Whose Culture?: The Promise of Museums and the Debate over Antiquities

The international controversy over who "owns" antiquities has pitted museums against archaeologists and source countries where ancient artifacts are found. In his book Who Owns Antiquity?, James Cuno argued that antiquities are the cultural property of humankind, not of the countries that lay exclusive claim to them. Now in Whose Culture?, Cuno assembles preeminent museum directors, curators, and scholars to explain for themselves what's at stake in this struggle--and why the museums' critics couldn't be more wrong.

Source countries and archaeologists favor tough cultural property laws restricting the export of antiquities, have fought for the return of artifacts from museums worldwide, and claim the acquisition of undocumented antiquities encourages looting of archaeological sites. In Whose Culture?, leading figures from universities and museums in the United States and Britain argue that modern nation-states have at best a dubious connection with the ancient cultures they claim to represent, and that archaeology has been misused by nationalistic identity politics. They explain why exhibition is essential to responsible acquisitions, why our shared art heritage trumps nationalist agendas, why restrictive cultural property laws put antiquities at risk from unstable governments--and more. Defending the principles of art as the legacy of all humankind and museums as instruments of inquiry and tolerance, Whose Culture? brings reasoned argument to an issue that for too long has been distorted by politics and emotionalism.

In addition to the editor, the contributors are Kwame Anthony Appiah, Sir John Boardman, Michael F. Brown, Derek Gillman, Neil MacGregor, John Henry Merryman, Philippe de Montebello, David I. Owen, and James C. Y. Watt.

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The Museum of Unconditional Surrender

• ISBN13: 9780811214933
• Condition: New
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Critically acclaimed experimental, literary fiction by the famous Croatian exile author, now in paperback. The Museum of Unconditional Surrenderâ€"by the renowned Yugoslavian writer Dubravka Ugresicâ€"begins in the Berlin Zoo, with the contents of Roland the Walrus's stomach displayed beside his pool (Roland died in August, 1961). These objectsâ€"a cigarette lighter, lollipop sticks, a beer-bottle opener, etc.â€"like the fictional pieces of the novel itself, are seemingly random at first, but eventually coalesce, meaningfully and poetically. Written in a variety of literary forms, The Museum of Unconditional Surrender captures the shattered world of a life in exile. Some chapters re-create the daily journal of the narrator's lonely and alienated mother, who shops at the improvised flea-markets in town and longs for her children; another is a dream-like narrative in which a circle of women friends are visited by an angel. There are reflections and accounts of the Holocaust and the Yugoslav Civil War; portraits of European artists; a recipe for Caraway Soup; a moving story of a romantic encounter the narrator has in Lisbon; descriptions of family photographs; memories of the small town in which Ugresic was raised. Addressing the themes of art and history, aging and loss, The Museum is a haunting and an extremely original novel. In the words of the (London) Times Literary Supplement, "it is vivid in its denunciation of destructive forces and in its evocation of what is at stake."









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