Relevant bibliographies by topics / Museum of Victoria ;Dept of History History

Academic literature on the topic 'Museum of Victoria ;Dept of History History'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Museum of Victoria ;Dept of History History"

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Evelyn, Douglas E., and John Physick. "The Victoria and Albert Museum: The History of Its Building." Technology and Culture 27, no. 3 (July 1986): 627. http://dx.doi.org/10.2307/3105406.

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Gordon, Tammy S. "Exhibit Review: David Bowie Is, Victoria and Albert Museum." Public Historian 35, no. 3 (August 1, 2013): 116–19. http://dx.doi.org/10.1525/tph.2013.35.3.116.

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Hinson, Benjamin. "A Beaded Scarab in the Victoria and Albert Museum." Journal of Egyptian Archaeology 105, no. 2 (December 2019): 305–8. http://dx.doi.org/10.1177/0307513319899955.

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Geological Curators Group. "Brighton Medal: Presentation of the first Brighton Medal to Mrs Edith Brighton." Geological Curator 5, no. 8 (April 1994): 333. http://dx.doi.org/10.55468/gc703.

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At a ceremony on 27 March 1992 hosted by the Dept. of Earth Sciences, University of Cambridge, the Chairman of GCG, John A. Cooper (Booth Museum of Natural History, Brighton) introduced the presentations of the first two Medals as follows:
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Geological Curators Group. "Brighton Medal: Presentation of the second Brighton Medal to the late Dr David Price as Founder of the Medal, received by Mrs Valerie Price." Geological Curator 5, no. 8 (April 1994): 333–34. http://dx.doi.org/10.55468/gc704.

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At a ceremony on 27 March 1992 hosted by the Dept. of Earth Sciences, University of Cambridge, the Chairman of GCG, John A. Cooper (Booth Museum of Natural History, Brighton) introduced the presentations of the first two Medals as follows:
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Dingle, R. V., C. Giles Miller, and Clive Jones. "R. V. Dingle Ostracod Collection: Natural History Museum, London." Journal of Micropalaeontology 31, no. 2 (July 1, 2012): 189–92. http://dx.doi.org/10.1144/0262-821x12-006.

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Abstract. The collection was donated to the Natural History Museum (NHM) between 2009 and 2011 and consists of 2534 slides. It comprises mainly marine ostracods of Jurassic to Holocene age from southern Africa (and its adjacent oceans), Antarctica and New Zealand. There is also a small collection of Quaternary non-marine ostracods from southwestern Africa, two sets of DSDP/ODP ostracods from the Southern Ocean, and one set of Cape Roberts Drilling Project (CRDP) ostracods from Victoria Land, East Antarctica. The individual slides in this collection have been computer registered. Further details of these can be found by inputting seach criteria based on information given in the paper to the NHM’s on-line catalogue at http://www.nhm.ac.uk/research-curation/collections/departmental-collections/palaeontology-collections/search/index.php.
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Watson, William. "Rose Kerr: Later Chinese bronzes. (Victoria and Albert Museum, Far Eastern Series.) 115 pp. London: Bamboo Publishing Ltd [and] the Victoria and Albert Museum, 1990. £28.95." Bulletin of the School of Oriental and African Studies 55, no. 1 (February 1992): 162–63. http://dx.doi.org/10.1017/s0041977x00003116.

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Fehérvári, Géza. "Haldane Duncan: Islamic bookbindings in the Victoria and Albert Museum. 205 pp. London: World of Islam Festival Trust [and] The Victoria and Albert Museum, 1983. £35." Bulletin of the School of Oriental and African Studies 49, no. 1 (February 1986): 223–24. http://dx.doi.org/10.1017/s0041977x00042762.

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Haddow, Eve. "War Trophies or Curios? The War Museum Collection in Museum Victoria, 1915–1920." Journal of Pacific History 52, no. 4 (October 2, 2017): 543–45. http://dx.doi.org/10.1080/00223344.2017.1382027.

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Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.

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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.
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Dissertations / Theses on the topic "Museum of Victoria ;Dept of History History"

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Kjellström, Charlotta. "Museum Gustavianumssamling från utgrävningarna i Sedment : En efterforskning av de föremål som Museum Gustavianum förvärvade efter Petries och Bruntons utgrävningar i Sedment vintern 1920 - 1921." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446929.

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One aim of this essay is to conduct a thorough investigation into the origins of the objects inthe Victoria Museum, Gustavianum, collection VM 346–362 (the sequence expanded, later inthe project, also to include VM 346) and how they got there. This will be achieved byfollowing the paper trail back to the excavation in Egypt. The other is to describe how objectsfrom digs were spread between museums and different countries by W.M. Flinders Petrie.Questions have been raised about the perceived origins of the objects in the Gustavianumcollection VM 346–362. The collection has until recently been believed to be the funeraryobjects of the First Intermediate Period man Wadjet-hetep. In 1921 this collection was mostlikely bought by the Victoria Museum through Pehr Lugn, from W.M. Flinders Petrie, somemonths after Petrie and Brunton ended their excavation season of 1920/21 in Sedment, Egypt.However, the collection as a whole cannot be the funerary objects of Wadjet-hetep, since themajority of those are owned by and exhibited at Ny Carlsberg Glyptotek, Denmark.The one confirmed belonging of Wadjet-hetep in the Gustavianum VM-collection is the innercoffin which has his name on it. The collective memory of the museum claims that fivewalking sticks, also currently in the VM-collection, were found with the mummy inside theinner coffin at the excavation site. Unfortunately, the museum archive is extensively damagedand contains nothing that can tell us about the collection's origins.By investigating external sources, Petrie and Brunton’s accounts of the excavation, as well asonline catalogues and archives, the VM collection can be backtracked to Sedment. The resultsconclude that the objects in the collection derive from different tombs and periods.
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Waite, Julia. "Under construction : national identity and the display of colonial history at the National Museum of Singapore and the Museum of New Zealand Te Papa Tongarewa : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Museum and Heritage Studies /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1039.

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Knoell, Tiffany L. ""So You Want To Be A Retronaut?": History and Temporal Tourism." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1587590767297251.

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Parsons, Thad. "Science collection, exhibition, and display in public museums in Britain from World War Two through the 1960s." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:16cadaac-fb44-4edf-9063-d6ee6a9ffd09.

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Science and technology is regularly featured on radio, in newspapers, and on television, but most people only get firsthand exposure to ‘cutting-edge’ technologies in museums and other exhibitions. During this period, the Science Museum was the only permanent national presentation of science and technology. Thus, it is important to acknowledge the Museum’s history and the socio-political framework in which it operated. Understanding the delays in the Museum’s physical development is critical, as is understanding the gradual changes in the Museum’s educational provision, audience, and purpose. While the Museum was the main national exhibition space, the Festival of Britain in 1951 also provided a platform for the presentation of science and technology and was a statement of Britain’s place within the new post-War world. Specifically, within its narrative, the Festival addressed the relationship between the arts and the sciences and the influence of science and technology on daily life. Another example of the presentation of science was the quest for a planetarium in London - a story that involves the Science Museum, entrepreneurs, and Madame Tussauds. Comparing the Museum’s efforts with successful planetarium schemes isolates several of the Museum’s weaknesses - for example, the lack of consistent leadership and the lack of administrative and financial freedom - that are touched on throughout the work. Since most of this history is unknown, this work provides a fundamental basis for understanding the Museum’s current position, for making connections and comparisons that can apply to similar problems at other institutions, and for learning lessons from the struggles that can, in turn, be applied to other institutions.
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Helps, Lisa. "Bodies public, city spaces : becoming modern Victoria, British Columbia, 1871-1901." 2005. http://hdl.handle.net/1828/850.

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Books on the topic "Museum of Victoria ;Dept of History History"

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Graves, Alun. Tiles and tilework of Europe. London: V & A publications, 2002.

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Treasures of the Museum, Victoria, Australia. Melbourne: Museum Victoria, 2004.

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Bather, F. A. [Reports of the Victoria Memorial Museum]. Ottawa: Govt. Print. Bureau, 1997.

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Robert, Haldane. The people's force: A history of the Victoria police. 2nd ed. Carlton South, Vic., Australia: Melbourne University Press, 1995.

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The people's force: A history of the Victoria police. Carlton, Vic: Melbourne University Press, 1986.

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Parker, Dave. First water, tigers!: A history of the Victoria Fire Department. Victoria, B.C: Sono Nis Press, 1987.

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Rasmussen, Carolyn. A museum for the people: A history of Museum Victoria and its predecessors, 1854-2000. Melbourne: Scribe Publications, 2001.

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The Victoria Memorial Hall: An overview. Kolkata: R.N. Bhattacharya, 2010.

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Victoria and Albert museum. Japanese textiles in the Victoria and Albert Museum. London: V&A Publications, 2000.

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Brown, Clare. Lace from the Victoria and Albert museum. New York: Harry N. Abrams, 2004.

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Book chapters on the topic "Museum of Victoria ;Dept of History History"

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Jones, Mike. "Museums Victoria and the history of museum computing." In Artefacts, Archives, and Documentation in the Relational Museum, 41–63. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003092704-2-3.

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Stylianou, Nicola. "The Empress’s Old Clothes: Biographies of African Dress at the Victoria And Albert Museum." In Dress History. Bloomsbury Academic, 2015. http://dx.doi.org/10.5040/9781474240536.ch-005.

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Anderson, Deb. "Grim Humor and Hope." In Oral History and the Environment, 13—C1.N*. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190684969.003.0002.

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Abstract The Mallee Climate Oral History Collection is the product of a four-year research partnership with Museum Victoria. From 2004 to 2007, a series of annual recordings were conducted on the experience of drought with people in wheat-belt communities dotted across the semiarid Mallee. The timing of the project during the millennium drought coincided with a momentous shift in Australian public awareness of climate change, prompting reflexive discussion of the meaning of drought. Interviewees wore several “hats” in life—farming to health work, public service to parenting, local business to education, government science to community advocacy for rural social and environmental sustainability. These stories bear the mark of rural endurance: as the drought wore on, just one interviewee left the Mallee; the rest were determined to continue making a living here, at the inland edge of the Australian cropping zone.
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"A brief history of tapestry wet cleaning systems at the Victoria and Albert Museum." In Tapestry Conservation: Principles and Practice, 88–93. Routledge, 2006. http://dx.doi.org/10.4324/9780080455310-20.

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Mathew, John, and Pushkar Sohoni. "Teaching and Research in Colonial Bombay." In History of Universities: Volume XXXIV/1, 259–81. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192844774.003.0013.

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Bombay did not play the kind of administrative nodal role that first Madras and later Calcutta did in terms of overarching governance in the Indian subcontinent, occupying instead a pivotal position for the region’s commerce and industry. Nonetheless, the nineteenth and twentieth centuries in Bombay were a formative age for education and research in science, as in the other Presidencies. A colonial government, a large native population enrolled in the new European-style educational system, and the rise of several institutions of instruction and learning, fostered an environment of scientific curiosity. The Asiatic Society of Bombay (1804), which was initially the hub of research in all disciplines, became increasingly antiquarian and ethnographic through the course of the nineteenth century. The Victoria and Albert Museum (conceived in 1862 and built by 1871 and opened to the public in 1872), was established to carry out research on the industrial arts of the region, taking for its original collections fine and decorative arts that highlight practices and crafts of various communities in the Bombay Presidency. The University of Bombay (1857) was primarily tasked with teaching, and it was left to other establishments to conduct research. Key institutions in this regard included the Bombay Natural History Society (1883) given to local studies of plants and animals, and the Haffkine Institute (1899), which examined the role of plague that had been a dominant feature of the social cityscape from 1896. The Royal Institute of Science (1920) marked a point of departure, as it was conceived as a teaching institution but its lavish funding demanded a research agenda, especially at the post-graduate level. The Prince of Wales Museum (1922) would prove to be seminal in matters of collection and display of objects for the purpose of research. All of these institutions would shape the intellectual debates in the city concerning higher education. Typically founded by European colonial officials, they would increasingly be administered and staffed by Indians.
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Lodwick, Keith. "The ruby slippers at the V&A: an odyssey." In Shoe Reels, 62–67. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474451406.003.0006.

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In this chapter, a curator from the Victoria and Albert Museum in London tells of efforts to track down the iconic ruby slippers worn by Judy Garland in The Wizard of Oz for the major exhibition Hollywood Costume held at the museum in 2012. Once the shoes were located, they travelled to London from Washington, D.C. in their own seat on a plane, handcuffed to a security guard and accompanied by the curator of the Smithsonian Institution. Their arrival at the V&A prompted a top-secret security operation. The resulting exhibition remains one of the most successful in the V&A’s history.
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Robertson, Fiona. "Gothic Scott." In Scottish Gothic, 102–14. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474408196.003.0008.

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For record numbers of viewers in the summer of 2015, Scottishness and Gothic were provocatively juxtaposed in the exhibition Alexander McQueen: Savage Beauty at the Victoria and Albert Museum in London (first staged at New York’s Metropolitan Museum of Art in 2011). McQueen’s collections, Highland Rape (1995) and The Widows of Culloden (2006), while distinct from his more overtly macabre uses of Gothic, dramatise not only a personal family identity but also an interrogative, sometimes confrontational, approach to Scottish history and ‘heritage’ (with all the ironic inflections of that term): ‘I like to challenge history’, McQueen stated in 2008 (Wilcox 2015: 51). The grandeur and poignancy of the exhibition’s staging of pieces from The Widows of Culloden, in particular, invite reflections on where Scottish ‘history’ most strongly emerges as a construct of narrative and design – as something which possesses creative and intellectual coherence but which explicitly opens itself up to question, to ‘challenge’.
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