LEADER 02556nam 2200517 a 450 001 9910462951803321 005 20200520144314.0 010 $a1-118-29216-2 010 $a1-299-15872-2 010 $a1-118-29217-0 035 $a(CKB)2670000000333515 035 $a(EBL)1116167 035 $a(OCoLC)828302191 035 $a(MiAaPQ)EBC1116167 035 $a(Au-PeEL)EBL1116167 035 $a(CaPaEBR)ebr10657972 035 $a(CaONFJC)MIL447122 035 $a(EXLCZ)992670000000333515 100 $a20120816d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 200 10$aPacific Eldorado$b[electronic resource] $ea history of greater California /$fThomas J. Osborne 210 $aChichester, West Sussex, U.K. $cWiley-Blackwell$d2013 215 $a1 online resource (436 p.) 300 $aDescription based upon print version of record. 311 $a1-4051-9454-5 311 $a1-4051-9453-7 320 $aIncludes bibliographical references and index. 327 $aMachine generated contents note: Preface 1. Beginnings: From Fire and Ice to Indian Homeland 2. Spain's Greater California Coast 3. A Globally Connected Mexican Province 4. War and Gold: America's West Coast Eldorado 5. National Crisis, Statehood, and Social Change 6. Pacific-bound Rails, Hard Times, and Chinese Exclusion 7. Eldorado's Economic and Cultural Growth 8. Anti-Railroad Politics, Municipal Graft, and Labor Struggles 9. Governor Hiram Johnson and the Progressive Movement 10. Good Times and Bad: The Interwar Years 11. America's Pacific Bulwark: WW II and Its Aftermath 12. Liberalism at High Tide 13. The Conservative Backlash and the Politics of Limits 14. The Ongoing Pacific Shift Appendixes: A Chronology of California History; Governors of California Index. 330 $a"Osborne's work is the first history text to explore the sweep of California's past in relationship to its connections within the maritime world of the Pacific Basin"--$cProvided by publisher. 607 $aCalifornia$xHistory 607 $aCalifornia$xHistory, Naval 607 $aCalifornia$xCommerce$zPacific Area 607 $aPacific Area$xCommerce$zCalifornia 607 $aCalifornia$xRelations$zPacific Area 607 $aPacific Area$xRelations$zCalifornia 608 $aElectronic books. 676 $a979.4 700 $aOsborne$b Thomas J.$f1942-$0935537 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910462951803321 996 $aPacific Eldorado$92107272 997 $aUNINA LEADER 02393nam 2200721Ia 450 001 9910452137103321 005 20220131182313.0 010 $a0-7914-8575-7 010 $a1-4237-3932-9 035 $a(CKB)1000000000458438 035 $a(OCoLC)62757315 035 $a(CaPaEBR)ebrary10594867 035 $a(SSID)ssj0000224851 035 $a(PQKBManifestationID)11174376 035 $a(PQKBTitleCode)TC0000224851 035 $a(PQKBWorkID)10210528 035 $a(PQKB)11374720 035 $a(MiAaPQ)EBC3408539 035 $a(OCoLC)124507074 035 $a(MdBmJHUP)muse6096 035 $a(Au-PeEL)EBL3408539 035 $a(CaPaEBR)ebr10594867 035 $a(OCoLC)62338555 035 $a(EXLCZ)991000000000458438 100 $a20030321d2004 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPostcolonial narrative and the work of mourning$b[electronic resource] $eJ.M. 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Following recent developments in museology, museum policies and practices have tended to prioritize community engagement over a traditional focus on collecting and preserving museal objects. At many museal institutions, a shift from a focus on objects to a focus on audiences has taken place. Artistic practices in the visual arts, music, and theater are also increasingly taking on participatory forms. The world of cultural heritage has seen an upsurge in participatory governance models favoring the expertise of local communities over that of trained professionals. While museal institutions, artists, and policy makers consider participation as a tool for implementing diversity policy, a solution to social disjunction, and a form of cultural activism, such participation has also sparked a debate on definitions, and on issues concerning the distribution of authority, power, expertise, agency, and representation. While new forms of audience and community engagement and corresponding models for ?co-creation? are flourishing, fundamental but paralyzing critique abounds and the formulation of ethical frameworks and practical guidelines, not to mention theoretical reflection and critical assessment of practices, are lagging. This book offers a space for critically reflecting on participatory practices with the aim of asking and answering the question: How can we learn to better participate? To do so, it focuses on the emergence of new norms and forms of collaboration as participation, and on actual lessons learned from participatory practices. If collaboration is the interdependent formulation of problems and entails the common definition of a shared problem space, how can we best learn to collaborate across disciplinary borders and what exactly can be learned from such collaboration? 410 0$aStudies in Art, Heritage, Law and the Market,$x2524-7433 ;$v5 606 $aInternational law 606 $aLaw$xPhilosophy 606 $aLaw$xHistory 606 $aHuman rights 606 $aCultural property 606 $aCultural property$xProtection 606 $aCulture$xStudy and teaching 606 $aSources and Subjects of International Law, International Organizations 606 $aTheories of Law, Philosophy of Law, Legal History 606 $aHuman Rights 606 $aCultural Heritage 606 $aCultural Resource Management 606 $aVisual Culture 615 0$aInternational law. 615 0$aLaw$xPhilosophy. 615 0$aLaw$xHistory. 615 0$aHuman rights. 615 0$aCultural property. 615 0$aCultural property$xProtection. 615 0$aCulture$xStudy and teaching. 615 14$aSources and Subjects of International Law, International Organizations. 615 24$aTheories of Law, Philosophy of Law, Legal History. 615 24$aHuman Rights. 615 24$aCultural Heritage. 615 24$aCultural Resource Management. 615 24$aVisual Culture. 676 $a306 676 $a363.69 702 $aRausch$b Christoph 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910590090203321 996 $aParticipatory practices in art and cultural heritage$93363991 997 $aUNINA