Indigenous rights have been at the forefront of Latin American policymakers and the government’s agendas in the last decades. Due to the rapid cultural assimilation of indigenous groups in most...Show moreIndigenous rights have been at the forefront of Latin American policymakers and the government’s agendas in the last decades. Due to the rapid cultural assimilation of indigenous groups in most Latin American countries, governments have struggled to preserve the cultural heritage of these communities. This was partially due to the lack of recognition indigenous populations faced in Latin America until the 1980s. Due to the rise in threat of extinction to indigenous languages, debates have been sparked about the best way to preserve and revitalize them. Their recognition as part of a society is not enough and active measures need to be taken to adequately ensure the survival of these cultural heritages. These challenges have been tackled through various measures, one of which is the introduction of bilingual education in schools. The introduction of bilingual schools allowed for indigenous children to access education in their own languages. However, these were mostly shaped by the notion of subtractive bilingualism, essentially leading to the suppression of the non - Spanish languages. Still, Latin American governments in partnership with various indigenous representatives and local authorities continue to develop them to better accommodate specific regions and communities.Show less
This thesis provides a philosophical discussion of the implementation of virtual and augmented reality in the cultural heritage sector. In particular, the paper critically investigates the ways in...Show moreThis thesis provides a philosophical discussion of the implementation of virtual and augmented reality in the cultural heritage sector. In particular, the paper critically investigates the ways in which digital technologies attempt to simulate and approximate materiality.Show less
The attacks of the Islamic State to cultural heritage in Syria and Iraq have been described by UNESCO and other international organizations as a strategy of "cultural cleansing". However, the...Show moreThe attacks of the Islamic State to cultural heritage in Syria and Iraq have been described by UNESCO and other international organizations as a strategy of "cultural cleansing". However, the concept was rejected multiple times in the framework of international law, and now amounts to a groundless menace, incapable of generating consequences for the perpetrators. This thesis uses critical concept analysis to understand why international organizations keep using the concept "cultural cleansing" despite its recurrent exclusion from international law, and what consequences this concept encompasses.Show less
The main theme of the research consists in finding how multicultural identities of diasporic return migrants are actualized and expressed. Acknowledging the discursive nature of heritage, we can...Show moreThe main theme of the research consists in finding how multicultural identities of diasporic return migrants are actualized and expressed. Acknowledging the discursive nature of heritage, we can understand story-telling as a means to define one’s cultural identity. However, as language is tied to culture, we might consider a more universal form of expression that transcends cultural categorization to cease the multi-faceted and fluid identity of returnees. The following research attempts to establish art and visual representation as individual conscious or unconscious means of expression of cultural identity. This was illustrated on the hand of a case-study focused on a specific group of diasporic return migrants in Vietnam: the French Vietnamese returnee artists of Saigon . It was based on the analysis of the works of four French Vietnamese artists, locally defined as French “Viet Kieu” (“Overseas Vietnamese” in English): Sandrine Llouquet, Bao Vuong, Mai-Loan Tu and Florian Nguyen. In the first instance, the research process drew a contextual framework of Vietnamese society in parallel with the development of the Saigonese contemporary art scene to understand the experiences of the artists reported in their biographies in order to underline their relationship to Vietnamese heritage. In the second instance, ethnographic methods combined with their interpretive biographies informed an iconological study of their artistic production that identified potential expressions of their Vietnamese heritage in their work. Finally, the two approaches were combined in a synthetic exercise that helped drawing conclusions on the transmission of Vietnamese heritage and the general definition of the artists’ cultural heritage and identity.Show less
