Journal articles: 'Museum fictions'

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Bissell, Blake, Mo Morris, Emily Shaffer, Michael Tetzlaff, and Seth Berrier. "Vessel: A Cultural Heritage Game for Entertainment." Archiving Conference 2021, no. 1 (June 18, 2021): 1–6. http://dx.doi.org/10.2352/issn.2168-3204.2021.1.0.2.

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Museums are digitizing their collections of 3D objects. Video games provide the technology to interact with these objects, but the educational goals of a museum are often at odds with the creative forces in a traditional game for entertainment. Efforts to bridge this gap have either settled on serious games with diminished entertainment value or have relied on historical fictions that blur the line between reality and fantasy. The Vessel project is a 3D game designed around puzzle mechanics that remains a game for entertainment while realizing the benefits of incorporating digitized artifacts from a museum. We explore how the critical thinking present in solving puzzles can still encourage engagement of the story the artifacts have to tell without creating an historical fiction. Preliminary results show a preference for our in-game digital interaction over a traditional gallery and a desire to learn more about the artifacts after playing.

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Bessire, Mark H. C., Mary Anne Staniszewski, and Emma Barker. "Facts and Fictions: The Histories of Museum Display and Installation in Cultural History." Art Journal 60, no. 2 (2001): 107. http://dx.doi.org/10.2307/778072.

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Juncker, Kris. "Figures & Fictions: Contemporary South African Photography. Victoria and Albert Museum, London, April 12–July 17, 2011." African Arts 45, no. 1 (March 2012): 81–82. http://dx.doi.org/10.1162/afar.2012.45.1.81.

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Gough, Noel. "Continuing the Narrative Some 20 years Later." Australian Journal of Environmental Education 30, no. 1 (July 2014): 30. http://dx.doi.org/10.1017/aee.2014.20.

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I wrote ‘Narrative and Nature: Unsustainable Fictions in Environmental Education’ in 1991 as a revised version of a paper subtitled ‘Poststructural Inquiries in Environmental Education’ that I presented at the Sixth National Conference of the Australian Association for Environmental Education in September 1990. To the best of my knowledge, these papers were the first instances of advocacy for poststructuralist analyses of dicourses/practices in the Anglophone literature of environmental education. The key influences on my thinking at this time were US and Canadian ‘reconceptualist’ curriculum scholars, including Cleo Cherryholmes, Jacques Daignault, William Doll, Clermont Gauthier, Rebecca Martusewicz, William Pinar and William Reynolds. The significance and impact of my poststructuralist inquiries in environmental education were recognised by the award of the inaugural Australian Museum Eureka Prize for Environmental Education Research in 1997. Since then, my ‘post’ scholarship has expanded to include postcolonialism and posthumanism. Narrative continues to be an important theme in my work, especially through my development of an approach to narrative experimentation that I call ‘rhizosemiotic play’.

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Ferres, Kay. "Cities and Museums: Introduction." Queensland Review 12, no. 1 (January 2005): 1–4. http://dx.doi.org/10.1017/s1321816600003846.

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In September 2004, the Museum of Brisbane, Museums Australia and the Centre for Public Culture and Ideas at Griffith University hosted a symposium, ‘Cities and Museums’, at the university's Southbank campus. This event initiated a conversation among museum professionals and academics from across Australia. Nick Winterbotham, from Leeds City Museum, and Morag Macpherson, from Glasgow's Open Museum, and were keynote speakers. Their papers provided perspectives on museum policy and practice in the United Kingdom and Europe, and demonstrated how museums can contribute to urban and cultural regeneration. Those papers are available on the Museum of Brisbane website (www.brisbane.qld.gov.au/MoB). The Cities and Musuems section in this issue of Queensland Review brings together papers that explore the relationship of cities and museums across global, national and local Brisbane contexts, and from diverse disciplinary perspectives. The disciplines represented in this selection of papers from the symposium include social history, urban studies, literary fiction, and heritage and cultural policy.

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Tupan, Tupan, and Mohamad Djaenudin. "Peran Kolaborasi Galeri, Perpustakaan, Arsip dan Museum Dalam Mendiseminasikan Sumber Informasi Pengetahuan kepada Masyarakat." Tik Ilmeu : Jurnal Ilmu Perpustakaan dan Informasi 6, no. 2 (December 29, 2022): 139. http://dx.doi.org/10.29240/tik.v6i2.3301.

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An analysis of the role of galleries, libraries, archives and museums as a source of information for public knowledge was conducted. This study aims to find out how the collaborative role of galleries, libraries and archives in disseminating knowledge information sources to the public. The study was conducted using a narrative review which was complemented by observations via the web. The results of the analysis show that institutions that have collaborated include merging and collaborating with regional libraries and archives located in provinces and districts as well as cities throughout Indonesia. The libraries and galleries that have joined are the Fiction Literacy Library and Gallery in Surabaya. For libraries and museums that have joined or collaborated are the Zoological Museum, Tobacco Library and Museum, Soil and Agriculture Museum, and the Geological Museum. As for the combination or collaboration of museums and galleries, they are the Natural History Museum and the Youth Pledge Museum. Referring to the merger between libraries and archives, between libraries and museums, as well as between museums and galleries, it is hoped that the concept of merging or convergence of the roles of galleries, libraries, archives and museums in disseminating regulatory science and technology to the public.

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Prokopovich, L. V. "Fiction about museums as an alternative museum guides." Odes’kyi Politechnichnyi Universytet. Pratsi, no. 1 (June 10, 2014): 282–87. http://dx.doi.org/10.15276/opu.1.43.2014.47.

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Gordon, Jennifer. "Museum Fiction." Art History 19, no. 1 (March 1996): 150–55. http://dx.doi.org/10.1111/j.1467-8365.1996.tb00659.x.

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Lowe, Hilary Iris. "Dwelling in Possibility." Public Historian 37, no. 2 (May 1, 2015): 42–60. http://dx.doi.org/10.1525/tph.2015.37.2.42.

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Challenges to historic house museums are often mired in the rhetoric of crisis. Toward countering that rhetoric, this essay attempts to draw attention to it and to the complicated history of narrative (and storytelling) in interpretation and the academy. It argues that literary house museums are sites of innovation within the house museum sector with lessons for us all. These lessons include a willingness to leverage “the old, bad history” toward reflective practice and continuity for multigenerational audiences; creating inventive university and school partnerships toward insuring strong community stakeholders; embracing the history of race, gender, and sexuality; and perhaps most importantly, making the most of fiction toward embracing multiple points of view about the past.

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Simonsson, Märit. "The Most Powerful Material in Westeros: Fiction Exhibitions and the Authenticity of Fiction Objects." Museum and Society 20, no. 2 (November 1, 2022): 250–63. http://dx.doi.org/10.29311/mas.v20i2.4072.

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This article examines authenticity in relation to exhibitions about films and television series and the objects they contain, defined here as fiction exhibitions and fiction objects. The study is based on an analysis of Game of Thrones: The Touring Exhibition. Material and constructed authenticity are examined and used in the analysis. It is concluded that the exhibition relates to both categories of authenticity, as it contains authentic material from the production of the series and constructs authenticity by emphasizing the fiction objects’ value. The value of objects is also discussed in relation to the representation of different fictional cultures in the exhibition. Comparing exhibitions and objects of fiction with exhibitions and objects of cultural history, the paper concludes that their authentic qualities are similar, confirming that fiction exhibitions and objects are no less authentic than exhibitions and objects in established museums.

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Burke, Verity, and Will Tattersdill. "Introduction: Museums in Science Fiction, Science Fiction in Museums." Configurations 30, no. 3 (June 2022): 247–56. http://dx.doi.org/10.1353/con.2022.0016.

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Dmitrieva, Ekaterina E. "Pushkin’s Trigorskoye as a Source of Myth-making: Fiction Versus Pragmatics." Literary Fact, no. 3 (25) (2022): 211–32. http://dx.doi.org/10.22455/2541-8297-2022-25-211-232.

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In 1824 Pushkin was exiled to his mother’s estate Mikhailovskoye, where he was to stay until 1826. Then he was set free by the enthroned Tsar Nicholas I. Praskovia Alexandrovna Osipova-Vulf, the mistress of Trigorskoye, and her numerous family were Pushkin’s only neighbours during his exile period. A myth was gradually forming in the minds of Pushkin’s readers and admirers. According to this myth Pushkin depicted Trigorskoye in the village chapters of “Eugene Onegin,” Trigorskoye ladies and their mother became the prototype of the novel’s female characters, and Osipova’s son Alexey Wulf, then a student in Dorpat, became the prototype of Lensky. This myth, which in fact ignores the aesthetic self-value of a literary text, was started by M.I. Semevsky’s essay “A Trip to Trigorskoye,” as well as by Alexey Wulf’s own “Diary.” The paper deals with this myth evolution, considering how it subsequently rises from the realm of essays and memoirs to become a part of scholarly works and forms the concept basis of the museum space after the house-museum in Trigorskoye was founded. The appendix contains the minutes of a scientific meeting of the Pushkin’s Reserve’s staff in 1960, which reveals the mechanism of Trigorskoye mythologemes’ introduction into the museums space.

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Ryabkova, I. P., and A. A. Deryugina. "TRANSLATING TEXTS ON ART (ILLUSTRATED BY EXAMPLES FROM MUSEUM TEXTS IN RUSSIAN, ENGLISH AND FINNISH)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 135–41. http://dx.doi.org/10.35634/2500-0748-2020-12-135-141.

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The article studies the ways of rendering stylistic and lexical features of museum texts in the Russian, English and Finnish languages in translations. Research in the field of translation of museum texts seems important in view of the growing popularity of museums and the increased number of international visitors who have to refer to translated texts. The study uses the texts of Kiasma and the Helsinki Art Museum (HAM), Helsinki, as well as the texts of the Museum and Exhibition Complex of Small Arms named after M. T. Kalashnikov, Izhevsk. The source languages (SL) of the analyzed texts were Russian and Finnish, the target languages (TL) were Russian and English. The objective of this research was to study the peculiarities of translating museum texts. In the course of the study, a linguistic analysis of texts in the SL was carried out. It was found that museum texts feature a combination of different functional styles. In addition to publicist and scientific styles, museum texts can have some features of fiction, formal business and colloquial functional styles. The study showed a link between the type of the museum text or the nature of the museum and the functional style of the text. In the course of a comparative and translation analysis of texts in the SL and the TL, the main stylistic and lexical problems of translating museum texts were identified, and optimal translation solutions for conveying the stylistic and lexical features of museum texts were described. It was found that lexical translation problems were most often associated with idioms and the vocabulary lacking equivalents in the TL, as well as the dependence of texts on the visual component of works of art. Stylistic problems, in turn, were due to the need to preserve the functional and stylistic characteristics of the original.

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Ryabkova, I. P., and A. A. Deryugina. "TRANSLATING TEXTS ON ART (ILLUSTRATED BY EXAMPLES FROM MUSEUM TEXTS IN RUSSIAN, ENGLISH AND FINNISH)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 135–41. http://dx.doi.org/10.35634/2500-0748-2020-12-135-141.

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The article studies the ways of rendering stylistic and lexical features of museum texts in the Russian, English and Finnish languages in translations. Research in the field of translation of museum texts seems important in view of the growing popularity of museums and the increased number of international visitors who have to refer to translated texts. The study uses the texts of Kiasma and the Helsinki Art Museum (HAM), Helsinki, as well as the texts of the Museum and Exhibition Complex of Small Arms named after M. T. Kalashnikov, Izhevsk. The source languages (SL) of the analyzed texts were Russian and Finnish, the target languages (TL) were Russian and English. The objective of this research was to study the peculiarities of translating museum texts. In the course of the study, a linguistic analysis of texts in the SL was carried out. It was found that museum texts feature a combination of different functional styles. In addition to publicist and scientific styles, museum texts can have some features of fiction, formal business and colloquial functional styles. The study showed a link between the type of the museum text or the nature of the museum and the functional style of the text. In the course of a comparative and translation analysis of texts in the SL and the TL, the main stylistic and lexical problems of translating museum texts were identified, and optimal translation solutions for conveying the stylistic and lexical features of museum texts were described. It was found that lexical translation problems were most often associated with idioms and the vocabulary lacking equivalents in the TL, as well as the dependence of texts on the visual component of works of art. Stylistic problems, in turn, were due to the need to preserve the functional and stylistic characteristics of the original.

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Smith, Melanie Kay, and Titanilla Virág Tevely. "Blurring the boundaries between fact and fiction: serial killers in the context of dark tourism." Tourism and Heritage Journal 4 (January 9, 2023): 53–75. http://dx.doi.org/10.1344/thj.2022.4.4.

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Serial killers fascinate people and books, films, TV series and other types of entertainment increasingly cater to this interest providing sensationalized media coverage. The theory suggests that the boundaries are blurred considerably between fact and fiction, even for the serial killers themselves. For many people, serial killers are both frightening and attractive enough to motivate them to go on tours and visit sites, museums and other attractions that are associated with them. This paper explores the motivation for consuming true and fictional crime including murders and serial killing with an emphasis on literature, films, TV series as well as tourism. A content analysis of the websites of walking tours, museums and other attractions connected to fictional and real serial killers was undertaken, as well as a questionnaire with a niche sample of respondents who commented on their experience and perceptions of serial killers within a dark tourism context. The results suggest that while tourists tend to prefer real serial killers to fictional ones, only a small number of tourists actually engage in this form of dark tourism. Their motivations tend to be more connected to education or entertainment rather than a morbid obsession with death or tragedy.

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Jarvie, Scott A., and Addyson Frattura. "Literary Philosophy and the Use of Uselessness." Art/Research International: A Transdisciplinary Journal 6, no. 2 (September 4, 2021): 272–300. http://dx.doi.org/10.18432/ari29510.

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We build this work from the memory of the time we stumbled into tulips at city hall. As guard sirens fled off into the night, we wondered, “Maybe we can borrow some.” We ripped handfuls from the ground and ran. “Don’t worry,” we said, “they are too busy to catch us stealing tulips.” Likewise, we get away with this useless project because others are busy doing useful work: exigent, coherent, important work. We support much of that busyness, and at the same time wonder what is lost with all that attention towards usefulness. What we offer here, through a hybrid of reflective, poetic, essayistic and scholarly forms, may be an attempted escape from the obligations of scholarship. It may be indulgent. It may tell the reader nothing, or only what the reader already knows. Yet it is oriented towards an enduring promise. This is the promise of a literary experience, understood as a kind of resonance, ineffable primarily, but nevertheless one that matters. Such a promise is found in the power and possibility of story, through poetic lines that must be broken and conceptual tethers left incommensurable. We enter this space of breaking and unfurling through an inquiry into use. The question of use and uselessness is one way of holding human contradictions in both hands. By this we mean that we make and leave space for literary and philosophical inquiries considered useless—in that they do not resolve anything—but nevertheless matterful. We suggest that readers meander these curated pages as they \ meander through an art exhibition or a museum. Within a literary exhibition one can wander through pages, spaces, and ideas. Pause. Dwell. Think. We curate a literary home beyond the demands of making something of use and we invite the reader to sit with us. As with an exhibition, possibility cannot be controlled for and so we exist in potentiality acknowledging both its positive and negative potential. Through our use, misuse, and abuse of literature and philosophy, we make ourselves a home in a possibility that can only be offered, not demanded. We manifest this literary home through fragments of philosophy evoked through a series of microfictions. As scholars, learners, teachers, and writers we are often asked to defend what our writing does. And it is implicitly suggested that knowledge creation is the result. What is the use of a work that cannot promise new knowledge? Literary knowledge may only be one gorgeous possible ordering. It is a practice which produces a kind of knowledge which is no knowledge, which is useless. If we must answer what it is that our writing does we suppose that—if anything—it offers up fictions for philosophizing. We explore a home for this work in scholarly contexts which too often find it useless, which is to say we position uselessness as a concept of value for our work as scholars, writers, and teachers. In the end we name no new uses but fiction; we steal tulips.

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Sussman, Herbert. "INTRODUCTION." Victorian Literature and Culture 33, no. 1 (March 2005): 313. http://dx.doi.org/10.1017/s1060150305210860.

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WITH THESE ESSAYS, Victorian Literature and Culture begins a regular feature, “Victorians Live,” whose subject is how the Victorians still “live,” how they remain “live,” lively, alive. The focus is the intersection of the world of Victorian scholarship that the readers of VLC inhabit, with the larger world of representation. For, quite remarkably, in our globalized time, the Victorians remain “in”–from museum blockbusters to specialized exhibitions, from home decoration to popular fiction and graphic novels, from Masterpiece Theatre to Hollywood retellings of canonical novels. Rather than assuming an abyss between serious academic pursuits and the unserious non-academic world, Victorians Live seeks to chart the complex and ongoing dynamic wherein academic reinterpretations of the past, albeit in unexpected ways and with considerable time lags, shape the popular vision of the nineteenth century, and conversely, how contemporary social concerns as well as market demands on publishers and museums shape scholarship.

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Carnall, Mark. "Science Fiction at the Natural History Museum." Configurations 30, no. 3 (June 2022): 341–48. http://dx.doi.org/10.1353/con.2022.0020.

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Pagliuca, N. M., C. Gasparini, and D. Pietrangeli. "A journey towards the earth's core at the geophysical museum of Rocca di Papa (Rome, Italy)." Geological Curator 8, no. 7 (July 2007): 341–50. http://dx.doi.org/10.55468/gc390.

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This paper introduces the Geophysical Museum of Rocca di Papa (Roma, Italy) where visitors can encounter a fascinating journey towards the Earth's core. The aim of the Museum, which was founded on February 26th 2005, is to make the language of Geophysics friendlier and to show the relationship between science and science fiction. The Geophysical Museum is housed in the historical Geodynamic Observatory, built in 1889 by the famous seismologist Michele Stefano De Rossi. The Museum explains the main topics of Geophysics through the use of posters, movie presentations and interactive experiments and presents the stages of scientific research that led to the modern definition of the Earth's internal model. The main focus of the Museum has been school students of all ages, with eight thousand visitors in two years. The Museum connects geophysics to the world of nature and by using science fiction techniques, shows that science is not only the product of certainty or established facts, but also the product of trials and failures. Visitors will find special importance given to seismology, with a special section of ancient and modern seismographs. There is also a room dedicated to a three-dimensional projection system where the visitor can enjoy movies about Alban Hills earthquakes to appreciate the geological evolution of volcanism in this area. This article falls under our Open Access policy

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Прокопович Л. В. "ТЕАТРАЛЬНІСТЬ СУЧАСНИХ МУЗЕЙНИХ КОМУНІКАЦІЙ: СОЦІАЛЬНО-ФІЛОСОФСЬКИЙ АСПЕКТ." International Journal of Innovative Technologies in Social Science, no. 5(17) (August 31, 2019): 25–30. http://dx.doi.org/10.31435/rsglobal_ijitss/31082019/6620.

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The purpose of the study is to identify and comprehend the socio- philosophical foundations of the theatricality of modern museum communications. The methodological research strategy is based on the concept of theatricality of sociocommunicative manifestations of culture (using the methodological apparatus of sociocultural analysis). This approach made it possible to find out that the museum space is communicative in its goals, objectives and forms of existence. This space is not closed, because museum communication is not only the exchange of information within the museum. The exit of museum communication into social reality is facilitated by the theftricalization of museum space and the formation of on appropriate information and semantic field (environment) using works of fiction.

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Pouliot, Amber. "Serena Partridge’s ‘Accessories’: Fabricating Uncertainty in the Brontë Parsonage Museum." Journal of Victorian Culture 25, no. 2 (April 2020): 279–99. http://dx.doi.org/10.1093/jvcult/vcz030.

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Abstract The 1861 sale of the Brontës’ personal effects sent relic hunters scrambling to collect the material remains of the famous family. In the second half of the nineteenth century, the collection, preservation, and veneration of relics, particularly those associated with a writer’s private, domestic life, were important aspects of literary celebrity culture and commemoration, and both the Brontë Society and the original Brontë Museum were established to collect material remains. Yet when Virginia Woolf visited the museum in 1904, she viewed Charlotte Brontë’s clothing, shoes, and accessories with considerable unease. Anticipating the concerns of the literary establishment, Woolf feared that access to Brontë’s material remains would encourage the domestic cult which had formed around her following the publication of Elizabeth Gaskell’s The Life of Charlotte Brontë (1857). She feared it would diminish the importance of Brontë’s writing by privileging a narrative of domestic rather than literary labour. This essay considers the creative-critical intervention of Serena Partridge’s ‘Accessories’ (2016), a collection of newly created pseudo-relics of Charlotte Brontë, framed by semi-fictional narratives that dramatize the construction, use, and significance of her personal possessions. I argue that ‘Accessories’ and biographical fiction are analogous modes of engaging with Brontë’s legacy. They respond to the anxieties articulated by Woolf through the fabrication – both literal and literary – of new pseudo-relics that (rather than emphasizing Brontë’s perceived conventional, domestic femininity) enable multiple interpretive possibilities while simultaneously acknowledging the contingent nature of our understanding of her experience.

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Zioga, Polina, and Victoria Wetzel. "Paintings Alive." Interactive Film & Media Journal 2, no. 4 (December 30, 2022): 95–105. http://dx.doi.org/10.32920/ifmj.v2i4.1669.

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To reach younger audiences, museums worldwide have incorporated interactive and hands-on activities, while some venues specialise in children as their main audience. Videos, in particular, can be easily integrated into the museum space and provide a variety of application possibilities. Their use creates a hybrid experience for the visitor in which the interaction between physical and digital elements transforms and enriches their experience of the exhibits. Furthermore, interactive technologies have been proven to increase visitor numbers and interactions on- and off-site. In this context, our practice-based research focuses on the use of interactive video technologies and factors that can lead to the design of engaging and user-friendly museum experiences for children to investigate their application through the production of a new interactive film for young museum visitors. A museum was chosen as a case study, and a survey was conducted to achieve this. The results indicated that creating an interactive video could benefit the areas that were visited less; the preferable length is relatively short, while hands-on and video installations promote and prolong the engagement of young visitors and are favoured by both younger and older children. Additionally, fictional or dramatised stories are attractive to children compared to documentaries; accessing the interactive content on their mobile devices would be preferable. These have led to the production of Paintings Alive, an interactive film for children, featuring and reenacting the paintings in the museum’s art gallery and accessible on the visitors’ mobile devices. Our article also discusses the project's findings, alongside the challenges and limitations imposed by the COVID-19 pandemic, and offers recommendations for future work.

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Özgül, Gönül Eda. "The Regime of Memory in “The Museum of Innocence”: The Past as an Age of Innocence." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 9 (April 24, 2018): 43–54. http://dx.doi.org/10.26881/jk.2018.9.04.

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In this paper, the regime of memory produced in The Museum of Innocence, a museum created and curated by the author Orhan Pamuk is discussed. The museum was opened in 2012 in Istanbul and it was based on Pamuk’s novel of the same title published in 2008. The intertextual novel-museum and the museum-novel blur the distinctions between fiction and reality, as well as the distinctions between individual and social memories and focus on everyday life and personal objects rather than the “monumental” national history. The regime of memory produced in this museum is discussed in this paper in relation with the process of modernization in Turkey. The understanding of time, space, reality and individual prevailing in the museum are evaluated in order to understand whether the museum produces a creative remembering that problematized the process of remembering or a regime of remembering that is based on absolutizing the past.

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Roessler, Gerrit K. "Sounds of the Apocalypse: Preserving Cold War Memories in Ulrich Horstmann's Radio Play Die Bunkermann-Kassette." German Politics and Society 32, no. 1 (March 1, 2014): 94–109. http://dx.doi.org/10.3167/gps.2014.320107.

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This article examines Ulrich Horstmann's science fiction radio play Die Bunkermann-Kassette (The Bunker Man Cassette, 1979), in which the author frames fears and anxieties surrounding a potential nuclear conflict during the Cold War as apocalyptic self-annihilation of the human race. Radio, especially radio drama, had a unique role in capturing the historical imaginaries and traumatic experiences surrounding this non-event. Horstmann's radio drama and the titular cassette tape become sound artifacts that speak to the technological contexts of their time, while their acoustic content carries the past sounds into the present. In the world of the play, these artifacts are presented in a museum of the future, which uses the possibilities of science fictional imagination and speculation to create prosthetic memories of the Cold War. The article suggests that these memories are cyborg memories, because the listener is a fully integrated component of radio technology that makes these memories and recollections of imagined events possible in the first place.

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Robins, Claire. "After-Image: The museum seen through fiction’s lens." Photographies 7, no. 2 (July 3, 2014): 149–62. http://dx.doi.org/10.1080/17540763.2014.930921.

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Muller, Lizzie. "‘The Museum of Today’: Harald Szeemann’s Science Fiction." Journal of Curatorial Studies 7, no. 1 (April 1, 2018): 76–95. http://dx.doi.org/10.1386/jcs.7.1.76_1.

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MacDonald, Sharon, and Roger Silverstone. "Rewriting the museums' fictions: Taxonomies, stories and readers." Cultural Studies 4, no. 2 (May 1990): 176–91. http://dx.doi.org/10.1080/09502389000490141.

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Fruguglietti, Salvatore. "The theatre, (art) and science: between amazement and applause!" Journal of Science Communication 08, no. 02 (June 19, 2009): C07. http://dx.doi.org/10.22323/2.08020307.

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There have been countless innovations in the realm of science museology after the foundation of the Exploratorium of San Francisco and of the Ontario Science Center of Toronto with, among other things, the introduction of the exhibits hands-on, the use of new technologies and the arrival of virtuality.But most of all a new dialogue was launched, also as a form of transformation of reality. And what is drama but fiction and transformation of reality?This statement is the basis for the belief that museums and the theatre should continue, if not even start, a path to move closer, so as to make their languages work at the service of each other.A dialogical interaction which is difficult (as both languages and their interpreters crave for superiority), strong (the place for communication becomes multi-channel), but necessary (in view of a systemic approach of science communication).It is necessary especially to build an all-encompassing museum to fully play a sociological role of study, interpretation and determination of human society.

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Walder, Dennis. "“There is no first reading”: (Re-)Reading Nineteenth-Century Realist Novels and their Critics." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 3 (May 1, 2011): 44. http://dx.doi.org/10.12681/syn.16919.

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We all read with the knowledge, or at least the memory, of what we have already read. And even the novels we read are imbued with their predecessors to such an extent that reading a novel means in effect reading its predecessors as well. I take a contemporary novel, Kate Atkinson’s Behind the Scenes at the Museum, and look at how it echoes earlier novels in the realist tradition to make the point that such novels are written with other novels in mind. As Roland Barthes put it, “there is no first reading.” According to Barthes, the common view that there is some pristine first reading of a book is as fictional as other popular cultural myths. The idea of a first, or single, reading is a pretence fostered by “the commercial and ideological habits of our society.” Every reading, even a so-called “first reading” is to some extent conditioned by other reading. Using Edward Said’s Beginnings, I look at how this is to some extent also true of critics of realist fiction, who echo and complicate each other's readings.

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Nikiforova, Anastasiia Aleksandrovna. "Interactive forms of preservation of cultural memory (on the example of historical reconstruction in the Northwest Russia." Культура и искусство, no. 3 (March 2021): 37–46. http://dx.doi.org/10.7256/2454-0625.2021.3.33133.

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This article examines the process of preservation of cultural heritage through interactive forms of historical reconstruction. The author reviews such relatively new for Russia phenomena as military-historical clubs, ethnic parks, thematic tourism zones, private museums and ethnographic collections, which familiarize with the history of our homeland in an interactive form. The active engagement of visitors and members of the club into the process of reconstruction of lifestyle and military traditions of previous generations is like being a participant of the restored history, which is more comprehensible than the textbook or exhibited artifacts, and thus arouses more emotional response  and forms a respectful and patriotic attitude towards the native country. It is established that ethnic parks, thematic tourism zones, private museums, houses of ethnography, created by the efforts of enthusiasts do not often become the object of scientific interest, at times receiving contempt from the professional scientific community. However, the practice demonstrates that historical reconstruction draws more citizen’ attention than the traditional museum. Such situation requires examination and defines its novelty. The result of research consists in the creation of value-oriented classification of historical reconstruction organizations, as well as in assumption that from the visitor’s or participant’s perspective the leading role in historical reconstruction is not so much the accuracy (with a certain degree of fiction), but the creation of a holistic image of living history, filled with the value meaning of the bygone era.

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Filipek, Małgorzata. "Hiszpania w Dziennikach z podróży Miodraga Popovicia." Slavica Wratislaviensia 166 (June 22, 2018): 49–67. http://dx.doi.org/10.19195/0137-1150.166.4.

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Spain in Miodrag Popović’s travel diariesIn addition to well-known works about Spain, written by prominent writers and diplomats of the Kingdom of Yugoslavia Zorić, Dučić, Petrović, Dimitrijević, Andrić, Crnjanski, Serbian literature is full of less famous fiction that has complemented the country’s image through Serbian readers since the 70’s of 20th century to the present. One of them is a literary work Put u Španiju from the travel book, entitled Putopisni dnevnici, by Miodrag Popović. The writer describes impressions from a trip to Spain and other countries. Visiting the most famous museums of Madrid Prado, Museum of Modern Art, monastery of El Escorial and churches and museums of Toledo, Popović draws his attention to the paintings and creates subjective, alternative gallery of global paintings. Шпанија у путописној пpози Миодрага ПоповићаОсим познатих дела о Шпанији, чији су аутори били истакнути писци и дипломати из Краљњвинњ Србије и Краљњвине Југославије Зорић, Дучић, Петровић, Димитријевић, Андрић, Црњански у српској књижевности постоје и мање потнати текстови који допуњују слику ове земље од 70.-тих година XX века до данашњих времена. Један од њих је Put u Španiju, из књиге Putopisni dnevnici, Миодрага Поповића који у овој књизи описује своје утиске из Шпаније и других земаља. Посећујући најпознатије музеје Мадрида Прадо, Музеј савремене уметнoсти, манастир Ескоријал, цркве и музеје Толеда концентрише се пре сцега на сликама, и на тај начин ствара своју субјективну галерију светског сликарства.

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Burke, Verity, and Will Tattersdill. "Science Fiction Worldbuilding in Museum Displays of Extinct Life." Configurations 30, no. 3 (June 2022): 313–40. http://dx.doi.org/10.1353/con.2022.0019.

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Pakeman, Denise. "Fact and Fiction: Reinterpreting Animals in a National Museum." Society & Animals 21, no. 6 (2013): 591–93. http://dx.doi.org/10.1163/15685306-12341293.

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Tekgül, Duygu. "Fact, fiction and value in the Museum of Innocence." European Journal of Cultural Studies 19, no. 4 (July 20, 2015): 387–402. http://dx.doi.org/10.1177/1367549415592893.

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Stein, Richard L. "Museum Trouble: Edwardian Fiction and the Emergence of Modernism." Nineteenth-Century Contexts 37, no. 4 (July 15, 2015): 384–86. http://dx.doi.org/10.1080/08905495.2015.1056871.

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Roig Telo, Antoni. "Cine colaborativo, entre los discursos, la experimentación y el control: metodologías participativas en ficción y no-ficción." Obra digital, no. 12 (February 28, 2017): 13–25. http://dx.doi.org/10.25029/od.2017.121.12.

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Las formas basadas en la colaboración y la participación de colectivos amplios y diversos, no necesariamente especializados, en los procesos creativos, como es el caso del cine colaborativo, se han erigido en uno de los principales fuentes de experimentación formal, temática y metodológica en la producción cultural contemporánea. En este artículo, me propongo explorar algunas de las principales características del cine colaborativo, partiendo de una discusión sobre la noción de participación basada en los estudios sobre democracia. A través de dos casos ejemplo me propongo identificar algunas discrepancias entre los discursos y la implementación de procesos reales de participación, así como diferencias y continuidades entre las metodologías de creación colaborativa cinematográfica en el campo de la ficción y la no-ficción.Collaborative cinema, between discourses, experimentation and control:participatory methodologies in fiction and non-fictionAbstractFactual narratives are based on an assumed referential veracity in regard to their stories. Within this vast field of reality, we describe three specific forms of expression: audiovisual, interactive andtransmedia. Over recent years, each of these forms of expression has developed its own strategies and mechanisms to encourage collaboration, participation and involvement of audiences. Whetherthrough advertising, community programs, participative projects or platforms that empower users, the possibilities of these factual projects seem to go on and on, being reinvented in each new formof expression. In this paper, we analyze how these three forms have influenced the field of non-fiction, on the basis of a selection of key genres and formats such as documentaries, journalism, museums and essays.Keywords: Factual narrative, participation, collaboration, documentary, journalism, museum, essaypp. 13-25

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Watkins, Liz. "The Politics of Nostalgia: Colorization, Spectatorship and the Archive." Comparative Cinema 9, no. 17 (December 19, 2021): 123–45. http://dx.doi.org/10.31009/cc.2021.v9.i17.07.

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Colorization describes the digitization and retrospective addition of color to photographic and film materials (celluloid nitrate, glass negatives) initially made and circulated in a black-and-white format. Revisiting the controversial 1980s colorization of 24 classic Hollywood studio titles, which incited debate over questions of copyright, authorship and artistic expression, this essay examines the use of colorization to interpret museum collections for new audiences. The aesthetics of colorization have been criticized for prioritizing image content over the history of film technologies, practices and exhibition. An examination of They Shall Not Grow Old (Jackson, 2018) finds a use of digital editing and coloring techniques in the colorization of First World War film footage held in the Imperial War Museum archives that is familiar to the director’s fiction films. Jackson’s film is a commemorative project, yet the “holistic unity” of authorial technique operates across fragments of archive film and photographs to imbricate of fiction and nonfiction, signaling vital questions around the ethics and ideologies of “natural color”, historiography, and the authenticity of materials and spectator experience.

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Marot Kiš, Danijela. "Memory, writing and narration: The flea markets of memory in Dubravka Ugrešić’s The Museum of Unconditional Surrender." Journal of European Studies 50, no. 2 (May 18, 2020): 178–92. http://dx.doi.org/10.1177/0047244120918477.

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The narrative of Dubravka Ugrešić’s novel The Museum of Unconditional Surrender (1997) revolves around three core motifs: the problem of memory and remembering, the experience of temporality, and the notion of exile, developed in relation to the dichotomy of fact versus fiction. While most theoretical approaches to the novel focus on the motif of exile in the context of dominant ideological patterns of the new national states formed after the breakup of Yugoslavia, this paper represents a shift in interpretative focus to the problem of memory and the experience of temporality in the perspective of the dynamics of history and fiction.

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paggett, taisha. "Performance on the Eve of Negro Spring." TDR/The Drama Review 58, no. 4 (December 2014): 2–3. http://dx.doi.org/10.1162/dram_a_00391.

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taisha paggett’s work includes individual and collaborative investigations for the stage, gallery, and public sphere, which question the body, agency, and the phenomenology of race and gender. Her work has been presented widely, including the Studio Museum in Harlem, Danspace Project, and the Whitney Museum (NY); Defibrillator (Chicago); The Off Center (SF); Public Fiction and LACE (LA); and BAK (Utrecht). She has worked with David Roussève, Stanley Love Performance Group, Fiona Dolenga, Vic Marks, Kelly Nipper, Meg Wolfe, Ultra-red, and with Ashley Hunt on their project On Movement, Thought and Politics. paggett is on the dance faculty at UC Riverside, and is co-instigator of itch dance journal.

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Kazanova, Yuliya. "‘The instinct of resistance to evil’: Postmemory and the Ukrainian national imaginary in Oksana Zabuzhko’s novel The Museum of Abandoned Secrets." Memory Studies 15, no. 2 (October 5, 2021): 436–50. http://dx.doi.org/10.1177/17506980211044710.

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Building on Marianne Hirsch’s concept of postmemory, this article examines Oksana Zabuzhko’s latest novel The Museum of Abandoned Secrets as postmemorial fiction, which articulates the trauma of Soviet political repressions in the post–World War II period and in the 1970s via the perception of the second and third generation. The affiliative postmemory about World War II in Ukraine from the viewpoint of Ukrainian Insurgent Army partisans is emplotted via an original generic combination of contemporary Holocaust fiction and romances of the archive. Postmemory is used in the novel to shape a mythologised alternative historical narrative that reconceptualises the country’s difficult past as a story of heroic resistance.

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Kazanova, Yuliya. "‘The instinct of resistance to evil’: Postmemory and the Ukrainian national imaginary in Oksana Zabuzhko’s novel The Museum of Abandoned Secrets." Memory Studies 15, no. 2 (October 5, 2021): 436–50. http://dx.doi.org/10.1177/17506980211044710.

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Building on Marianne Hirsch’s concept of postmemory, this article examines Oksana Zabuzhko’s latest novel The Museum of Abandoned Secrets as postmemorial fiction, which articulates the trauma of Soviet political repressions in the post–World War II period and in the 1970s via the perception of the second and third generation. The affiliative postmemory about World War II in Ukraine from the viewpoint of Ukrainian Insurgent Army partisans is emplotted via an original generic combination of contemporary Holocaust fiction and romances of the archive. Postmemory is used in the novel to shape a mythologised alternative historical narrative that reconceptualises the country’s difficult past as a story of heroic resistance.

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Chmurski, Mateusz. "Review Article: The Wedding Gown Writes Back. Borgos, Anna. 2013. Nemek között: Nőtörténet, szexualitástörténet ('Between the Sexes: Women's History, Sexuality History'). Budapest: Noran Libro Kiadó. 317 pp.; and Lovas, Ildikó. 2008. Spanyol menyasszony (‘The Spanish Bride’). Bratislava/Pozsony: Kalligram Kiadó. 304 pp." Hungarian Cultural Studies 8 (January 22, 2016): 97–104. http://dx.doi.org/10.5195/ahea.2015.210.

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In Central Europe nowadays universities, research institutes or museums are attempting to reconfigure the region's complex history from the perspectives of formerly forgotten or marginal/ized individuals and groups. Besides initiatives such as the opening of the Museum of the History of Polish Jews in Warsaw, or of the Center for Queer Memory in Prague, new studies and literary works presently (re-)create narratives that challenge the generally accepted past. Two recently published Hungarian books, a novel and a study that partly deals with the novel, exemplify this revisionist tendency. Ildikó Lovas’ novel, Spanyol Menyasszony ['The Spanish Bride'] (2007), which questions the cult of Géza Csáth (1887-1919), the writer and psychoanalyst who was also a drug addict that murdered his wife, renders the fictional diary of Csáth's wife and victim, Olga Jonás (1884-1919); Anna Borgos’ study, Nemek között: Nőtörténet, szexualitástörténet ['Between the Sexes: Women’s History, Sexuality History'] (2013), examines the Csáth affair within an inclusive analysis of women’s positions, roles and sexuality in the Hungarian culture of the last century. In this article Chmurski traces the ways in which both authors reread the lives and tragic marriage of Csáth and Jonás.

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Feizabadi, Azin. "Chronicles from Majnun until Layla." ARTMargins 3, no. 1 (February 2014): 81–86. http://dx.doi.org/10.1162/artm_a_00072.

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Chronicles from Majnun until Layla is a film project structured in three stages: 1.) The Museum of Modern Iranian History (2011–2013), 2.) Layla and Majnun (in preparation), and 3.) The Film (in preparation). Each stage bears its own approach, format, and mode of presentation. The first two stages are conceived as preparation for the third and final stage: the merging moment, which will be in the form of a feature-length, hybrid fiction/documentary film. The film depicts a couple, lovers, visiting a virtual museum of modern Iranian history. The lovers appear both as themselves and as “Layla and Majnun,” characters adapted from a classical Middle Eastern love tale. As they walk the museum, the couple engages in dialogue about their individual and collective stories, memories, dreams, rages, and desires. The lovers' affairs and conversations interact with the representations of the major historical moments of Iran being documented in the museum. In Stage 1, through the museum's architectural design and references to an official Iranian narrative taken from a high-school textbook, the various historical periods of Iran get transformed into Kairos (the Now), contradicting Chronos and scientific and analytical historiography.

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Koenigsberger, K. "RUTH HOBERMAN. Museum Trouble: Edwardian Fiction and the Emergence of Modernism." Review of English Studies 63, no. 260 (January 9, 2012): 520–22. http://dx.doi.org/10.1093/res/hgr143.

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Razogreyeva, Lyudmila P. "Library of M. Sholokhov." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (June 28, 2015): 70–75. http://dx.doi.org/10.25281/0869-608x-2015-0-3-70-75.

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The study of reading preferences of Mikhail Sholokhov will allow to come closer to the understanding of personality of the writer. The theme of library, of literary interests of M. Sholokhov was not considered in the sufficient range by the researchers of his work. The article describes the library collected by M. Sholokhov; there are discussed a number of fragments from his letters and memoirs of contemporaries, indicating formation of the spiritual world of the writer, what place in his life was occupied by fiction, historical and philosophical books.Currently, the Museum-Reserve of M. Sholokhov is working on reconstruction of library of the writer, lost during the Great Patriotic War of 1941-1945, which is going to become one of the most important exhibits of the Museum-Reserve.

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Jørgensen, Dolly. "Coda on Curation: Thoughts on Science Fiction and Museums." Configurations 30, no. 3 (June 2022): 367–75. http://dx.doi.org/10.1353/con.2022.0022.

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Zimmerman, Virginia. "The Curating Child: Runaways and Museums in Children’s Fiction." Lion and the Unicorn 39, no. 1 (2015): 42–62. http://dx.doi.org/10.1353/uni.2015.0008.

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Black, Barbara J. "An empire's great expectations: Museums in imperialist boy fiction." Nineteenth-Century Contexts 21, no. 2 (January 1999): 235–58. http://dx.doi.org/10.1080/08905499908583476.

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Hutchings, Pat, and Elena Kupriyanova. "Cosmopolitan polychaetes – fact or fiction? Personal and historical perspectives." Invertebrate Systematics 32, no. 1 (2018): 1. http://dx.doi.org/10.1071/is17035.

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In the biogeographical and taxonomical literature before the 1980s there was a wide perception that widespread, often referred to as ‘cosmopolitan’, species were very common among polychaetes. Here we discuss the origins of this perception, how it became challenged, and our current understanding of marine annelid distributions today. We comment on the presence of widely distributed species in the deep sea and on artificially extended ranges of invasive species that have been dispersed by anthropogenic means. We also suggest the measures needed to revolve the status of species with reported cosmopolitan distributions and stress the value of museum collections and vouchers to be associated with DNA sequences in resolving species distributions.

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Houchins, Sue E. "Novices in the Archives: Restoring, Preserving and Digitising an African Archive." African Research & Documentation 134 (2018): 22–29. http://dx.doi.org/10.1017/s0305862x00023001.

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In 2013, I traveled to the Khama III Memorial Museum in Serowe, Botswana, to deliver a paper at a conference honoring the fortieth anniversary of the publication of southern African author Bessie Head's celebrated novel A Question of Power. This was my first visit to the museum that houses the author's archives which contain most of her correspondence with literary agents, publishers, historians, anthropologists, literary critics, and other writers - including Alice Walker, Nikki Giovanni, Toni Morrison, and Gabriel Garcia Marquez. They also include some of her original manuscripts, agricultural notes, and publishing contracts.All the scholars who presented papers on this occasion, except for one, were Africanists who focused on the literatures of the Continent. The outlier who specialised in African American drama delivered a comparative study between Head's short fiction and works by Black Atlantic writers.

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Journal articles on the topic 'Museum fictions'

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