view/113>. Date accessed: 17 mar. 2026.
Section
English Articles
Keywords
inheritance, heritage, strategy, fetish, Skopje 2014
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