Journal articles on the topic 'Museum and archive studies'
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1
Winoto, Yunus, and Reza Ardhian. "MUSEUM DAN PERPUSTAKAAN." Info Bibliotheca: Jurnal Perpustakaan dan Ilmu Informasi 3, no. 2 (June 30, 2022): 1–13. http://dx.doi.org/10.24036/ib.v3i2.280.
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Responding to the times and technology, there are more opportunities to develop services from informationinstitutions. Not spared from it are museums and libraries. Therefore, it is considered important formuseums and libraries to always be connected and take collaborative action. The concept of collaborationis often carried with various terms such as GLAM which stands for gallery, library, archive, and museum or LAM or library, archive, and museum. To finalize the concept of cooperation and collaboration betweenmemory institutions or information institutions, further research is needed from academics who specifically examine the relationship between museums and libraries. How they collaborate and what makes the benefits can be felt by both parties. The research carried out can take advantage of current technology that can be accessed for free and easily, namely Google Scholar. This research will continue several other studies regarding thematic analysis of articles contained in Google Scholar. The applications used are Publish or Perish and VOSviewer which will be used as a means of visualizing data and analyzing themes. The research method used is qualitative with a thematic analysis approach. The results obtained, articles about museums and libraries on Google Scholar have related terms, such as “library”, “museum”, “manuscript”, “archive”, “manuscript”, and “collection”. There are 53 authors that appear in VOSviewer, and after manually searching and retrieving the top three articles, these names appear in the visualization.
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Kim, Jihoon. "The archive with a virtual museum: The (im)possibility of the digital archive in Chris Marker’sOuvroir." Memory Studies 13, no. 1 (April 9, 2018): 90–106. http://dx.doi.org/10.1177/1750698018766386.
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Can digital platforms such as the database and the virtual museum offer new possibilities of the archive? What concept of the archive can be pursued by contemporary practices that are appropriate and explore the digital forms in order to engage with the radical transformation of the experience and memory of older arts and media? This article seeks to address these questions by investigating Ouvroir (2008), a Second Life virtual museum created by Chris Marker. The author argues that Marker’s model of the virtual museum allows for the dialectic of the archive as marked by both new possibilities for documentation and memory and its inherent room for loss, fragmentation, and disorientation. This dialectical concept of the archive challenges not simply the traditional concept of the archive that presumes the totality of preservation and the systematic classification of information but also the utopian account of the virtual museum or archive, according to which its simulation, free accessibility, and universal connectivity contribute to overcome the physical museum or archive.
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Bedi̇r, Ayşe. "EVREN KÜÇÜK, Türkiye-İsveç İlişkileri (1914-1938) / Turkey-Sweden Relations (1914- 1938), Publications of Turkish Historical Society, Ankara 2017. [Book Review]." Belleten 82, no. 294 (August 1, 2018): 759–62. http://dx.doi.org/10.37879/belleten.2018.759.
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The purpose of this book review is to fulfi ll the absence of comprehensive study on the Turkey-Sweden relations both Sweden and Turkey yet. Turkey-Sweden Relations (1914- 1938) is an original work, which is suitable for scientifi c criteria and prepared as a doctoral thesis, receives the details of the relations of both countries for the fi rst time in detail, and sheds light on the last years of the Ottoman Empire and the early Republican period of Turkey. Very rich sources are used in this work with a simple language and style. As it is seen that in preparation of the book the sources of the foreign archives and local archives such as Sveria Riksarkivet (Sweden State Archives), Sveria Krigsarkivet (Sweden Military Archives), Kungliga Bibliotek (Sweden Royal Library), Uppsala University, Carolina Rediviva Library, The National Archives (London), League of Nations Photo Archive, Prime Ministry Republican Archives, Prime Ministry Ottoman Archives, Red Crescent Archives, Presidency Archive, Foreign Ministry Archives, Istanbul Sea Museum Archive, Turkish Revolution History Institute Archives have been used. Additionally, the book uses domestic and foreign literature, newspapers and magazines.
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Povroznik, N. G. "WEB ARCHIVES IN RECONSTRUCTING HISTORY OF VIRTUAL MUSEUMS: POTENTIAL AND LIMITATIONS." Вестник Пермского университета. История, no. 4(51) (2020): 95–105. http://dx.doi.org/10.17072/2219-3111-2020-4-95-105.
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Web archives are repositories of unique sources on the history of the information society, including the cultural segment of the World Wide Web. The relevance of studying the web history of museum information resources refers to the need to understand the past and contemporary processes of the development of the museum's digital environment in order to more effectively build strategies for future advancement with a valuable impact on society. The article, for the first time, attempts to assess the information potential of web archives for studying the web history of virtual museums and discusses the limitations that prevent the reconstruction of their web history. Web archives are designed to observe web pages and web sites saved at a certain point in time; they analyze the structure and content of the museum web, interpret the visual aids and sections' titles, and track statistics of publication activity. Tracing changes in the role and significance of the digital environment in museum activities, as well as trends in the development of museums, and predicting future trajectories are possible based on the analysis of the dynamics of museums' web content. At the same time, the peculiarities of search engines in web archives, technical restrictions, incompatibility of modern software with earlier formats, limits on scanning information on the World Wide Web to save it, uneven preservation by domain zones in the Internet Archive, and the lack of specialized web preservation programs at national and regional levels restraint the possibility of a comprehensive study of the history of virtual museums. The author concludes that it is necessary to expand national web archiving programs in favour of a more detailed preservation of the cultural segment of the web as a digital cultural heritage, as well as the content of social networks and mobile applications, for future use by researchers.
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Maxted, Ian. "Reimagining local studies in Devon." Global Knowledge, Memory and Communication 68, no. 8/9 (November 24, 2019): 703–11. http://dx.doi.org/10.1108/gkmc-01-2019-0007.
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Purpose The purpose of this paper is to examine the effect that government austerity policies has had on local studies in Devon and suggest a possible alternative means of maintaining local studies’ collections. Design/methodology/approach This paper presents an historical survey of local studies provision in the county since the nineteenth century and outlines the present local studies’ landscape. Findings The findings show that local studies’ provision has been severely affected by eight years of progressive cuts to public library funding and that present publications, both printed and digital, are no longer being adequately recorded. Practical implications This paper suggests that in Devon, the museum sector may be a more appropriate home for local studies’ library provision than are archive services. Social implications Volunteers in libraries, museums and archives across Devon will be involved in maintaining a union catalogue and a bibliography of local publications. Originality/value While this is a suggested solution for Devon, it may not be applicable in regions with different traditions of heritage provision.
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Wagner, Bernd. "Kontaktzonen im Museum. Kindergruppen in der Ausstellung Indianer Nordamerikas." Paragrana 19, no. 2 (December 2010): 192–203. http://dx.doi.org/10.1524/para.2010.0033.
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AbstractEuropean ethnological museums usually administer not only exhibitions but also large archives. Visitors of the exhibitions generally do not get to know that the archived objects exist. As these objects are omitted and difficult to access they leave a blank position as Deborah Poole remarks. Decisions as to why objects are displayed or archived are an important matter in museum studies. James Clifford is challenging museums to integrate contact zones in their exhibitions. Ethnological museums contribute to intercultural encounter by allowing contact to their archives, opening exhibition spaces for performative play of children and reflecting collections and collectors in terms of postcolonial theory.
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Kwaśniewski, Andrzej. "Znaczenie katalogu mikrofilmów kościelnych archiwaliów oraz zbiorów liturgicznych i bibliotecznych. Recenzja opracowania Katalog mikrofilmów Ośrodka Archiwów, Bibliotek i Muzeów Kościelnych Katolickiego Uniwersytetu Lubelskiego Jana Pawła II, oprac. M. Dębowska, Kraków 2017, Wydawnictwo Instytutu Teologicznego Księży Misjonarzy w Krakowie, Kraków 2017, ss. 677." Archeion, no. 121 (2020): 479–91. http://dx.doi.org/10.4467/26581264arc.20.018.12975.
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The significance of an archive ecclesiastical microfilm catalogue and of liturgy and library collections. Review of the publication Microfilm Catalogue in Possession of the Ecclesiastical Archives, Library and Museum Centre of the John Paul II Catholic University of Lublin, compiled by Maria Dębowska, Publishing House of Instytut Teologiczny Księży Misjonarzy in Cracow, Cracow 2017, p. 677. Ever since 1960, the Ecclesiastical Archives, Library and Museum Centre of the John Paul II Catholic University of Lublin has been microfilming primarily ecclesiastical archive materials and partially also the historical collections of church libraries. The descriptions of the resulting microfilms were published over the years in the journal Archiwa, Biblioteki i Muzea Kościelne. Subsequent groups of microfilms were assigned consecutive publication numbers and were referred to as microfilm catalogues. The current status of the work is presented in a printed catalogue by Maria Dębowska, PhD. The catalogue brings together descriptions of 5,593 microfilms. Created in the Ecclesiastical Archives, Library and Museum Centre, the microfilm collection is a unique resource for studies on the history of the Church in Poland. Słowa kluczowe: archiwistyka, Ośrodek Archiwów, Bibliotek i Muzeów Kościelnych Katolickiego Uniwersytetu Lubelskiego, Dębowska Maria, Kumor Bolesław, zasób polskich archiwów kościelnych, zbiory historyczne bibliotek kościelnych, kościelne dobra kultury / archival science, Ecclesiastical Archives, Library and Museum Centre of the John Paul II Catholic University of Lublin, Maria Dębowska, Bolesław Kumor, Polish ecclesiastical archival fonds, collections of historical church libraries, church cultural values.
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Kwaśniewski, Andrzej. "Znaczenie katalogu mikrofilmów kościelnych archiwaliów oraz zbiorów liturgicznych i bibliotecznych. Recenzja opracowania Katalog mikrofilmów Ośrodka Archiwów, Bibliotek i Muzeów Kościelnych Katolickiego Uniwersytetu Lubelskiego Jana Pawła II, oprac. M. Dębowska, Kraków 2017, Wydawnictwo Instytutu Teologicznego Księży Misjonarzy w Krakowie, Kraków 2017, ss. 677." Archeion, no. 121 (2020): 479–91. http://dx.doi.org/10.4467/26581264arc.20.018.12975.
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The significance of an archive ecclesiastical microfilm catalogue and of liturgy and library collections. Review of the publication Microfilm Catalogue in Possession of the Ecclesiastical Archives, Library and Museum Centre of the John Paul II Catholic University of Lublin, compiled by Maria Dębowska, Publishing House of Instytut Teologiczny Księży Misjonarzy in Cracow, Cracow 2017, p. 677. Ever since 1960, the Ecclesiastical Archives, Library and Museum Centre of the John Paul II Catholic University of Lublin has been microfilming primarily ecclesiastical archive materials and partially also the historical collections of church libraries. The descriptions of the resulting microfilms were published over the years in the journal Archiwa, Biblioteki i Muzea Kościelne. Subsequent groups of microfilms were assigned consecutive publication numbers and were referred to as microfilm catalogues. The current status of the work is presented in a printed catalogue by Maria Dębowska, PhD. The catalogue brings together descriptions of 5,593 microfilms. Created in the Ecclesiastical Archives, Library and Museum Centre, the microfilm collection is a unique resource for studies on the history of the Church in Poland. Słowa kluczowe: archiwistyka, Ośrodek Archiwów, Bibliotek i Muzeów Kościelnych Katolickiego Uniwersytetu Lubelskiego, Dębowska Maria, Kumor Bolesław, zasób polskich archiwów kościelnych, zbiory historyczne bibliotek kościelnych, kościelne dobra kultury / archival science, Ecclesiastical Archives, Library and Museum Centre of the John Paul II Catholic University of Lublin, Maria Dębowska, Bolesław Kumor, Polish ecclesiastical archival fonds, collections of historical church libraries, church cultural values.
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Khimina, Nina I. "THE MAIN PROBLEMS OF COLLECTING THE DOCUMENTARY HERITAGE AND CREATING THE STATE ARCHIVAL FUND OF THE USSR IN 1917–1930S." History and Archives, no. 4 (2021): 82–99. http://dx.doi.org/10.28995/2658-6541-2021-4-82-99.
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The article examines the history of collecting documentary and cultural heritage since 1917 and the participation of archives, museums and libraries in the creation of the Archival Fund of the country. In the 1920s and 1930s, archival institutions were established through the efforts of outstanding representatives of Russian culture. At the same period, the structure and activities of the museums created earlier in the Russian state in the 18th – 19th centuries were improved. The new museums that had been opened in various regions of Russia received rescued archival funds, collections and occasional papers. It is shown that during this period there was a discussion about the differentiation of the concepts of an “archive”, “library” and a “museum”. The present work reveals the difficulties in the interaction between museums, libraries and archives in the process of saving the cultural heritage of the state and arranging archival documents; the article also discusses the problems and complications in the formation of the State Archival Fund of the USSR. During this period, the development of normative and methodological documents regulating the main areas of work on the description and registration of records received by state repositories contributed to a more efficient use and publication of the documents stored in the state archives. It is noted that museums and libraries had problems connected with the description of the archival documents accepted for storage, with record keeping and the creation of the finding aids for them, as well as with the possibilities of effective use of the papers. The documents of the manuscript departments of museums and libraries have become part of the unified archival heritage of Russia and, together with the state archives, they now provide information resources for conducting various kinds of historical research.
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Aguirre, Robert D. "Museums behind the Gallery Doors." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 129–33. http://dx.doi.org/10.1632/pmla.2010.125.1.129.
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I am often asked how a Victorianist came to write a book about museum exhibitions and the British quest for and Traffic in pre-Columbian antiquities. When I began, I had no formal training in these subjects and thus little that would count as a theory or method. Of course, as my interest grew I read as much of the scholarly literature as I could: critical studies of important collectors; analyses of exhibitionary practice and museum administration; the history of the museum from cabinets of curiosity to the virtual collections of the present. Yet much of what I learned in writing my own book, Informal Empire, was pieced together, often haltingly, one fragment at a time through a deep immersion in a rich archive. Sensing I was on new ground, I rejected any overarching schema, adhering to the perhaps counterintuitive notion that the best way to make the archive speak was to resist imposing a theory on it and instead to allow the shape of the materials themselves to suggest ways of proceeding. To illustrate both the advantages and the liabilities of this method, which I employed while working on nineteenth-century ethnography collections, I have chosen here to reconstruct the key steps of the scholarly journey that took me from the library to the world of museums and archives. I offer this reflection on critical practice first as an exercise in demystification and second as an encouragement to anyone, but especially students, who might wish to travel similar paths.
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Kalibani, Mèhèza. "The less considered part: Contextualizing immaterial heritage from German colonial contexts in the restitution debate." International Journal of Cultural Property 28, no. 1 (February 2021): 43–53. http://dx.doi.org/10.1017/s0940739120000296.
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AbstractSince the publication of the “restitution report” by Felwine Sarr and Bénédicte Savoy in November 2018, the debate around the restitution of African artifacts inherited from German colonialism in German museums has become increasingly intense. While the restitution debate in Germany is generally focused on “material cultural heritage” and human remains, this reflection attempts to contextualize the “immaterial heritage” (museum collections inventory data, photographs, movies, sound recordings, and digital archive documents) from German colonialism and plead for its consideration in this debate. It claims that the first step of restitution consists of German ethnological museums being transparent about their possessions of artifacts from colonial contexts, which means providing all available information about museum collections from colonial contexts and making them easily accessible to the people from the former German colonies.
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Kugusheva, Alexandra Yu. "The lost prewar collection of the Simferopol Art Gallery (1937–1941)." Issues of Museology 12, no. 1 (2021): 28–34. http://dx.doi.org/10.21638/spbu27.2021.103.
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The article highlights the history of the prewar collection of the Simferopol Art Museum in 1937–1941 and notes the most important works of art lost. The events that accompanied the loss of the collection during the Great Patriotic War were repeatedly covered by the museum in publications. According to official data, during the evacuation in October 1941, the boxes with the exhibits and the museum archive were transported to Kerch where they were burnt during a fire in the port caused by the bombing of enemy aircraft. For many years, the museum’s employees Galina I. Fedotova, Natalya D. Dyachenko and Natalya F. Grishchenko studied documents in the Simferopol, Moscow and St. Petersburg archives to restore the list of exhibits from the prewar collection. The result of their work was an extensive “Catalog of the values of the Simferopol Art Museum, lost during the Second World War” (2002), which is presented in the documentary archive of the museum. The main sections of the permanent exhibition of the prewar collection of the Simferopol Art Gallery are marked in the catalog. This information is of great importance for Russian museum science: many items transferred in 1937–1941 to the Simferopol collection were previously included in the funds of the State Russian Museum, the Tretyakov Gallery, the Hermitage and other major museum collections.
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Lyubichankovsky, Sergey V. "Emperor Alexander II and the South Urals: A New Collection of Documents Published by Archivists of the Chelyabinsk Region." Herald of an archivist, no. 1 (2020): 306–11. http://dx.doi.org/10.28995/2073-0101-2020-1-306-311.
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The article reviews the collection of documents “Emperor Alexander II and the Southern Urals,” published in 2019 and dedicated to the 200th anniversary of the Emperor. The book tells of the Tsarevich’s journey through the Southern Urals in 1837 and of manufacture of gifts to him by the Zlatoust craftsmen; a separate part consists of documents devoted to the reign of Alexander II and the impact of the Great Reforms on the development of the region. The collection ends with documents on the perpetuation of the Emperor’s memory. The review proves that this collection of documents closes the topic of relations between Alexander II and the Southern Urals, which has been little studied in the historiography. It concludes that the initiators of the publication – employees of the Joint State Archive of the Chelyabinsk Region – have included in the book legislative acts, recordkeeping materials, materials of the periodical press, sources of personal provenance, photographs, and visual materials. There is a list of archives and museums from which the sources originate: state archives of the Chelyabinsk, Orenburg, Sverdlovsk regions, the National Archive of the Republic of Bashkortostan, the Archive of the Zlatoust City District; the Verkhny Ufaley and Zlatoust local history museums; the Russian State Archive of Photo Documents, the State Russian Museum; the Department for Preservation of Historical Heritage of the South Ural Railway, the Russian State Historical Archive, and the State Archive of the Russian Federation. The review describes the structure of the collection and contends that it contributes to comprehensive coverage of the studied problems. It allows its readers to find the needed documents confidently and quickly, even with minimal research skills. Photo documents (little–known photographs and drawings) included in the collection complement the text quite successfully. The reviewers underscore that the publication contains three extensive introductory articles, the reading of which contributes to a deeper understanding of the sources. Thus, the review concludes that the collection has expanded the documentary base adequately in order to spur extensive research of the pre–revolutionary history of the Southern Urals.
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Ciocea, Mălina, and Alexandru Cârlan. "Prosthetic memory and post-memory: cultural encounters with the past in designing a museum." Romanian Journal of Communication and Public Relations 17, no. 2 (July 1, 2015): 7. http://dx.doi.org/10.21018/rjcpr.2015.2.4.
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<p>This paper1 investigates the sources of representations on the communist period and the type of engagement with the past in an experiential museum, in the context of the National Network of Romanian Museums’ project for a laboratory-museum of Romanian Communism. Our analysis of focus-groups in October-November 2012 explores the public’s expectations in terms of museum experience and engagement with objects and the potential of an experiential museum to facilitate deliberation about the past. We use the conceptual framework of recent studies on postmemory (Hirsch, 2008) and prosthetic memory (Landsberg, 2004, 2009) to focus on ways of building the experiential archive needed to produce prosthetic memory. We consider that such an analysis is relevant for two interconnected problems: the bidirectional relationship between a projected museum of communism and a prospective public, and the methodological insights available for investigating this relation. With regard to the first problem, this paper makes a case for treating museums as a memory device rather than a lieu de memoire and analyses the role of the museum in relation to cultural memory. With regard to the second problem, it offers an example of conducting research on prospective publics which departs from traditional marketing approaches, adopting theoretical insights and analytical categories from specific conceptualizations in the field of memory studies.</p>
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Bancel, Nicolas, and Herman Lebovics. "Building the History Museum to Stop History: Nicolas Sarkozy’s New Presidential Museum of French History." French Cultural Studies 22, no. 4 (October 26, 2011): 271–88. http://dx.doi.org/10.1177/0957155811417069.
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When he ran for president in 2007 Nicolas Sarkozy promised to build a museum of French history. He declared that he was troubled by the lack of a coherent account of the nation’s great moments and great heroes. On being elected, he started the planning process, finally settling on the Hôtel de Soubise, part of the Archives nationales, as the site of the future Maison de l’histoire de France. Although his project was supported by a certain number of intellectuals, many university scholars, especially the historians, raised strong objections to a concept that returned to the old Third Republic civic history in the style of Ernest Lavisse. The future museum was to offer visitors old-fashioned narrative history of male achievements, with no account taken of new insights that women’s, gender, social, cultural, colonial and immigration history have added to any discussion of what France is or might be. It rejects the idea that there have been, and can be, many ways of being French. The critics of the museum project deplored the instrumentalisation of the nation’s past – one of several such presidential ventures – for short-term political gain. The strike of archive employees, which lasted for several months, scuttled that site as the future home of the history museum. The story is not finished. The discussion of the presidential museum initiative is placed in a larger context in which increased economic neo-liberalism, greater state interventions at home and overseas, and the propagation of a nostalgic-conservative vision of the nation’s past reinforce each other, even as they coexist in uneasy union.
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Weineck, Silke-Maria. "Somatic Archive: Exhibiting Nietzsche." German Politics and Society 18, no. 1 (March 1, 2000): 66–75. http://dx.doi.org/10.3167/104503000782486705.
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This essay concerns one of the strangest exhibits of all time: the display of Friedrich Nietzsche’s live body in Villa Silberblick, a house overlooking Weimar, the “City of European Culture” in 1999. Since Weimar’s self-representation is organized almost entirely around the glory of a handful of long-dead men and the public spaces devoted to them, the town might as well have declared itself “City of Museum Culture.” Indeed, its culture has been strange at times, and its contradictions are not all that badly summed up in the double meaning of Silberblick, which can mean both silver view and cross-eyed vision. In the story of Nietzsche’s final years we will encounter both the silvering and the squinting.
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Phillips, Carina. "Digitised Diseases." Bulletin of the Royal College of Surgeons of England 95, no. 5 (May 1, 2013): 164–65. http://dx.doi.org/10.1308/003588413x13643054409342.
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Over the past year RCS museum staff have been working on a project called Digitised Diseases. This Joint Information Systems Committee (JISC)-funded project is a collaboration with the university of Bradford and Museum of London Archaeology (MOLA). Digitised Diseases aims to bridge the gap between modern clinical medicine, historic medical collections and archaeological assemblages in the study of osteological pathology. The project will produce an archive of 3D case studies of exemplar specimens that can be studied virtually.
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Fitzherbert, Teresa. "The Creswell Photographic Archive at the Ashmolean Museum, Oxford." Muqarnas 8 (1991): 125. http://dx.doi.org/10.2307/1523160.
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Fitzherbert, Teresa. "THE CRESWELL PHOTOGRAPHIC ARCHIVE AT THE ASHMOLEAN MUSEUM, OXFORD." Muqarnas Online 8, no. 1 (1990): 125–27. http://dx.doi.org/10.1163/22118993-90000271.
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Raheja, Michelle. "“He is a Morfidite and Needs a Man”." GLQ: A Journal of Lesbian and Gay Studies 28, no. 3 (June 1, 2022): 353–84. http://dx.doi.org/10.1215/10642684-9738484.
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Abstract This essay focuses on queer Indigenous life in the early twentieth century through an analysis of the archive of Nabor Feliz, an Indigenous sculptor who toured with major circuses. In the essay, the author employs queer critique and Indigenous theory to contend that the circus offered Feliz opportunities for Indigenous expressions of sexuality that might not have been otherwise afforded them in this period. The essay is based on an examination of the photographs, letters, and newspaper articles in the archive, which is housed at the Southwest Museum. To the author's knowledge, this is the first article-length piece on the complexities of queer Indigenous life in the first half of the twentieth century and the first study of Feliz's life and work.
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Jonker, Gerdien. "Archiv der Gesichter/Archive of Faces. Death Masks from the Schiller National Museum in Marbach, Germany." Mortality 5, no. 2 (July 2000): 228–30. http://dx.doi.org/10.1080/713686006.
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Hula, R., I. Perederii, and V. Sazhko. "Domestic Archives, Libraries and Museums as Object and Subject of Consciental War in the Terms of the Russian Federation Armed Aggression Against Ukraine." Visnyk of Kharkiv State Academy of Culture, no. 62 (December 26, 2022): 7–40. http://dx.doi.org/10.31516/2410-5333.062.01.
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The relevance of the study. The priority of information confrontation in the postmodern era is to change the mentality of the nation and the deformation of national memory patterns, which is clearly reflected in the events of Russian-Ukrainian war. Complex transformation processes in the development of the modern library system, the problem of determining its role and place in the protection of national cultural heritage, resisting attempts to purposefully instill hostile cultural values in the Ukrainian state in the context of integrated use of information warfare are given in conditions of the consciental war.
The purpose of our scientific research is to reveal the essence of the socio-cultural dimension of consciental war (war for consciousness) in its constituents. This is archeological warfare and the falsification of history. Reveal and identify the potential for library, archival and museum systems functioning in the context of consciental war (war for consciousness) in the conditions of the Russian Federation armed aggression against Ukraine.
The methodology. The author’s vision of the problem is based on the main principles of science: scientificity and objectivity. A systematic approach to determining the functionality of libraries enabled to establish the content and prospects of transformation processes of the modern library, archival and museum systems in the consciental war (war for consciousness) and to determine its effectiveness in terms of performing tasks of effective armed and information confrontation.
The results. It is proved that the archival, library and museum systems, as a traditional collector and translator in the time and space of documented knowledge, the guardian of the national cultural heritage becomes the object of influence and manipulation in the terms of consciental war (war for consciousness). At the same time, they can and should be an effective tool for information and psychological confrontation. It reveals the role and place of the cultural heritage institutions in the consciental war (war for consciousness) — archaeological warfare and the rewriting of history. A number of forms of consciental war in confrontation in Russian-Ukrainian war are characterized.
The scientific novelty. For the first time, an attempt was made to comprehensively analyze the role of archives, libraries, museums in the consciental war (war for consciousness). The tasks and functions of the archives, libraries, museums as an effective tool for the protection of the national information space are specified in conditions of Russian-Ukrainian war.
The practical significance. The results of the study can be used by librarians, archivists, museum workers as well as higher education institutions that implement educational programs in the specialties 029 “Information, Library and Archival Affairs” and 027 “Museum and monument studies” in the development of new disciplines (e.g., “Іnformation Warfare and National Security”, “Archival studies”, “Library studies”, “Museology”, etc). It will provide training for library, archive, museum and information specialists at modern requirements level, taking into account the peculiarities of modernization processes development in the library and archives.
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Kacprzak, Dariusz. "FROM THE STUDIES ON ‘DEGENERATE ART’ TWENTY YEARS AFTER THE WASHINGTON CONFERENCE. SZCZECIN’S CASE (MUSEUM DER STADT STETTIN)." Muzealnictwo 60 (July 11, 2019): 126–42. http://dx.doi.org/10.5604/01.3001.0013.2857.
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On 5 August 1937, fulfilling the orders of the Chairman of the Reich Chamber of Fine Arts (Reichskammer der bildenden Künste), a confiscation committee showed up at the City Museum in Stettin, and demanded to be presented by the Director of the institution the Museum’s collection in view of ‘degenerate art’. While ‘hunting’ for the Avant-garde and ‘purging museums’, the Nazis confiscated works that represented, e.g. Expressionism, Cubism, Bauhaus Constructivism, pieces manifesting the aesthetics of the New Objectivity, as well as other socially and politically ‘suspicious’ art works from the late Belle Époque, WWI, German Revolution of 1918–1919, or from Weimer Republic Modernism of the 1920s and 30s. The infamous Munich ‘Entartete Kunst’ Exhibition turned into a travelling propaganda display, presented in different variants at different venues. A three-week show (11 Jan.–5 Feb. 1939) was also held in Stettin, in the Landeshaus building (today housing the Municipality of Szczecin). Provenance studies: biographies of the existing works, often relocated, destroyed, or considered to have been lost, constitute an interesting input into the challenging chapter on German and European Avant-garde, Szczecin museology, and on Pomerania art collections. Side by side with the artists, it was museologists and art dealers who cocreated this Pomeranian history of art. The Szczecin State Archive contains a set of files related to ‘degenerate art’, revealing the mechanisms and the course of the ‘museum purge’ at the Stettin Stadtmuseum. The archival records of the National Museum in Szczecin feature fragments of inventory ledgers as well as books of acquisitions, which provide a particularly precious source of knowledge. The published catalogue of the works of ‘degenerate art’ from the Museum’s collections covering 1081 items has been created on the grounds of the above-mentioned archival records, for the first time juxtaposed, and cross-checked. The mutually matching traces of information from Polish and German archives constitute a good departure point for further more thorough studies.
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Orlova, Keemya V. "Российские фондохранилища документального наследия монгольских народов." Монголоведение (Монгол судлал) 13, no. 2 (November 30, 2021): 366–81. http://dx.doi.org/10.22162/2500-1523-2021-2-366-381.
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Introduction. The present review article is devoted to written Mongolian collections from repositories in different regions of Russia, which were formed thanks to the selfless work of brilliant Orientalists. At present, there is an urgent need in systematization, analysis, search for information, and distant access to archival records and written sources, which will give researchers more opportunities for distant work with sources. Accordingly, perspectives of using information technologies will fascilitate the coordination and wider cooperation, as well as greater openness in the academic environment, the urgency of which is quite obvious. It is the right moment, too, because, first of all, the data on written sources is still scattered in a variety of publications; secondly, 2018 saw the launch of a grandiose project ”World Heritage of Mongolians”, which is primarily designed to create a uniform inventory of historical-documentary heritage of Mongolian peoples. The project plans include the publication of twenty volumes to present collections of written monuments dispersed in various countries of the world: Russia, Japan, China, the USA, France, Denmark, Hungary, etc. Three volumes will be devoted to Mongolian sources from Russian repositories. The purpose of the present article is to give an overview of the repositories of the documentary heritage of the Mongolian peoples in different regions of Russia. Results. The largest collections of Mongolian written sources are stored in St Petersburg (Scientific Library of St Petersburg University, Institute of Oriental Manuscripts of the Russian Academy of Sciences, State Museum for the History of Religion, National Library of Russia), in Buryatia (Center for Oriental Manuscripts and Xylographs, Institute for Mongolian, Buddhist and Tibetan Studies of the Siberian Branch of the RAS; V. A. Obruchev Kyakhta Museum for Local Studies), in Tyva (Aldan-Maadyr National Museum of the Republic of Tyva, Scientific Archive of the Tyva Institute for Studies in the Humanities and Applied Socio-Economics), in the Republic of Tatarstan (National Archive of the Republic of Tatarstan), and in Kalmykia (Scientific Archive of the Kalmyk Scientific Center of the Russian Academy of Sciences, National Archive of the Republic of Kalmykia, N.N. Pal´mov Kalmyk Museum of Local Studies); these comprise representative collections, including rare and unique monuments of Mongolian written literature. Some of these collections have been studied to a degree, but there are still many to be introduced into scientific circulation. That is why it is of urgent importance to represent written Mongolian sources, their significant part kept in Russian repositories. Further work on identifying and describing the documentary heritage of the Mongolian peoples will contribute to our knowledge of the field that still needs to be investigated.
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McCarthy, Conal, and Alison K. Brown. "Editorial." Museum Worlds 10, no. 1 (July 1, 2022): vii—ix. http://dx.doi.org/10.3167/armw.2022.100101.
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Museum studies is an academic and practical field of research that is ever expanding and alive with potential, opportunity, and challenge paralleling the extraordinary growth of museums in every part of the world. Museum Worlds: Advances in Research, launched in 2012, has responded to the need for a rigorous, in-depth review of current work in museums and related industries, including galleries, libraries, archives, and cultural heritage. The inspiration for the journal came from Howard Morphy, Professor of Anthropology at the Australian National University in Canberra, along with founding editors Kylie Message, also at the ANU, and Sandra Dudley from the School of Museum Studies at the University of Leicester.
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Blair, Jennifer. "Art Museum Image Gallery." Charleston Advisor 21, no. 3 (January 1, 2020): 15–19. http://dx.doi.org/10.5260/chara.21.3.15.
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Art Museum Image Gallery provides access through a subscription to museum collections of over 156,000 high-quality images sourced from the Art Archive of Picture Desk, Inc. and includes paintings, prints, ceramics, sculpture, and other art. The images span from 3000 B.C. to the present, with an emphasis on cultural and area studies. The price varies and is based on subscribers’ overlap with packages and other factors unique to institution needs, but primarily is on bracket determined by number of users. The interface could use improvement in its limiters. But individual item displays surpass similar products by providing comprehensive data including copyright privileges, the artist, original source, subjects with live links, description, and accession numbers. A link also provides a higher quality version of each image with downloadable capability. Art Museum Image Gallery is best suited for educational use and is ideal for academics, schools, the public, and the government.
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Сахно, Александр, and Aleksandr Sakhno. "Treasures of the State Tyutchev Memorial Estate «Mouranovo»." Service & Tourism: Current Challenges 9, no. 2 (June 15, 2015): 112–18. http://dx.doi.org/10.12737/11404.
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The State Tyutchev Memorial estate «Mouranovo» keeps unique paintings, drawings and prints collections as well as photographs and daguerreotypes depot, furniture, porcelain, old-fashioned clocks and lamps. There are lots of rare books and massive memorial archives in the museum. The target part of the museum pieces is made by Russian and European masters in the 18"1 - early 20"´ century. The article is dedicated to the great collections at the museum storage and exposition, it explores their provenance and forming according to the museum departments and chronology.
The collection of the museum is unique not only with the pieces but with the donators who have been supplementing the collection till nowadays. The basement of the collection is the Tyutchevs heritage, personal collection of the last successor of the heritage and at the same time the fist director of the museum - Nicolay Tyutchev, and donations of the Tyutchev and the Boratynsky heirs. Supplements in 1960s and 1980s are marked by the names of the famous literary critics and collectors of the Soviet time. There were lots of museum friends who tried to keep the special atmosphere of a unique «nest of the gentry» of the 19"1 century and literary place in Mouranovo. Having priceless archives from the Tyutchevs the Museum became a research institution, which keeps and studies manuscripts ofFeodor Tyutchev, Eugeny Boratynsky and members of their families. The article is dedicated to the main structure of the Memorial Archive - one of the most valuable part of the Mouranovo collection and some unique pieces from other five departments of the museum. The main part of the text is an the overview of the collections made in different times by members of museum scientific staff, who have worked or are working at the moment in «Mouranovo»: Inna Korolyova, Svetlana Dolgopolova, Tatiana Goncharova, Natalia Belevtseva, Vera Malutina, Oksana Goncharova.
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Di Franco, Karen. "Book Works’ Archive: a partial response." Art Libraries Journal 38, no. 3 (2013): 36–41. http://dx.doi.org/10.1017/s0307472200018666.
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Since 2010, Book Works has been digitising material from its archive – whether finished works, ephemera, correspondence, photographs, or manuscripts – to give access to the working processes of the organisation (at www.bookworks.org.uk). The archive database is constructed around a chronological timeline and includes a search facility that allows visitors to filter and select material using a bespoke classification system. It currently comprises detailed content relating to two case studies from Book Works back catalogue: After the Freud Museum by Susan Hiller and Erasmus is late by Liam Gillick, as well as ephemera and material from other works. The project has been developed in collaboration with Ligatus Research Centre, University of the Arts London, with support from the AHRC Knowledge Transfer scheme.
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Dehghani, Arash, and Sanskriti Chattopadhyay. "Archive in Flux: A Diffused Narrative of Material and Geo-History." Anales de Historia del Arte 32 (July 15, 2022): 411–27. http://dx.doi.org/10.5209/anha.83117.
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Emerging from a socio-political urgency resultant from the current volatile situation of world politics, this article brings to the fore the age-old question of what an archive is. Spanning through the intellectual history of arkheion and the hegemonic structure of a daunting, cohesive building that reflects the ideologies of a singular authoritarian power that created it, this article explores the parallel structures of power that exist within the archival structure, at the same time rendering its structure and being rendered by it. The shift from the unidimensional power positions to this multiplicity of exchanges that make the archival structure fluid will be studied through certain eminent contemporary archival art practices. This article proposes a topology of the archive, as a departure from studying the archive as a location, a container. The archival art practices, in this schema, are neither an external element to the archive nor a separate practice gaining meaning in discourses, but an essential element in the horizons of what the archives enact in their multiplicity. In doing so, this article will strive towards an indeterminacy of the structure of the archive, where it functions neither as a mere integration of a determinate matter in the archive discourse nor as a domiciliation of the hitherto unknown or unacknowledged documents in a new container like a museum. Leaving the discourse-oriented and material-oriented path, the action of doing will be discussed as the determinate factor behind the existence of the archive. Hence, the search for the answer to the question initially introduced, what an archive is, may only be contemplated by focusing on how archives function, as the function will be explored further as the key to its creation and sustenance.
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Andrew, Brook. "Trading Lines." ARTMargins 5, no. 1 (February 2016): 80–95. http://dx.doi.org/10.1162/artm_a_00132.
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Trading Lines is a photo essay that tracks nearly twenty years of research within international museums as well as collecting and sharing photographs and objects. This research began in 1996 at the Royal Albert Memorial Museum, Exeter, where I encountered an Aboriginal skull from N.S.W. Australia —that was part of the active international Aboriginal human remains trade activated from the early 18th century. This photo essay shares correspondence between myself and private and public collection managers and collectors. Some images are from actual installations where I have combined objects with artworks, as a whole, it is an attempt to draw lines between pure collection activities and legitimate anguish many people feel for not only their cultural heritage but also those of the human remains trade. Even though repatriation of human remains to Aboriginal communities in Australia has been an active endeavor over the last 10 or more years, many human remains, photos and other important documents are still being uncovered, repatriated and traded. The comparable texts and images explore the margins of both museum practice and community involvement and understanding of these actions and communications. I intend to present this photo essay as an archive that engages people within their own curiosity of access to a complex world of negotiations. Further documents, human remains and other materials are gradually and continually unearthed in museums and sold through private collections and markets. Reflecting on this, who owns their own culture and history, and how does a culture remember when they are not in receipt of their cultural materials. I hope to stimulate important considerations about the power of a public archive, noting the complex protocol tensions that can arise and how these lines or margins are negotiated, crossed, hidden or shared.
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Shestopalova, Evelina Y. "Alagir Gorge of North Ossetia-Alania: in the footsteps of archaeologist E.G. Pchelina." Vestnik of North-Ossetian State University, no. 4 (December 25, 2021): 78–88. http://dx.doi.org/10.29025/1994-7720-2021-4-78-88.
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E.G. Pchelina (1895-1972) belongs to the galaxy of outstanding scientists who laid the foundation of Soviet Caucasian studies. She had a multi-faceted talent as a researcher and left a bright mark in archeology, religious studies, ethnography, folklore studies of the Caucasus, Armenia, Azerbaijan, and Central Asia. Most of her works, including those ready for publication, were not published during the scientist’s lifetime. The archive, bequeathed by her to the Academy of Sciences and transferred to LOARAN in 1973 by her daughter-in-law, the highly respected M.L. Pchelina, remained inaccessible until 2019. But the results of her research, reflected in published works and available from Reports of archaeological expeditions and documents in the archives of scientific institutions of North and South Ossetia, Moscow, St. Petersburg, Yaroslavl, were known and highly appreciated by archaeologists, ethnographers, historians. References to the materials of her archaeological collections from the Hermitage and museums of North and South Ossetia are often found in the works of modern researchers of the Caucasus. The name of the talented scientist has not been forgotten all these years. However, only now, with the beginning of work on the study of its archival heritage, it became clear what a wide scope of scientific problems is reflected in the unpublished works of the scientist, what global themes of the history of Ossetia have been studied and reflected in the monographs and articles of Evgenia Georgievna. In 2019-2021, scientific events “Bee Readings” were held in St. Petersburg, dedicated to the problems of studying the archival heritage of E.G. Pchelina and timed to the 125th anniversary of her birth. Thanks to the long-term efforts of the staff of the Archive of the Russian Academy of Sciences, the staff of the Hermitage, the Museum of Ethnography of St. Petersburg, the staff of SOIGSI, the grandchildren of Evgenia Georgievna, Nikolai and Mikhail Pchelin, as well as many people who are not indifferent to the fate and discoveries of Evgenia Georgievna, work with the archive is currently being successfully conducted and gradually reveals the great importance of the research conducted by Evgenia Georgievna in the Caucasus, which will now undoubtedly be known to a wide range of researchers.
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Frith, Simon. "The lives and work of Bob Dylan." Popular Music 41, no. 2 (May 2022): 257–64. http://dx.doi.org/10.1017/s026114302200040x.
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According to the website Come writers and critics, which keeps a running list of all ‘documents related to Bob Dylan printed on paper’, by the end of 2021 (Dylan's 80th year), there were 829 books about him in English and 723 in 36 other languages (from 175 in German to one each in Bulgarian and Vietnamese).1 The list is indiscriminate in terms of the various books’ quality, originality or readability, but looking at the bibliographies of the various works I'm reviewing here, it seems that there are at least 50 Dylan books that academic Dylanologists take seriously (and many more journal articles).2 From this perspective, my four titles provide a useful cross-section of the most common academic Dylan studies in disciplinary terms: biography, literary criticism, musicology and cultural studies. I should also note that in March 2016 the George Kaiser Family Foundation bought Bob Dylan's personal archive (for $22 million according to Heylin) and gave it a permanent home in Tulsa. This has opened up significant new research possibilities. In its own words: The Bob Dylan Archive® highlights the unique artistry and worldwide cultural significance of Bob Dylan. Housed at the University of Tulsa's Helmerich Center for American Research at Gilcrease Museum, the archive includes decades of never-before-seen handwritten manuscripts, notebooks and correspondence; films, videos, photographs and artwork; memorabilia; personal documents; unrecorded song lyrics and chords. Like the writer and composer archives to be found in many university libraries, the Bob Dylan collection is accessible onsite (and by appointment) to ‘individuals with qualified research projects’, and The World of Bob Dylan is, in effect, a celebration of a new era for Dylan scholarship. Its editor, Sean Latham, is the Director of the related Institute for Bob Dylan Studies.3 However, the first book to draw on the Bob Dylan Archive systematically is Clinton Heylin's The Double Life.
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Haubenreich, Jacob. "The Trail, the Archive, the Museum, and the Book: Confronting Materiality in Literary Studies." New German Critique 47, no. 3 (November 1, 2020): 141–78. http://dx.doi.org/10.1215/0094033x-8607647.
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Abstract This article examines the persistence of the notion of the immaterial text in literary studies, now decades into the so-called material turn. Digitization of manuscripts increasingly confronts us with the facts of textual materiality and material authorship, yet many scholars remain ill-equipped to engage these traces in order to expand the possibilities of textual interpretation. The journeys of Peter Handke’s notebooks serve as a case study on how to interrogate various definitions of text and methodological approaches that reinforce an understanding of texts as immaterial. This article thus elucidates the conceptual and methodological impediments to more comprehensively integrating materiality into interpretation; an uneasiness, for example, about approaching authorship—the process and agency of textual production—lingers despite resurrections since the Author’s “death” and more recent transdisciplinary retheorizations of agency. The article finally looks to reflections on materiality in another field, art history, to clarify the reasons that integrating materiality into interpretative criticism remains so difficult, so that the field might begin to move beyond these obstacles.
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Hook, David. "Web-Based Portal for Impact Evaluation Reveals Information Needs for Museums, Libraries and Archives." Evidence Based Library and Information Practice 2, no. 1 (March 14, 2007): 137. http://dx.doi.org/10.18438/b8959p.
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Objective – This study reports on research into the information and support needs of practitioners in the museum, archive, and library sectors, who are undergoing an impact evaluation.
Design – Qualitative survey.
Setting – Web-based questionnaire.
Subjects – Twenty-one practitioners in the fields of museums, archives, and libraries.
Methods – The study made use of a small-scale web portal that provides impact evaluation research findings, toolkits, and examples of methods. The portal’s intent was to present to the users multiple views of the available information in order to overcome the problem of users not being able to identify their needs. A purposive sample group consisting of 50 practitioners from the museum, library, and archive fields was invited to participate in a questionnaire evaluating the website.
Main Results – Despite a fairly low response rate (49%) and poor distribution among the three sectors (museums, libraries, and archives), the results indicated a significant difference in the levels of knowledge and understanding of impact evaluation. Over half of the organizations surveyed had done some assessment of their institution’s economic impact, and there appears to be a rising trend towards doing impact studies for specific projects and developments. Nearly a quarter of the organizations had not undertaken any impact evaluation study previously. Practitioners already familiar with impact evaluation tended to look at broader range of fields for expertise, whereas those with less familiarity remained within their own sector. Practitioners with less experience preferred tools, guidance, and examples of methodologies as opposed to actual evidence of impact. The results also provided the authors with feedback on their web portal and how to organize the information therein.
Conclusions – One of the findings of the study was that the overall reaction to impact evaluation support through research evidence, guidance, and other mechanisms was positive. For most practitioners, evaluation itself and the level of understanding of impact evaluation are at early stages. The primary goals for those undertaking impact evaluation were found to be professional and organizational learning, thus there is a need for practical help and guidance in these areas. Time limitation appeared to be a significant factor in the responses – particularly with smaller organizations – suggesting that their portal material would provide much-needed assistance to such organizations. Finally, it was concluded that future emphasis should be placed on developing practical applications rather than pure research.
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Rukhliadev, Dmitriy. "Языковые материалы Фонда Центральной Азии и Сибири Отдела рукописей и документов Института восточных рукописей РАН." Ural-Altaic Studies 47, no. 4 (December 2022): 100–116. http://dx.doi.org/10.37892/2500-2902-2022-47-4-100-116.
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For more than 100 years, the Department of Manuscripts and Documents of the Institute of Oriental Manuscripts of the Russian Academy of Sciences (formerly the Asiatic Museum, the St. Petersburg branch of the Institute of Oriental Studies of the Russian Academy of Sciences) has been collecting materials on linguistic monuments of Central Asia and Siberia (mainly Turkic). However, there was no description and cataloguing of these materials. Since January 2010, the author of the present article has carried out an inventory and identification of these materials. As a result of this work, it was found that the collection contains a large number of unique linguistic materials, mainly rubbings of Turkic runic inscriptions, which significantly expand the possibilities of linguistic and historical study of the written heritage of the ancient Turks. The rubbings are copies of texts of both well-known and unknown monuments, as well as inscriptions that were considered lost. In the course of work with the collection, materials stored in the State Hermitage Museum, the Peter the Great Museum of Anthropology and Ethnography (Kunstkamera), the Russian Museum of Ethnography, the St. Petersburg branch of the Archive of the Russian Academy of Sciences, and the Archives of the Orientalists of the Institute of Oriental Manuscripts of the RAS were involved. In parallel, work was carried out on the conservation of storage units. Some materials were included from other collections.
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Arangio, Susanna. "Collecting Mussolini: The Case of the Susmel–Bargellini Collection." Ex Novo: Journal of Archaeology 5 (May 24, 2021): 7–18. http://dx.doi.org/10.32028/exnovo.v5i.408.
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Heritage Studies has dealt with Italian Fascism in different ways but paying little attention to the movable items linked to the regime, such as paintings, sculptures and memorabilia. Over the last decade, private collections linked to the Mussolini iconography have emerged, owing to a renewed social acceptance of it and more items of Mussoliniana being readily available. Due to the reluctance of experts to confront this issue and the expansion of private museums in Italy, spontaneous initiatives have sprung up including a permanent exhibition of Mussolini iconography as part of the MAGI’900 Museum in Pieve di Cento, which consists of approximately 250 portraits of the Duce in different media. The nucleus of the original collection once belonged to the historian Duilio Susmel and was part of a large documentary collection put together during the 1960s and 1970s. Susmel hoped it would become a museum or a centre for Fascist studies, but ultimately it remained in his private villa near Florence until the 1990s. The archive is now split between Rome and Salò, and the Mussoliniana was purchased by Bargellini, who added busts, paintings and knick-knacks. Since 2009 it has been on display in a section of Bargellini’s museum entitled Arte del Ventennio. Therefore, the Italian State tolerates its existence but sadly it is ignored by most experts, despite the study opportunities it offers.
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Welch, Emma. "The Future of Museum Studies with Dr. Nicholaus Pumphrey." Bulletin for the Study of Religion 50, no. 1 (August 12, 2021): 24–26. http://dx.doi.org/10.1558/bsor.20030.
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“The Profession” opens a window onto the myriad ways scholars have made use of their training in and beyond the academy. In this issue, editorial assistant Emma Welch speaks with Dr. Nicholaus Pumphrey—curator of the Quayle Bible Collection at Baker University—looking into the discourse on museums and archives and the questions it brings for the scholar of religion. What follows is an introduction to the Quayle Bible Collection and its artifacts, plus what the students and staff of Baker University have to say about the future of museum studies as it pertains to the study of religion.
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Richards, Anthony. "Archive Report: The Department of Documents at the Imperial War Museum." Contemporary British History 18, no. 2 (June 2004): 103–12. http://dx.doi.org/10.1080/1361946042000227751.
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Motoh, Helena. "Lived-in Museum." Asian Studies 9, no. 3 (September 10, 2021): 119–40. http://dx.doi.org/10.4312/as.2021.9.3.119-140.
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The paper focuses on an aspect of the history of the collection of Ivan Skušek Jr., an early 20th century Slovenian collector that has not yet been looked at thoroughly, namely, its “apartment” period, the time when the collection was on display in three consecutive apartments Ivan Skušek Jr. and his Japanese wife lived in. Due to the failed plans to establish a museum, the collection ended up being on display in lived spaces for the entire period between their arrival to Ljubljana and Marija Skušek’s passing, all together for 43 years—much longer than it was ever displayed in museum settings. The paper focuses on the way a lived space functioned as a setting for the display of the collection and how this combination created a place for communication, appropriation and knowledge acquisition—how the collection was lived in, lived with and lived through. The analysis thus reflects on the implications of the setting of the lived-in museum: how it impacted the collection and its parts, how it conditioned the lives of its owners and how this mode of presentation influenced the reception of the visitors. In the second part of the paper, the analysis is based on specific material—Skušek’s archive that was recently analysed in the Slovenian Ethnographic museum collections, including a number of photographs of the interiors of the apartments.
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Landik, Olga A. "THE DEVELOPMENT OF RESEARCH ACTIVITIES IN MUSEUMS OF THE OMSK REGION IN THE 1960–1980S." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 264–73. http://dx.doi.org/10.17223/22220836/42/24.
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Today, there are a number of scientific publications devoted to specific aspects of the activities of Omsk museums in the period of 1960-1980. However, their availability did not lead to the solution of the problem of comprehensive study of Museum development in the Omsk region. The author of the article set the goal – to trace the development of research activities in museums of the Omsk region over a whole stage in the history of museum business. This manifested the scientific novelty of the study. The basis of the sources involved was the documents of the historical archive of the Omsk region (record-keeping and reporting documentation), state and party regulatory documents, the results of studies of predecessors in this matter, museographic sources. The analysis was based on the local-historical method, which made it possible to specify historical circumstances that influenced quantitative and qualitative changes. The historical-typological method allowed to systematize data on types of research activities on the types of research activities that is practiced in the museums of the region in 1960–1980-ies. The article focuses on the period that can be described as the most dynamic in the development of museums and museum network of the country. The museums were given the status of scientific institutions at the state level, measures have been taken to improve the organization of research work. It is found that the main types of research work in museums of the Omsk region in 1960–1980s were the development of scientific topics according to the thematic-expositional plans of the expositions and exhibitions; compilation of museum guides for exhibitions and expositions; development of texts of excursions, lectures, and texts for television and radio programmes; preparation of scientific articles by results of the conducted research; preparation of materials of methodological nature; organization and participation in scientific conferences; expeditionary trips to the districts of Omsk region; study of museum collections. The article reveals the specifics and directions of development of this activity, specify the reasons influencing its intensity. The conclusion is that the research activity was carried out deliberately and systematically turned into a basis that is firmly associated with all activities of the museum. Thanks to the productive activity and attention from the management and staff of the museums to research work was able to bring it to a higher level of development.
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Wróblewska, Małgorzata. "The history of the keyboard instrument MNP I 49 from the Museum of Musical Instruments in Poznań. the state of research." Notes Muzyczny 2, no. 16 (December 30, 2021): 137–48. http://dx.doi.org/10.5604/01.3001.0015.5497.
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The keyboard instrument MNP I 49 from the Museum of Musical Instruments in Poznań has not been a subject of detailed academic studies yet, but there have been mentions of it in various types of publications throughout the years. The item is currently placed in the exhibition hall devoted to the art of the Baroque era in the Museum of Applied Arts in Poznań. It is a unique historical item in the Polish collection due to a very scarce number of harpsichords preserved in Poland. This situation is mainly a result of two world wars in the 20th century. Due to not enough available sources, the exact time of the creation of the instrument and the name of its builder were impossible to determine. The aim of the present article was to compile and arrange previous knowledge about the historical item MNP I 49. The work lists source materials and publications in which the instrument was mentioned, such as documents from the National Archive in Poznań, Raczyński Library in Poznań and National Museum Archive in Poznań. Based on the available source materials, the author was able to determine that the harpsichord appeared at the Skórzewski family’s palace in Czerniejewo before 1855.
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Franko, Andriy, and Oksana Franko. "Serhiy Hamchenko (1860–1932): documents and materials from personal archive through the prism of new consideration of creative biography of the scientist." Materials and studies on archaeology of Sub-Carpathian and Volhynian area 24 (December 24, 2020): 424–57. http://dx.doi.org/10.33402/mdapv.2020-24-424-457.
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Through the prism of the latest, modern review of the scientific and creative biography of Ukrainian archaeologist, historian, ethnologist, publicist, museologist, vice-president of the All-Ukrainian Archaeological Committee (VUAK) of the All-Ukrainian Academy of Sciences (VUAN) Serhiy Spyrydonovych (Svyrydovych) Hamchenko his personal archive, which are stored in his personal fund (f. № 3) of the Scientific Archive of the Institute of Archeology of the National Academy of Sciences of Ukraine (NA IA NASU) (Kyiv, fund № 3) are researched, analyzed and rethought. Also information is represented (in a broad framework of timeless polylogue of scientists and epochs) about the activities of a tireless scientist from other official archives, manuscript collections, numerous publications of well-known experts in history, archaeology and source studying. Emphasized that archive fund of S. Hamchenko consists mostly of a collection of scientific manuscripts related mainly to archaeological research of sites located in Ukraine and Russia, which are devoted more to organization and conduct of archaeological excavations. There was also found S. Hamchenko’s epistolary, official and report notes on the organization of museum study in Ukraine, works of the All-Ukrainian Archaeological Committee, notebooks, official documents, photographs and other «visual» materials, collections of books, magazines and newspapers, etc. It is confirmed that the significant share of these source studies «papers» has not been published to date. Also the little-known archival materials of S. Hamchenko, which contained in the Scientific Archive of the St. Petersburg Branch of the Institute of Archeology of the Russian Academy of Sciences (IA RAS) were processed. On the base of studying of archival and historiographical sources an attempt is made to truthfully, comprehensively, holistically reproduce the socio-biographical aspects and creative features of the chronicle of the life and scientific activity of the extraordinary scholar. It was paid considerable attention to specific, sometimes controversial issues of scientific and source «biography», primarily important prosopographic nuances of adequate, final clarification of the exact dates and places of S. Hamchenko’s birth and death (as well as the establishment of its medical cause). The problem-thematic range of scientific interests of S. Hamchenko is extended from the Paleolithic, Neolithic, Bronze Age to the times of Kyivs’ka Rus’. The scholar have discovered 45 sites of Trypillia culture on the Southern Bugh river, conducted various archeological excavations mainly in Eastern and South-Eastern Volhyn’, Podillya, Kyiv, Cherkasy, Dnipropetrovs’k, Kharkiv, Odessa, Bessarabia regions and other places of Ukrainian and Russian territory (Gulf of Finland area near Sestrorets’k near St. Petersburg). It is confirmed that documents and archival materials related to the biography of S. Hamchenko is an integral part of the national cultural heritage and serve as an important authentic, factual source for a full, holistic study of the multifaceted history of archeology, ethnography, ethnology and museum studies in Ukraine at the end of the XIX th century – in the first third of the XX th century. Key words: Serhiy Hamchenko, history of archeology, museum studies, ethnography, local history, ethnology, All-Ukrainian Archaeological Committee (VUAK), epistolary, intellectual community.
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Bazyler, Michael J., and Seth M. Gerber. "Chabad v. Russian Federation: A Case Study in the Use of American Courts to Recover Looted Cultural Property." International Journal of Cultural Property 17, no. 2 (May 2010): 361–86. http://dx.doi.org/10.1017/s0940739110000135.
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AbstractDisplaced and nationalized cultural property remains hidden in the vast holdings of museums, libraries, and archives around the world. Some governments holding these “trophies” of war and conquest refuse to return such cultural treasures to their rightful owners even when their provenance has been identified. They assert that the collections were obtained through expropriation and nationalization, and that divestiture of a museum, library, or archive would jeopardize the existence of these institutions and cause societal discord.This article discusses the struggle of an orthodox Jewish organization to recover from the Russian Federation a collection of sacred, irreplaceable books and manuscripts seized in the aftermath of the Bolshevik Revolution and during World War II. The story of Agudas Chasidei Chabad's efforts to recover these core religious texts of its spiritual leaders has involved appeals by U.S. presidents, congress, and the U.S. Helsinki Commission, as well as lawsuits in the Soviet Union/Russia and United States.After prolonged litigation in the United States, a federal court of appeals in Washington DC ruled in 2008 that American courts have jurisdiction over Chabad's suit against the Russian Federation to recover its religious texts. This ruling may pave the way for the resolution of this dispute and also lead to the filing of other suits in American courts seeking to recover looted cultural property, even if that property is located outside U.S. borders.
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Mokhov, A. S., and K. R. Kapsalykova. "Role of S. V. Korolenko in Evacuation of the Poltava Literary and Memorial Museum of V. G. Korolenko to Sverdlovsk in 1941." Nauchnyi dialog 1, no. 10 (October 31, 2020): 368–83. http://dx.doi.org/10.24224/2227-1295-2020-10-368-383.
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The article is devoted to the problem of the evacuation of cultural values during the Great Patriotic War. The relevance of the research is due to the fact that in historiography insufficient attention is paid to the salvation of the treasures of provincial museums in 1941—1942. The question is raised about the lack of a unified plan for the evacuation of museum collections from the western regions of the USSR in the initial period of the war. The novelty of the research is in the introduction into scientific circulation of a unique document — a report on the evacuation of the literary and memorial museum of V. G. Korolenko from Poltava to Sverdlovsk. The question of the history of the creation of the museum and its work in the pre-war period is considered. The authors dwell on the history of the creation of literary and memorial museums in the USSR in the 1920s-1930s. The composition of the archive of V.G.Korolenko is characterized. It is shown that the graduates of the higher female Bestuzhev courses played a significant role in this process. Particular attention is paid to the activities of the museum director, the writer’s eldest daughter, Sofya Vladimirovna Korolenko. It has been proven that she is credited with saving the museum collection from the front line. According to the authors, the history of the evacuation of cultural property during the war is a poorly studied issue, the solution of which depends on the publication of sources.
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Grebenchenko, Irina Viktorovna. "Network Analysis of Memoires by Soviet Cosmonautics Creators: Professional Interactions Circle." Историческая информатика, no. 4 (April 2020): 239–49. http://dx.doi.org/10.7256/2585-7797.2020.4.34350.
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The article studies the interactions of the Chief Designers’ Council members by the network analysis method based on the prosopographic database covering the creators of Soviet cosmonautics. Personal contacts of cosmonautics creators were undoubtedly very important in the activities of senior managers of such a complex scientific and engineering industry as the Soviet cosmonautics was. These are professional relations of the Chief Designers’ Council members the article addresses. The source base of the research is the materials library of the Russian State Archive of scientific and technical documentation, the Russian State Public History Library, the Russian State Archive of scientific and technical documentation, the funds of the Memorial Museum of Cosmonautics and the archive of the Memorial House Museum of academician Sergey Korolev. The research novelty is the goal set to study professional communications of the Soviet space program creators on the basis of network analysis as well as the first attempt to collect and process a large array of texts of biographical and memoir sources (5500 abridged pages) associated with the Chief Designers’ Council using a set of quantitative methods. The main results of this study are networks of interactions that show who of the members of the 1946-1967 Chief Designers’ Council had a significant impact on the development of the Soviet cosmonautics and how communication links were distributed between them.
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Alekseyeva, Lyubov, Aleksey Ivanov, and Yuri Maximov. "ANDIJAN EARTHQUAKE OF 1902 ACCORDING TO THE PHOTO ARCHIVE OF THE EARTH SCIENCE MUSEUM." LIFE OF THE EARTH 44, no. 4 (December 12, 2022): 440–45. http://dx.doi.org/10.29003/m3119.0514-7468.2022_44_4/440-455.
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The Andijan earthquake of 1902, as the brightest and most catastrophic seismic event of the early 20th century, has been studied for 120 years. Discovered in D.N. Anuchin’s photo archive (the Earth Science Museum of Moscow State University), a series of photo studies (and accompanying information for them) made by the famous researcher S.A. Melik-Sarkisyan immediately after the Andijan disaster, can be considered as the most complete, authentic and objective visual series of primary photographic documentation of the consequences of the earthquake. High-quality photographs capture urban buildings of residential (both Russian and native types), religious, military, transport and other purposes, changes in their structures and destruction are traced in detail. More negative consequences of the earthquake are noted for residential buildings in the «native» part of the city, destroyed almost to the ground due to poor-quality building materials and design flaws.
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Robertson, Kirsty. "The Disappearance of Arthur Nestor: Parafiction, Cryptozoology, Curation." Museum and Society 18, no. 2 (July 4, 2020): 98–114. http://dx.doi.org/10.29311/mas.v18i2.3083.
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This paper considers Beneath the Surface: The Archives of Arthur Nestor, a parafictional exhibition that I curated in 2014 with 16 undergraduate students at Western University, Canada. The exhibition depicted the life of Dr. Arthur Nestor, a professor of Biology who had disappeared from London (ON) in 1975, seemingly without trace. Over the summer of 2014, some of Nestor’s files and artefacts had been discovered during university renovations, and this archive was given to students in Museum Studies to organize and catalogue. As we sorted through the files, it became clear that Dr. Nestor was something of a controversial figure, a man who became an environmental activist in Southwestern Ontario because of his belief that cryptids (lake monsters) lived in Lakes Huron and Erie, and were in need of protection from human-made pollution. As the documents in his file overlapped with our research in the wider sphere, the evidence seemed to suggest that Nestor had left London to join Dr. Roy Mackal, a University of Chicago professor of cryptozoology searching for the Loch Ness Monster. This paper weaves together the tale of Arthur Nestor and the curating of Beneath the Surface with a history of the relationship between natural history museums and cryptozoology, ultimately questioning what parafiction can do in both art galleries and museums.
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Piskova, Mariyana. "TRACING THE ARCHIVAL SOURCES OF THE FRENCH FEATURE FILM “ANDRANIK” ABOUT THE ARMENIANS IN THE FIRST WORLD WAR(1928)." History and Archives, no. 2 (2021): 128–42. http://dx.doi.org/10.28995/2658-6541-2021-2-126-140.
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The first and still the only film about Andranik Ozanian (1865– 1927) was shot during the summer of 1928 in Bulgaria. Who financed and created the movie, why did the director Archavir Chakhatouny (1882–1957) choose Bulgaria for the scenes in the open, why wasn’t the film shown in Soviet Armenia and how did it get to Yerevan – those are part of the questions the paper will try to answer. To that end the author searched for the archival documents in the archives and museums of Armenia and Bulgaria. The richest source is the personal fund of the Armenian emigrant in Paris Arshavir Shakhatuni (1882–1957). After his death, the documents were transferred to the Yeghishe Charents Museum of Literature and Arts in Yerevan. Among them, a special place is occupied by biographical documents, documents about theatrical roles and roles in cinema, which he performed, materials about early cinema and the history of the creation of the film “Andranik”. The National Archives of Armenia keeps the documents which detail the participation of Chakhatouny in the First World War and in the government of the First Armenian Republic (1918–1920) as the commandant and chief of police of Yerevan. The most valuable source is the film “Andranik” which was received by the State Archives of the Armenian Soviet Socialist Republic (ASSR) in 1972. During the period, the name of Andranik was banned until the end of the 80s of the 20th century. There was censorship and contradicting assessments of Andranik by Armenians and Azerbaijanis (“hero” or “enemy”) were “concealed”. For this reason, the film might have got into Armenia through the Armenian Society for Friendship and Cultural Relations with Foreign Countries, founded by the resolution of the Communist Party of the ASSR. The official activity of the Society was related to the cultural events abroad but in fact it was used to gather information about the political emigrants. In the Bulgarian archives one may find the archive “traces” of Chakhatouny’s performances on the Bulgarian theatrical scenes and also his correspondence with the actor Georgi Stamatov (1893–1965), that documents contain the valuable data on the history of the film creation. Thanks to the archives, the film ‘Andranik’ can be seen and the story of its creation and distribution in the past century can be reproduced.
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Bolz, Peter. "Adolf Bastian: Mitbegründer der Berliner Gesellschaft für Anthropologie, Ethnologie und Urgeschichte (BGAEU) und erster Direktor des Museums für Völkerkunde Berlin." Mitteilungen der Berliner Gesellschaft für Anthropologie, Ethnologie und Urgeschichte 41 (March 5, 2020): 31–44. http://dx.doi.org/10.30819/mbgaeu.41.6.
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Adolf Bastian wird heute nur noch als Figur aus der Gründerzeit der Ethnologie wahrgenommen, dessen Theorien über Völker- und Elementargedanken lange überholt sind. Dabei werden die großen Verdienste übersehen, die er als Vorsitzender, Organisator und Gründer von wichtigen Berliner Institutionen wie der Gesellschaft für Erdkunde, der Anthropologischen Gesellschaft oder dem Museum für Völkerkunde erlangt hat. Neben Bastians umfangreichem publizierten Werk gibt es in den Archiven des Ethnologischen Museums, der BGAEU und anderen Institutionen eine große Anzahl von Dokumenten zu seiner Sammeltätigkeit, zur Gründung des Museums und zu seinem weltweiten Netzwerk, die bisher noch nie systematisch erforscht und veröffentlicht wurden. Außerdem hat Bastian etwa 6.000 Objekte für das Museum gesammelt, die einer umfassenden Bearbeitung harren. Daher plädiert dieser Artikel dafür, in dem geplanten Forschungscampus Dahlem eine Bastian-Forschungsstelle einzurichten, die sein unveröffentlichtes Material für die weitere Forschung zugänglich macht und ihm als Gründer des Museums die gebührende Anerkennung verleiht.
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Lieza, Louw. "St Cuthbert’s Mission Station: Fragments of living heritage, the archive and documentary filmmaking – ‘the future of the past’." Missionalia 50 (2022): 18–30. http://dx.doi.org/10.7832/50-0-321.
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This paper offers a reflection on a research project undertaken over a period of nearly five years at the St Cuthbert’s Anglican community near Tsolo in the Eastern Cape, South Africa. St Cuthbert’ was established by Father Bransby Key, an Anglican missionary in the nineteenth century. On a site visit with art historian professor Anitra Nettleton, we met elders who still remembered the missionaries and could relate to lay-worker Frank Cornner who collected beadwork made by the amaMpondomise even though the missionaries discouraged these practices. Cornner’s collections are housed at the Iziko South African Museum in Cape Town, the British Museum in London and at Pit Rivers in Oxford, in the United Kingdom. The importance of recording testimonies of elders underlines the value of ‘living heritage’ as an added research tool in attempts to contribute to the existing archive, especially as many of the elders have since passed away. The elders recall their experiences with fondness and it was only at a later stage that the researcher encountered dichotomous reactions to the missionary project in the area. For the researcher / documentary filmmaker this tension presented a dilemma as the value of the testimonies could in no way whatsoever be undermined despite the challenges faced by practitioners at this time in the history of our country. My research does, however, point to the importance of constantly adding to existing archival collections of historical records by recording the lived experiences of relevant individuals.