Relevant bibliographies by topics / Anthropological museums and collections Social aspects

Academic literature on the topic 'Anthropological museums and collections Social aspects'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Anthropological museums and collections Social aspects"

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Silva, Fabíola A., and Cesar Gordon. "Anthropology in the museum reflections on the curatorship of the Xikrin Collection." Vibrant: Virtual Brazilian Anthropology 10, no. 1 (June 2013): 425–68. http://dx.doi.org/10.1590/s1809-43412013000100018.

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This article reflects upon the curatorial management process of the Xikrin ethnographic collection and proposes the importance of anthropological interest in the deepening collaboration amongst anthropologists, indigenous peoples and museums, with particular attention to the anthropological study of ethnographic collections. This is true for the anthropological study of objects (and their various meanings and interpretations by the social actors who utilize and appropriate them) and for the understanding of the formation and conservation of ethnographic collections (with their diverse motivations and contexts). Since this type of shared curatorial management style is only now spreading throughout Brazil, the experience is a timely opportunity to develop nuanced perspectives on the anthropological significance of ethnographic collections.
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Isaac, Gwyneira, Kate Clark, Kelsey Adams, Heather Ashe, Katie Benz, Delaney Cummings, David Gassett, Francine Margolis, Amanda Quink, and Emily Somberg. "Anthropology, Museums and the Body: Lessons From an Experimental Teaching Environment." Museum and Society 17, no. 3 (November 29, 2019): 472–93. http://dx.doi.org/10.29311/mas.v17i3.3413.

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With increased interests in solving complex problems through interdisciplinary research—how best can museums use this approach to address critical social issues? In order to answer this question, an interdisciplinary group of curators, artists and students worked together at the Smithsonian Institution to create an experimental teaching environment to rethink the disciplinary boundaries around the study of the human body. Our aim was to use a range of anthropological, art and science collections and readings to undertake the issues of race, gender, genetics, and disability, and the historic inequities resulting from colonialism. We discuss this endeavor, including the public program we developed—the Face Cast Lab—as well as lessons learned about who affects change through this type of museum-based teaching.
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Dubois, Arnaud. "How to understand engineering sciences with the techniques of the body: The case of the bridges collection of the Musée des Arts et Métiers explained by circus acrobatics." Social Science Information 56, no. 2 (April 13, 2017): 254–69. http://dx.doi.org/10.1177/0539018417697387.

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In this article, I will examine an experimental mediation performed by acrobats at the Paris Musée des Arts et Métiers in May 2016. I will ask if body techniques can facilitate the public’s understanding of the abstract engineering sciences exhibited in a science and technology museum. Using the ethnographic study of this performance, I will ask if this new type of museum mediation opens up new research issues about technical gestures and helps us to blur boundaries between tangible and intangible heritage in the museum context. In doing so I try to redeploy the methods of analysis of museum collections and to contribute to the theoretical and methodological renewal of the history of technology. I show that this new way to mediate science and technology museum collections using body techniques and gestures produces a methodological indistinctness between intentionality and contingency that often marks the epistemological break between art, technology and science in western culture. This anthropological way of looking at museums of science and technology opens up new research issues not only for the museum’s scientific and technical heritage but also for the history of science and techniques.
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Crooke, Elizabeth. "The Construction of Meanings in Museums." Archaeological Dialogues 7, no. 2 (December 2000): 130–32. http://dx.doi.org/10.1017/s1380203800001689.

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The museum is a construct; the collections and the physical building are enclosed by a structure, invisible to the eye, which is created by the context in which the museum is being viewed. The nature of that structure will depend on the viewer; he or she will make his or her own meanings. Reinhard Bernbeck, in his paperThe exhibition of architecture and the architecture of an exhibition, has investigated how the Pergamon Museum can simultaneously mean different things to different people, according to their cultural perspective. What is at the core of this is the political and social nature of museums, and one of the most dominant aspects of this is the demonstration of power. This determines how the museum collects, interprets and displays both the objects and itself, and is related to both Bernbeck's colonial and postmodern readings of the museum, as well has his discussion of ‘pragmatist’ and ‘purist’ approaches to museums in general. Though his paper is based on a case study of the Pergamon Museum in Berlin, the issues he raised are applicable to museums elsewhere. In this response to his paper, I am going to look at what this demonstration of power reflects about what museums mean and how they function and relate Bernbeck's evaluation to museum development I am most familiar with, that in Ireland.
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Nadim, Tahani, Barbara A. R. Mohr, and Sarah A. Löwe. "Reconstructions of a historic paleontological collection: Diversity re-created." Earth Sciences History 34, no. 2 (January 1, 2015): 348–66. http://dx.doi.org/10.17704/1944-6187-34.2.348.

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As part of a physical and historical reconstruction of a fossil collection, we demonstrate how elucidating biographic aspects of the collector and describing the activities of the institution can expand our understanding of collections as natural, social and historical assemblages. We then show how this understanding can be applied to contemporary concerns by using it in conjunction with modern collections to reconstruct species richness in deep time and to reflect on the term ‘biodiversity’. This multi-disciplinary engagement between natural and social sciences at natural history museums could endow historic collections with novel relevance and thereby provide convincing arguments against their dispersal or deaccession. In this particular case a historic plant collection, the Ewald collection, which is now part of the Museum für Naturkunde in Berlin, Germany, was restored and studied. Originally it was collected during the 1850s when the Prussian government undertook extensive surveying projects and a large part of its territory was geologically mapped. During the surveys, field geologists collected rocks and fossils in order to build a reliable stratigraphy based on the fossil record, partly to assist in the discovery of natural resources for emerging industry.
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Vladimir, Zheleznyak. "Art and Folk Things: Based on Vladimir Arkhipov's Exhibition at the Permm Museum." TECHNOLOGOS, no. 3 (2022): 53–62. http://dx.doi.org/10.15593/perm.kipf/2022.3.05.

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The article is devoted to the philosophical and aesthetic analysis of the materials presented at the exhibition of V. Arkhipov “Objects of Pride and Shame” in Perm in 2021. First of all, it was necessary to establish as strictly as possible the boundaries of the phenomenon that Arkhipov discovered and embodied in his famous collection of characteristic self-made objects ("contraptions"). Then it was important to explain under what conditions and under what circumstances could these objects be transformed into an art object or if they were originally such. Following the example of V. Podoroga, we also consider Arkhipov's collection as an opportunity for broader philosophical generalizations on the theme of art and things. The result of our analysis may be summarized as follows. First, the handicrafts in Arkhipov's collection emerge at the intersection of various kinds of praxis and are deeply integrated into the system of anthropological preconditions and conditions of human activity; this explains the fluidity of the boundaries of Arkhipov's phenomena (from technical amateurism to exotic kunststuekes). Secondly, the world of handicrafts discovered by Arkhipov undoubtedly bears the traces of social influences (from the squalor of poverty to respectable upcycling). The article shows the relative and local nature of all aspects of "social grief" and "social happiness" in Arkhipov's phenomena, for their nature is much broader. As abstract as Sartre's term "lack of being" sounds with regard to Arkhipov's things, it can be used to show that the "things" represent rather an experience of making up for being in a situation of its lack. Third, the text presented reveals various aspects of the author's impartiality in relation to the things he creates. The property of the artist's non-involvement ("transgendence") in relation to the hyletic composition of his actions is, in our opinion, the initial, "ontological", condition and source of the artistic work. Arkhipov's pieces are, for the most part, deeply ironic in relation to "normal," "signature" things. Their fate from the beginning to the end is determined by their creator, they are pro-products of their creators. And finally, fourth, we consider it fundamental to look at the world from the perspective of, in a certain sense, the absolute factuality of the things that fill it. Everything else is drowning in the infinite perspective of the possible.
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Cardozo, Thiago Minete, and Costas Papadopoulos. "Heritage Artefacts in the COVID-19 Era: The Aura and Authenticity of 3D Models." Open Archaeology 7, no. 1 (January 1, 2021): 519–39. http://dx.doi.org/10.1515/opar-2020-0147.

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Abstract Museums have been increasingly investing in their digital presence. This became more pressing during the COVID-19 pandemic since heritage institutions had, on the one hand, to temporarily close their doors to visitors while, on the other, find ways to communicate their collections to the public. Virtual tours, revamped websites, and 3D models of cultural artefacts were only a few of the means that museums devised to create alternative ways of digital engagement and counteract the physical and social distancing measures. Although 3D models and collections provide novel ways to interact, visualise, and comprehend the materiality and sensoriality of physical objects, their mediation in digital forms misses essential elements that contribute to (virtual) visitor/user experience. This article explores three-dimensional digitisations of museum artefacts, particularly problematising their aura and authenticity in comparison to their physical counterparts. Building on several studies that have problematised these two concepts, this article establishes an exploratory framework aimed at evaluating the experience of aura and authenticity in 3D digitisations. This exploration allowed us to conclude that even though some aspects of aura and authenticity are intrinsically related to the physicality and materiality of the original, 3D models can still manifest aura and authenticity, as long as a series of parameters, including multimodal contextualisation, interactivity, and affective experiences are facilitated.
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Mihaescu, Cristina, Cristina Ponepal, Monica Marilena Tantu, Gheorghita Brinzea, Nicolae Brinzea, Liliana Cristina Soare, and Alina Paunescu. "ASPECTS REGARDING THE ATTACK OF SOME BIODETERIOGENS ON SOME CULT OBJECTS FROM ARGES COUNTY." Current Trends in Natural Sciences 11, no. 22 (December 31, 2022): 172–77. http://dx.doi.org/10.47068/ctns.2022.v11i22.020.

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Cultural heritage has a cultural significance, which refers to the aesthetic value of the heritage asset, the historical or social value of monuments for past, present or future generations. In conservation areas where there are open environment conditions, there are ecological producers (autotrophic bacteria, algae, lichens and higher plants). In terms of trophic relationships and the main food chain, the presence in the conservation environment of collections from archives, libraries and museums of excessive food resources for biodeteriogenic pests determines the possibility of the absence of producers, which is why most populations settled in the environment conservation of movable cultural heritage goods are consumers (egs insects) and destroyers (bacteria and fungi). In the present study, various fragments of cultural heritage goods taken from cemeteries, churches, for the purpose of analyzing biological patinas and establishing the etiopathogenic complex were subjected to analysis. Fungi of the genera Alternaria, Penicilium, Aspergillus, etc., various bryophytes, lichens and blue-green algae have been identified.
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Kuleva, Olesya V. "Virtual Museum in the Library: Models and Technologies of Creation." Bibliotekovedenie [Library and Information Science (Russia)] 67, no. 4 (October 20, 2018): 463–71. http://dx.doi.org/10.25281/0869-608x-2018-67-4-463-471.

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The article describes the history of creation of virtual museums (VM) in global Internet space. The author considers the research areas of this resource, including the phenomena of VM development; defines the aspects of VM existence (information, social, technical) and its main types, in particular, representation of a real Museum and a virtual Museum existing only in the Web-space, and VM as an effective PR-tool. The paper presents the results of monitoring of Russian and some foreign virtual museums in libraries and describes their current state. The main specific features of the museums in the Russian libraries are the original object of exposure (book) and additional information materials (bibliography, alphabetical index, search system, etc.). Information content of the VM is mainly created basing on free programs and with minimal use of multimedia technologies; communication links to Web 2.0 services are weak. The main advantages of VM in the foreign libraries are simplicity of collections presentation and navigation through them, as well as aesthetics and dynamism, achieved by the use of original Web design (beautiful typography, sliders, tile (block) interfaces, etc.). Further development of memorial space of Russian libraries and creation of VM require theoretical study of the issue, namely the modeling of this resource. Analysis of scientific publications shows that there are different approaches to VM modeling, such as functional (educational, information, marketing models), complex (complex hardware — software system) and structural (structural model, including the following blocks: collections, library, exhibition, lecture and reference). Priority approach to the modeling of library VM at the stage of changing technological paradigm can be the technological one, which allows to reveal the set of the given resource properties, the process of the model design, consisting of the following blocks: resource, software and technology, preparation of objects for exhibiting, resource promotion, educational, cultural-educational and analytical.
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Foster, Sally M., and Neil G. W. Curtis. "The Thing about Replicas—Why Historic Replicas Matter." European Journal of Archaeology 19, no. 1 (2016): 122–48. http://dx.doi.org/10.1179/1461957115y.0000000011.

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Reproduction of archaeological material was a significant and serious enterprise for antiquarians and museums in the long nineteenth century. Replicas embed many stories and embody considerable past human energy. Behind their creation, circulation, use, and after-life lies a series of specific social networks and relationships that determined why, when, and in what circumstances they were valued, or not. Summarising the context of their production, circulation, and changing fortunes, this article introduces the ways in which replicas are important, and considers the specific benefits and aspects of a biographical approach to their study. Beyond the evidential, the study of existing replicas provides a historical and contemporary laboratory in which to explore the concepts of value and authenticity, and their application in cultural heritage and collections management, offering us a richer insight into the history of ourselves as archaeologists and curators.
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Dissertations / Theses on the topic "Anthropological museums and collections Social aspects"

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Mattson, Linda Karen. "Examination of the systems of authority of three Canadian museums and the challenges of Aboriginal peoples." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25108.pdf.

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Fitzpatrick, Peter Gerard Media Arts College of Fine Arts UNSW. "The Doulgas Summerland collection." 2007. http://handle.unsw.edu.au/1959.4/44257.

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The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253
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Books on the topic "Anthropological museums and collections Social aspects"

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Museums: A visual anthropology. London: Berg, 2012.

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1933-, Ames Michael M., ed. Cannibal tours and glass boxes: The anthropology of museums. Vancouver: UBC Press, 1992.

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R, Watson Sheila E., ed. Museums and their communities. New York: Routledge, 2007.

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Scott, Monique. Evolution in the museum: Envisioning African origins. Milton Park, Abingdon, Oxon: Routledge, 2008.

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1957-, Cassman Vicki, Odegaard Nancy, and Powell Joseph F. 1964-, eds. Human remains: Guide for museums and academic institutions. Lanham, MD: AltaMira Press, 2007.

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University of British Columbia. Museum of Anthropology., ed. Preserving what is valued: Museums, conservation, and First Nations. Vancouver: UBC Press, 2002.

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Museums, objects, and collections: A cultural study. Leicester: Leicester University Press, 1992.

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Pearce, Susan M. Museums, objects, and collections: A cultural study. Washington, D.C: Smithsonian Institution Press, 1993.

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Viga, Gyula, and Arnold Tóth. Néprajz--muzeológia: Tanulmányok a múzeumi tudományok köréből a 60 éves Viga Gyula tiszteletére. Miskolc: Borsod-Abaúj-Zemplén Megyei Múzeumi Igazgatóság, 2012.

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Colonialismo missionario. Roma: Aracne editrice S.r.l., 2014.

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Book chapters on the topic "Anthropological museums and collections Social aspects"

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Apollonio, Fabrizio Ivan, Marco Gaiani, and Simone Garagnani. "Visualization and Fruition of Cultural Heritage in the Knowledge-Intensive Society." In Advances in Human and Social Aspects of Technology, 471–95. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-4854-0.ch020.

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The knowledge-intensive society paradigm fosters relationships between technology and human actors with data, values, and knowledge that become mutual drivers for social innovation. The cultural heritage sector is naturally influenced by this vision, and museums and cultural institutions have a prominent role in dissemination of cultural values. This chapter focuses on a method developed to combine the power of the computer visualization technology with the cultural elements spread across collections, introducing some notes and remarks on how digital replicas of drawings, manuscripts, and museum objects can be successfully employed to spread knowledge. Through a custom application called ISLe, aimed at visualizing 3D models that accurately replicate the original items, some experiences in the production of digital replicas are introduced, highlighting opportunities and criticalities to be considered in the adoption of technology that can be potentially shared and exploited by many possible figures involved in cultural heritage.
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Labrum, Bronwyn. "Collecting, curating and exhibiting cross-cultural material histories in a post-settler society." In Curatopia, 244–61. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526118196.003.0016.

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This chapter considers social history in a post-colonial contest. It specifically examines how the history of the majority culture in a post-settler society has and might be curated. Using Aotearoa New Zealand as its case study, it considers the figure of the Pakeha (non-indigenous) curator in relation to, and also in contrast with, indigenous collections and displays. What does a history curator look like in a post-settler society? Does the history curator continue the mutual asymmetry that has characterised relations and curatorial endeavours? Or is there a way to recognise cross-cultural material histories? In considering the development of history, and specifically social history, it suggests that a more useful concept is material history, rather than historical material cultures studies. The rest of the chapter ranges across a broad range of material history, including fashion and clothing, and design, to consider how contemporary museums deal with everyday life and its material aspects in museums, which are still to a large extent focussed on discrete objects and forms of material culture, and which carry the burden of the historical development of their collections into a post-settler world.
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Senchenko, Natalia. "DIGITATING THE DOCUMENTARY HERITAGE AS A WAY TO SAVE IT: A WORLD EXPERIENCE." In Theoretical and practical aspects of the development of modern scientific research. Publishing House “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-195-4-21.

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For many countries around the world in the period of rapid development of digital technologies, the problems of creating digital resources, expanding the communication space and ensuring free access to digital documentary heritage, providing a regulatory framework for electronic resource management. The cultural heritage of any country is an important component of world cultural attainment. For decades, projects aimed at pre serving and effectively using cultural heritage as a valuable resource for strategic development of states have been developed and implemented. The solution to these problems lies in digitizing monuments, creating digital copies of them, providing online access to digital collections, long-term maintenance and management of digital resources. In this context, foreign experience in implementing digital initiatives is important. Successful projects to digitize documentary monuments are one of the key imperatives of the cultural policy of many countries around the world. A significant number of artifacts are of honorable age, which makes additional demands on the possibility of their use, including monuments of documentary heritage. The conditions stored in the original documents are in many cases far from ideal. It is unknown how long these priceless monuments may still exist. Paper breaks down, ink disappears and information is lost forever. For these reasons, a significant number of artifacts still remain inaccessible. The implementation of projects for the digitization of cultural heritage is aimed primarily at solving the problems of preservation, accounting, providing access to digital copies of monuments, thus expanding the opportunities for effective use of their strategic potential. The subject of the research is the development and implementation of projects for the digitization of cultural heritage sites abroad. The purpose of the study is to focus attention on the legal and methodological support for the development and implementation of foreign projects on documentary heritage. The aim of the article is to focus on the main stages and features of the development and implementation of foreign projects for the digitization of cultural heritage sites. Objectives of the research: to identify and explore the features of development and implementation of foreign projects to create digital content of documentary heritage; to reveal the main stages of creation of digital resources; highlight the possibilities of providing online access to digital copies (images) of documents; reveal ways to maintain and manage digital resources. The methodological basis of the research is a set of general scientific principles of historical, systematic, objectivity, based on an interdisciplinary approach. The main provisions of this work are based on the convergence of museum, archival, library and information and communication technologies. The use of historical and logical approaches provided an opportunity to consider the process of development and implementation of projects for digitization of documentary heritage abroad, to analyze their transformations and dependence on the development of new information technologies. The method of information modeling provided an opportunity to predict the development of electronic libraries and the corresponding management of digital resources. Among the empirical methods in the study, methods of description and comparison were used to gather information. Information-analytical and source-based methods were also used to analyze the legal framework. From empirical-theoretical methods abstraction, analysis, synthesis, induction, deductions are used – to reveal the stages of development of digitization projects. The purpose of the projects of digitization of cultural heritage is to address current issues in modern documentary communications: expanding access to documentary heritage; virtual reconstruction of scattered funds and collections; providing access to unique materials of archives, museums, libraries; preservation of artifacts, especially those at risk of destruction; support of scientific and educational programs, etc. Problems of preservation and access to digitized cultural heritage on the websites of museums, archives and libraries remain relevant in time, in particular in the context of transparency, accessibility, reactivity, availability of electronic images, feedback from users of the website, the volume of digitized documents, social responsibility and trust in the site. The practice of presenting cultural heritage on the sites of museums, libraries and archives of Ukraine indicates the need to develop a single concept of digitization of cultural heritage and the creation of relevant sites. The research, analysis and use of world experience will contribute not only to the most effective implementation of projects to digitize the cultural heritage of Ukraine, but also to ensure its proper preservation and proper presentation on the Internet for public use.
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"interpreted in different ways by individual scholars. Why, for example, is the preponderance of male depictions seen at Grot ta di Porto Badisco interpeted as meaning male domination of Neolithic society in Italy (Whitehouse, 1992b) whereas Hodder (1990: 68) declines to interpret the common occurrence of female figurines in the Neolithic of S.E. Europe as an indication of an equivalent female domination of society, but instead suggests "To put it over-simply, women may or may not have had any real power in the Neolithic of S.E. Europe, but certain aspects of being a woman were conceptually central."? One can cite a similar example from Skeates (1994: 207-8), where he accepts Whitehouse's identification of the human figures as males or females, but disagrees with her interpretation of male dominance and hostility between the sexes in Italian Neolithic society. Each of these two scholars also has their own interpretation of the important group 16 painted scene from the Grotta do Porto Badisco — needless to say, I also have mine. By turning to burial evidence, can one avoid the above dilemmas? Physical anthropological methods can be used to identify male and female human remains, and, knowing the sex of burials could then lead to a better understanding of the gender affiliations of accompanying grave goods. These artefacts can then be investigated in other contexts such as settlement sites. However, there is a surprising amount of uncertainty involved in sexing human remains. In this paper I wish to discuss the uncertainties in the physical anthropological methods of sexing human remains and their implications for gender studies by focussing on a recent analysis of an Iron Age necropolis at Pontecagnario, Campania, carried out by Vida Navarro (1992). PHYSICAL ANTHROPOLOGICAL METHODS OF SEXING HUMAN REMAINS Since gender is culturally constructed, it is possible for individuals or groups to have a gender that is different from their biological sex, or is intermediate or anomalous in some way. For example, in Ancient Rome, a Vestal Virgin had an ambiguous status in Roman society as shown by the fact that she could give evidence in a law court like a man. Usually Roman women had to be represented by a male relation or their spouse and could not speak in court on their own behalf or give evidence (Beard 1980: 17). Nevertheless, a Vestal Virgin was still a woman, and was allowed to marry, if she so wished, after her term of office finished (Beard 1980:, 14, note 21). Although ambiguous groups of this kind have been recognised in many societies, it is nonetheless the case that one would expect a high level of correlation between biological sex and social gender. The accurate identification of the biological sex of human remains would therefore be a great step forward in understanding gender construction and gender roles in prehistory. Unfortunately, physical anthropological methods are reliable only to a certain extent, and it is important for all archaeologists to be aware of the limitations of these methods. Like other primates, humans show sexual dimorphism i.e., the males have a larger body and show other skeletal differences from females, especially in the shape of the pelvis. When an intact pelvis is present in a burial, the identification of those remains as male or female can be made with 95% confidence (Krogman & Iscan 1986: 259). This, of course, applies to recent skeletal material, as the morphological and morphometric methods for sex identification used by anthropologists are based on reference collections from modern human populations. As Gotherstrom et ¿z/. (1997) point out, the application of these standards to prehistoric remains may be inappropriate. Prehistoric females may have been more skeletally robust, so that in the absence of a diagnostic pelvis, they could appear to be males, according to standards derived from modern populations. The pelvis anchors muscles, and "Considering the plasticity of the skeleton in response to external forces and stimuli, there are reasons to proceed with caution in interpreting all morphological differences in the pelvic region as a result of differential reproductive function." (Gotherstrom et al. 1997)." In Gender & Italian Archaeology, 44–58. Routledge, 2016. http://dx.doi.org/10.4324/9781315428178-13.

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Conference papers on the topic "Anthropological museums and collections Social aspects"

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Nastase, Mihai-Claudiu, Alexandru Mitru, and Loredana Andreea Paun (Parnic). "The Social and Economic Impact of COVID 19 Pandemic on Museums. Case Study: „Princely Court” National Museum Ensemble." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/25.

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The new coronavirus (Covid-19) is one of the main challenges world today has to address. With no large scale availability vaccine yet, and more or less experimental medical treatments for curing the disease, we can safely say that we are still far behind a solution to this problem. This new pandemic is considered the biggest threat to the global economy since the Second World War and there is no aspects of human life have not been affected it, spiritual ones included. Its high contagiousness, as well as novelty, raised all kind of challenges and one of the main ones was our manner to produce answers, in early stages at least, this creating problem on its own and of its design. As well as all the other institutions, theatres, cinemas, concert halls, spaces of socialization and in the same time places of wonder, knowledge and spiritual enrichment the museums were heavily affected by the pandemic crisis, especially those who’s collections are not, but in very small proportion available, to the public through virtual media. Such a case is „Princely Court„ National Museums Ensemble from Targoviste, Dambovita County, Romania. The present paper proposes an overview of the highlights in institution′s activity the past years in comparison with how the pandemic crisis affected its activity in the past months and what were the responses given to keep the museum in the eye of the public. It will also try to summarize how and to what extent the activity went back to „normal” after the emergency state earlier imposed was lifted and how the visitors responded to the new realities.
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