The article was originally published with grammatical errors contained in the abstract as below:

Cultural heritage rests on imaginings of a shared humanity transcending national dividing lines. However, cultural heritage sites are frequently targeted in war. In this article I show that the politics of cultural protection is marked by tensions and contestations. A key argument is that the protection of cultural heritage in armed conflict is a militarised practice that informed by notions of protection that are broadly western-centred, masculinised. Therefore, I suggest they are insensitive to the gendered and colonial power relations that undergird the protection of cultural property. Informed by critical heritage studies, cosmopolitanism, and feminist IR scholarship, I elucidate the claims of this article through a feminist narrative analysis of the protection. I identify what is said and what is silenced in heritage protection narratives. First, I focus on the wider storytelling that surrounds heritage protection, unpacking the ethical, gendered, and colonial assumptions employed. Second, I turn to the narration of military protection in the UNESCO military manual. attending to its ethical underpinnings, protection logics, and privileging of distinctively western military knowledge. I conclude by calling for a more nuanced approach to cultural protection.

This has now been corrected online as follows:

Cultural heritage rests on imaginings of a shared humanity transcending national dividing lines. However, cultural heritage sites are frequently targeted in war. In this article I show that the politics of cultural protection is marked by tensions and contestations. A key argument is that the protection of cultural heritage in armed conflict is a militarised practice that is informed by notions of protection that are broadly western-centred and masculinised. Therefore, I suggest that they are insensitive to the gendered and colonial power relations that undergird the protection of cultural property. Informed by critical heritage studies, cosmopolitanism, and feminist IR scholarship, I elucidate the claims of this article through a feminist narrative analysis of protection. I identify what is said and what is silenced in heritage protection narratives. First, I focus on the wider storytelling that surrounds heritage protection, unpacking the ethical, gendered, and colonial assumptions employed. Second, I turn to the narration of military protection in the UNESCO military manual, attending to its ethical underpinnings, protection logics, and privileging of distinctively western military knowledge. I conclude by calling for a more nuanced approach to cultural protection.

The author apologises for this error.