1. During one of the lectures, we tested the landscape biography method on the Dutch coastal
area, resultng in a clear overview of the key landscape builders and the most important aspects
in the landscape that can be considered 'heritage'. Discuss to what extent the four factors that
determine the cultural landscape according to Antrop can be applied to the Dutch coastal area.
Consider the possibility in your answers that some factors may not play a role, or
that Antrop misses a factor that does play a role in this partcular area.
2. In the video-recorded lecture on dissonant heritage by prof. Gregory Ashworth, which we
discussed in a fipped classroom setng, Ashworth defnes dissonance as the opposite of
harmony. Discuss whether this is a fruitul defniton in a conceptual discussion on dissonant
heritage.
3. Imagine yourself as the curator of an exhibiton about 'Droogmakerijen in the Netherlands'.
Which subjects would you deal with in this exhibiton and what material would you exhibit?
Support your choices with reasons why these have your preference. Give at least two subjects
and four diferent objects.
4. For decades David Lowenthal has discussed the (histories of) the management of cultural and
natural heritage. In the paper about this topic that you have read and that we have discussed in
class, he states: "In the very book that launched and lauded UNESCO’s cultural landscapes
programme, essay afer essay places ... ‘anthropogenic’ areas below pristne ones — even when
they admit that none are pristne." Do you think this ratng of natural landscapes as intrinsically
more valuable than cultural ones can be defended? Why? And does it work well?
area, resultng in a clear overview of the key landscape builders and the most important aspects
in the landscape that can be considered 'heritage'. Discuss to what extent the four factors that
determine the cultural landscape according to Antrop can be applied to the Dutch coastal area.
Consider the possibility in your answers that some factors may not play a role, or
that Antrop misses a factor that does play a role in this partcular area.
2. In the video-recorded lecture on dissonant heritage by prof. Gregory Ashworth, which we
discussed in a fipped classroom setng, Ashworth defnes dissonance as the opposite of
harmony. Discuss whether this is a fruitul defniton in a conceptual discussion on dissonant
heritage.
3. Imagine yourself as the curator of an exhibiton about 'Droogmakerijen in the Netherlands'.
Which subjects would you deal with in this exhibiton and what material would you exhibit?
Support your choices with reasons why these have your preference. Give at least two subjects
and four diferent objects.
4. For decades David Lowenthal has discussed the (histories of) the management of cultural and
natural heritage. In the paper about this topic that you have read and that we have discussed in
class, he states: "In the very book that launched and lauded UNESCO’s cultural landscapes
programme, essay afer essay places ... ‘anthropogenic’ areas below pristne ones — even when
they admit that none are pristne." Do you think this ratng of natural landscapes as intrinsically
more valuable than cultural ones can be defended? Why? And does it work well?
