Search Results (6)

Cultural heritage is increasingly recognized as a pivotal driver of sustainable rural tourism, helping destinations diversify their offerings, reduce seasonality, strengthen local identity, and bring socio-economic benefits to depopulating communities. This study investigates its role in Šibenik-Knin County (Croatia), a Mediterranean region characterized by abundant tangible heritage (archaeological sites, medieval fortresses, sacral monuments, dry-stone architecture) and rich intangible traditions (gastronomic practices, klapa and ojkanje singing, local customs), yet still affected by a pronounced coastal–hinterland tourism imbalance. Through semi-structured interviews with ten key stakeholders from museums, tourist boards, academia, cultural institutions, and rural entrepreneurship organizations, complemented by literature review and analysis of policy and statistical data, the research reveals unanimous agreement that cultural heritage constitutes the county’s strongest competitive advantage and the most authentic foundation for year-round rural tourism products. However, systematic under-valorization persists due to chronic underfunding, weak cross-sectoral cooperation, limited professional capacity, and the absence of dedicated hinterland destination-management structures. The findings indicate that targeted investment, high-quality interpretation, and genuine community engagement can rapidly transform heritage resources into viable tourism assets, as demonstrated by existing successful cases. Realizing this potential requires coordinated governance, improved interpretive and digital infrastructure, and active resident involvement. Full article

This study explores the feasibility of introducing Gregorian chant into contemporary Chinese Methodist worship in Malaysia. Using ethnographic methods including participant observation, interviews, and focus groups, this article documents a pilot study conducted at Sing Ang Tong Methodist Church in Sibu, Sarawak, where seven singers learned and performed the communion chant Gustate et videte. Three different transcription editions were created to bridge the gap between medieval square notation and modern Western notation, which is more familiar to the participants. The chant was translated into Chinese alongside the original Latin text. The majority preferred the quaver-crotchet notation edition and supported performing the chant in both Latin and Chinese to balance authenticity with accessibility. Participants found the modal melodic structure and free rhythm challenging initially but developed appreciation for the chant’s meditative qualities. The performance during Holy Communion services in October 2022 received mixed congregational responses, with many describing it as creating a “calm and prayerful atmosphere” while some expressed discomfort with the unfamiliar musical style. The study demonstrates that Gregorian chant can be successfully integrated into Chinese Methodist worship contexts, particularly during solemn liturgical occasions, when approached with appropriate liturgical sensitivity and cultural adaptation. Full article

This article explores the voices of sailors across time, focusing on how song and prayer animate the nautical cult of St. Nicholas of Myra from the Middle Ages to the present. Drawing on hagiography, poetry, and music, it examines how medieval sources portray sailors’ cries to St. Nicholas during storms at sea, often depicting univocal, affective pleas that provoke divine response. These representations—especially in Latin sequences such as Congaudentes exultemus—highlight the cultural weight of the literal and metaphorical voice within miracle narratives. The article then bridges medieval and modern devotional soundscapes through nineteenth- and twentieth-century ethnographic collections from Apulia, Italy, particularly through the work of folklorists Saverio La Sorsa and Alfredo Giovine. Their records of Barese sailors’ songs and prayers to St. Nicholas—still sung today—provide embodied counterpoints to the mediated voices of medieval texts. Through this transhistorical lens, I argue that voice operates as connective tissue in the devotional lives of seafarers: an expression of fear, faith, and communal identity. By amplifying sailors’ voices in text, song, and performance, both medieval and modern traditions construct a vivid aural archive that affirms the enduring relationship between St. Nicholas and those who navigate the dangers of the sea. Full article

Among the early medieval authors, Amalarius of Metz (8th–9th century) is one of those who discussed the impact of religious music and song on the body and soul. In his main work: the Liber Officialis, listening and singing liturgical music are depicted as having a corporeal effect that generates sensations of an intense sensory and emotional character. In Amalarius, living the musical religious phenomenon not only coincides with the idea that music can evoke emotions but there is something that goes further. What Amalarius emphasizes is a particular emotion: a “spiritual state” of the nakedness of the heart, almost a weakness of those who are capable of tears and sensitive to God’s voice. During the patristic era, especially in the East, “penthos” (compunction) was used to describe the experience of tears in prayer or meditation; however, Fathers of the Church described liturgical music as an obstacle to compunction. For this reason, an evolution of that compunctory doctrine emerges from the exposition of Amalarius. In this context, it is not a question of crying for one’s sins but of exploiting a natural power (vis) of music. By simply listening to music, a person would seem capable of being moved and reaching a particularly “receptive state” to welcome the Word of God and make it bear fruit. What Amalarius describes in religious music seems to be the natural experience that one feels when, just listening to a melody, a tear spontaneously falls. This physical reaction is connected to a spiritual transformation that seems to pass through the flesh (carnalia) of our humanity. The result of this singular experience, strongly connected to musical ethics, is the conversion to good action and the possibility to dispose human beings to attentive, deep, and fruitful listening. Full article

Detecting objects with a small representation in images is a challenging task, especially when the style of the images is very different from recent photos, which is the case for cultural heritage datasets. This problem is commonly known as few-shot object detection and is still a new field of research. This article presents a simple and effective method for black box few-shot object detection that works with all the current state-of-the-art object detection models. We also present a new dataset called MMSD for medieval musicological studies that contains five classes and 693 samples, manually annotated by a group of musicology experts. Due to the significant diversity of styles and considerable disparities between the artistic representations of the objects, our dataset is more challenging than the current standards. We evaluate our method on YOLOv4 (m/s), (Mask/Faster) RCNN, and ViT/Swin-t. We present two methods of benchmarking these models based on the overall data size and the worst-case scenario for object detection. The experimental results show that our method always improves object detector results compared to traditional transfer learning, regardless of the underlying architecture. Full article

Guided by the hopeful possibilities of birth, breath and beginning that Hannah Arendt and Luce Irigaray variously articulate, this paper examines the lullaby as an expressive form that emerges (in a variety of contexts as distinct as medieval Christendom and contemporary art) as narrative between natality and mortality. With narrative understood as praxis according to Arendt’s schema, and articulated in what Irigaray might designate as an interval between two different sexuate subjects, the lullaby (and the voice that sings it) is found to be a telling of what it is to be human, and a hopeful reminder of our capacity both for self-affection and -preservation, and for meeting and nurturing others in their difference. Full article