Journal articles on the topic 'National Holocaust Centre and Museum'
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Radonic, Ljiljana. "“People of Freedom and Unlimited Movement”: Representations of Roma in Post-Communist Memorial Museums." Social Inclusion 3, no. 5 (September 29, 2015): 64–77. http://dx.doi.org/10.17645/si.v3i5.229.
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The “universalization of the Holocaust” and the insistence on Roma rights as an EU accession criteria have changed the memory of the Roma genocide in post-communist countries. This article examines how Roma are represented in post-communist memorial museums which wanted to prove that they correspond with “European memory standards”. The three case studies discussed here are the <em>Museum of the Slovak National Uprising</em>, the <em>Jasenovac Memorial Museum</em> and the <em>Holocaust Memorial Center</em> in Budapest. I argue that today Roma are being represented for the first time, but in a stereotypical way and through less prominent means in exhibitions which lack individualizing elements like testimonies, photographs from their life before the persecution or artifacts. This can only partially be explained by the (relative) unavailability of data that is often deplored by researchers of the Roma genocide.
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Surovtsev, Oleg. "Bukovynian Jews during the Holocaust: The problem of preserving historical memory." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 1, no. 49 (June 30, 2019): 93–100. http://dx.doi.org/10.31861/hj2019.49.93-100.
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In the article, based on archival materials, published memoirs, a retrospective analysis of events and contemporary reflections of the Holocaust on the territory of Bukovina during the Second World War is carried out. During the Soviet, German-Romanian occupation of the region, the Bukovinian Jewish community suffered severe suffering and trials, huge human and material losses, which greatly undermined the social, economic and cultural positions of the Jewish population in Bukovina. In fact, the socio-cultural face of Chernivtsi and the region changed, entire generations of Bukovinian Jews were erased from historical memory, forever disappeared into the darkness of history.
From the late 80’s – early 90’s XX century. in the conditions of the collapse of the USSR and the emergence of an independent Ukraine, it became possible to study the events of the Holocaust in the Chernivtsi region, to study the fate of Bukovynian Jews during the Second World War. Despite the mass emigration, in 1990-1995 the Jewish community of Chernivtsi published five collections of memories of Holocaust survivors of the Holocaust in Bukovina, erected a memorial sign at the scene of the shootings in the summer of 1941 and a memorial plaque on the Chernivtsi ghetto (in 2016 the efforts of the Jewish community of Chernivtsi to create a full memorial in the territory of the former ghetto).
Since 2010, the Museum of Jewish History and Culture of Bukovina has been established in Chernivtsi, and at the Chernivtsi National University there is a Center of Jewish studies, which is actively engaged in the study and promotion of Bukovina Jewish history, including the topic of the Holocaust.
Since 2017, work has begun on the creation of the Holocaust Museum in Chernivtsi in the building of the former memorial synagogue «Beit Kadish» on the territory of a Jewish cemetery, which aims to commemorate the memory of Bukovinian Jews who died during the Second World War.
Over the past 30 years, more than 65 monuments (memorials, plaques) have appeared in the Chernivtsi region to commemorate those killed in the Holocaust. However, around the Holocaust events in Bukovina, a memory conflict has arisen – it is about different interpretations of events (Ukrainian, Romanian, Jewish, post-Soviet narratives) and commemorative practices related to it. An example of the post-Soviet memory of the Holocaust is the recently opened memorial in one of the districts of Chernivtsi (Sadgora), on the so-called “Kozak Hill”, in memory of the executed Jews in the summer of 1941. The Soviet term “Great Patriotic War” is used in the inscription on the monument.
Keywords: Holocaust, Transnistria, ghetto, «autorization», deportation, primar
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Cesarani, David. "Should Britain Have a National Holocaust Museum?" Journal of Holocaust Education 7, no. 3 (December 1998): 17–27. http://dx.doi.org/10.1080/17504902.1998.11087078.
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Radonic, Ljiljana. "Slovak and Croatian invocation of Europe: the Museum of the Slovak National Uprising and the Jasenovac Memorial Museum." Nationalities Papers 42, no. 3 (May 2014): 489–507. http://dx.doi.org/10.1080/00905992.2013.867935.
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Even though self-critical dealing with the past has not been an official criterion for joining the EU, the founding of the Task Force for International Cooperation on Holocaust Education, Remembrance, and Research and the Holocaust conference in Stockholm at the beginning of 2000 seem to have generated informal standards of confronting and exhibiting the Holocaust in the context of “Europeanization of Memory.” Comparative analysis shows that post-Communist museums dealing with the World War II period perform in the context of those informal standards. Both the Jasenovac Memorial Museum in Croatia and the Museum of the Slovak National Uprising in Banská Bystrica were founded in the Communist era and played an important role in supporting the founding myths of the two countries. Both were subjected to historical revisionism during the 1990s. In the current exhibitions from 2004/2006, both memorial museums stress being part of Europe and refer, to “international standards” of musealization, while the Jasenovac memorial claims to focus on “the individual victim.” But stressing the European dimension of resistance and the Holocaust obscures such key aspects as the civil war and the responsibility of the respective collaborating regime.
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Morrow, Paul. "Are Holocaust Museums Unique?" Royal Institute of Philosophy Supplement 79 (October 2016): 133–57. http://dx.doi.org/10.1017/s1358246116000114.
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AbstractHolocaust museums record and memorialize deeply affecting historical events. They can nevertheless be described and criticized using standard categories of museum analysis. This paper departs from previous studies of Holocaust museums by focusing not on ethical or aesthetic issues, but rather on ontological, epistemic, and taxonomic considerations. I begin by analysing the ontological basis of the educational value of various objects commonly displayed in Holocaust museums. I argue that this educational value is not intrinsic to the objects themselves, but rather stems from the extrinsic relations established between objects in museum exhibitions and displays. Next, I consider the epistemic, or knowledge-creating, function of Holocaust museums. I argue that the structure of public displays in such museums reflects the particular, document-based epistemology that continues to characterize Holocaust historiography and other fields of Holocaust research. Finally, I turn to examine taxonomic features of Holocaust museums. As I explain, both professional and ‘artefactual’ networks link the activities and display strategies of national, regional, and local Holocaust museums. A brief conclusion sketches some implications of my analysis for ongoing debates about the ethical function of Holocaust museums.
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Flinn, Andrew. "National museum of labour history archive and study centre." Contemporary Record 7, no. 2 (September 1993): 465–72. http://dx.doi.org/10.1080/13619469308581259.
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Junek, Marek. "Collections of the National Museum Related to Cultural Opposition." Muzeum Muzejní a vlastivedná práce 56, no. 3 (2018): 35–41. http://dx.doi.org/10.2478/mmvp-2018-0005.
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Collections devoted to culture form an important part of the National Museum collections. Especially those of the Czechoslovak Documentation Centre which were given to the National Museum by Vilém Prečan in 2003 are devoted to the Cultural and Political Opposition. These collections include a wide range of personal collections (Václav Havel, Milan Šimečka, Jiřina Šiklová, Ivan Medek and others). Institutional collections, such as Radio Free Europe, the Charter 77 Foundation or the Czechoslovak Documentation Centre own collections, are also important. The collections show how important cooperation between the dissent and exile culture was, especially during the period of so-called normalization and illustrate their interconnection at the same time.
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Czop, Janusz, Barbara Łydżba-Kopczyńska, and Barbara Świątkowska. "NATIONAL CENTRE FOR RESEARCH ON HERITAGE – A NEW INITIATIVE ON THE MAP OF POLISH MUSEOLOGY." Muzealnictwo 58, no. 1 (June 21, 2017): 123–0. http://dx.doi.org/10.5604/01.3001.0010.1025.
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Not so long ago, Poland was one of the European countries which lacked a research centre which would support museum institutions. Meeting numerous needs, the National Museum in Cracow (NMC) had been sharing the resources of its Laboratory with other museum institutions. This is how the National Centre for Research on Heritage (hereafter the Centre) was founded. Relying on equipment and specialists from the NMC Laboratory, the Centre offers multilateral research on objects and collections to Polish museum institutions. It organises contests which all Polish museums may apply to with their research projects. The Centre focuses on three main activities. Firstly, it carries out technological projects comprising the composition and features of materials used to make works of art. Secondly, there are projects linking technological research with analyses of the state of preservation and environmental conditions in order to safeguard works or sets of art or which are particularly culturally valuable. The third activity consists in joint interdisciplinary expertise with external research units. The Centre has also undertaken its own longterm programme of research into managing the protection of collections in a sustainable and effective way. Within the framework of the programme, methodology and tools for the quantitative assessment of risk are prepared. The development of the National Centre for Research, based on the already existing potential of the NMC, allows the effective usage of collected research equipment and the adaption of its activity to the real needs of museum institutions. At the same time, an important area of the Centre’s activity is the coordination and possibility of using the potential of groups conducting research in the field of heritage at the Polish Academy of Sciences or at higher education institutions. The next goal of the NMC is to expand the Centre’s activity on conservation work.
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Geismar, Haidy, and Christopher Tilley. "Negotiating Materiality: International and Local Museum Practices at the Vanuatu Cultural Centre and National Museum." Oceania 73, no. 3 (March 2003): 170–88. http://dx.doi.org/10.1002/j.1834-4461.2003.tb02816.x.
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Ruffins, F. D. "Culture Wars Won and Lost: Ethnic Museums on the Mall, Part I: The National Holocaust Museum and the National Museum of the American Indian." Radical History Review 1997, no. 68 (April 1, 1997): 79–100. http://dx.doi.org/10.1215/01636545-1997-68-79.
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Robin, Libby, and Stephen Boyden. "Telling the Bionarrative: a Museum of Environmental Ideas." Historical Records of Australian Science 29, no. 2 (2018): 138. http://dx.doi.org/10.1071/hr18007.
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This paper explores the history of a proposal for an ideas-based museum of ecological concepts, a ‘National Biological Centre' for Canberra in 1965, and its successors.2 The background to the proposal came from changing ideas about zoos in the 1960s, and the emerging discipline of human ecology. The mission of the centre was to explore the relations between humans, other life-forms and their physical environment through what its chief protagonist, Stephen Boyden, called a comprehensive ‘bionarrative'.3 The centre was to facilitate the understanding of biophysical and social worlds as interrelated dynamic systems. The Biological Centre was conceived as a ‘major cultural institution' for the nation, reflecting relations between science and society, and informing culture with science.4 Unlike traditional natural history museums and zoos, collections of objects (or animals) were not its primary mission. This paper considers how the 1965 proposal for the Biological Centre anticipated later ‘museums of ideas', and reviews its relevance to new twenty-first-century museums of the Anthropocene, and how museums and related institutions can shed light on the role of science in society.
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Dvorkin, Ihor. "MUSEUMS IN KYIV (1830'S - 1919): FORMATION, DEVELOPMENT, TRANSFORMATION DURING THE REVOLUTION." City History, Culture, Society, no. 8 (June 17, 2020): 24–35. http://dx.doi.org/10.15407/mics2020.08.024.
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The article analyzes the formation and development of Kyiv museums during the imperial period, as well as the transformations, that took place in this field during the revolutionary period (1917 - 1919). The article deals with the history of museums through the prism of analyzing the contribution of central and local authorities to the development and further activities of museum institutions. The influence of the state authorities and the Ukrainian national movement on the development of museums is considered in the example of the largest Kyiv museums.
Museums have played an essential role in the formation of collective memory, memory policy, the nation-building processes et cetera. During the study period in European countries, national museums were opened. As P. Aronsson and G. Elgenius mentioned, «The national museum is thus a knowledge-based socio-political institution, with corresponding collections and displays that ultimately claim, articulate and represent dominant national values and myths». This article examines the potential of Kyiv museum institutions to become Ukrainian national museums.
Kyiv during the imperial period was an important centre of Russian culture and power. For imperial authorities, Kyiv was the administrative centre of the Southwestern region, the city from which Christianity spread, the centre of Russification of Ukrainian territory et cetera. At the same time, Kyiv was the centre of the Ukrainian movement in the Russian Empire. The Ukrainian activists could perceive this city in a completely different way – as a historic capital. For the Ukrainian intelligentsia of the Russian Empire, museum institutions had great potential in the study of the history and culture of Ukrainian lands.
The first museums in Kyiv were opened at St. Volodymyr University in the 1830s. The most significant museums in the city were the Church-Archeological Museum at the Kyiv Theological Academy and the Kyiv City (Art, Industrial and Scientific) Museum
There was no purposeful state museum policy in the Russian Empire. At the same time, the imperial and local authorities had an influence on the creation of museum institutions and their further development (mostly through funding). From the point of view of imperial power, which acted in a particular paradigm of non-recognition of Ukrainians as a separate people, Kyiv museums were supposed to be “Russian”, followed by, or should be followed by, authorities of all levels. However, supporters of the Ukrainian national movement, occupying official positions, used the museums for their purposes, finding opportunities to involve local authorities and patrons. The city's museums operated under different signage, but they had the potential to become Ukrainian national museums, most of all the Kyiv City Museum. This museum has evolved accordingly, thanks to scholars associated with it.
In 1917 - 1919 the situation in the city changed. Ukrainian state entities - the UNR and the Ukrainian state, of course, had completely different views on the development of the Ukrainian nation and sought to implement the "Ukrainian project" by creating their state. History and culture were now an essential lever of legitimizing the new government, which, thanks to the influence of the Ukrainian intelligentsia, understood the possibilities of the museum industry. The Ukrainian National Museum had a crucial role in this process. There was no doubt that it should be based in Kyiv, the capital of Ukraine.
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Holmes, Susan. "Forging Links with the Centre for Achaemenid Studies, National Museum of Iran." Papers from the Institute of Archaeology 16 (November 15, 2005): 102. http://dx.doi.org/10.5334/pia.243.
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Subotic, Jelena. "Scholars and the Politics of International Art Restitution." Contemporary European History 32, no. 1 (January 23, 2023): 33–37. http://dx.doi.org/10.1017/s0960777322000613.
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Almost every week brings news of another major European museum agreeing to return looted art. Since the 2000s we have grown somewhat accustomed to the headlines describing a ceremonial return to its original owners of a painting looted in the Holocaust, a process that took decades to develop and was initially met with considerable resistance in the art world and in the countries where this art was displayed.1 In the past few years, however, building in part on the perceived success of Holocaust art restitution but also on the increased visibility and impact of national and global social movements demanding racial justice and institutional decolonisation, major international museums have come under ever stronger pressure to return art looted as part of colonial occupations. Perhaps the most organised of the current campaigns is the campaign to return the so-called ‘Benin Bronzes’ – a vast collection of various artifacts looted from the Kingdom of Benin (in today's Nigeria) and dispersed across major international museums, most prominently the British Museum in London, the Ethnological Museum in Berlin, and the Musée du quai Branly in Paris, among others. Since 2020, a number of museums have pledged to return their holdings of Benin Bronzes and restitute them to Nigeria, where a major new museum is being built to display them in Benin City. All of this activity has also reenergised perhaps the most famous case for restitution – the movement to return the Parthenon ‘Elgin’ marbles from the British Museum to the Acropolis in Athens.
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Bryant, Chris, Mike Gore, and Sue Stocklmayer. "The Australian Science Centre Movement 1980–2000: Part 1—Questacon, the National Science and Technology Centre." Historical Records of Australian Science 26, no. 2 (2015): 122. http://dx.doi.org/10.1071/hr15008.
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Part 1: Scholarly concerns over science communication and in particular public attitudes towards and engagement with science have continued for almost half a century, but the establishment of a ‘hands-on' science centre in Canberra in 1980 put practice ahead of theory and led to the building of Questacon—the National Science and Technology Centre in 1988. The driving force behind this development was Australian National University physicist Dr Mike Gore. Funding came from the Australian and Japanese Governments—the latter a bicentennial gift—and a team of ‘explainers' at the centre helped visitors to appreciate that this science centre was not a museum but a place where science had a human face.
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Lang, Caroline. "Design for learning: developing the Sackler Centre for arts education at the V&A." Art Libraries Journal 36, no. 1 (2011): 34–38. http://dx.doi.org/10.1017/s0307472200016771.
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London’s Victoria and Albert Museum, the UK’s national museum of art and design, recently created a new centre for public learning through creative design. The development process was key to the project, which has resulted in one of the most innovative and attractive learning spaces in any museum today. Research, consultation and collaboration, involving the people who are going to use the building and the architects/designers from the outset, has been an approach that has worked very successfully.
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Kolaříková, Veronika. "How to research the concept of national identity with child respondents in museum research." Opuscula Musealia 28 (June 15, 2022): 57–76. http://dx.doi.org/10.4467/20843852.om.21.003.15504.
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Museums have been closely linked to national identity since the 19th century. Currently, museums have to cope with the ways they present themselves to visitors properly. Therefore, national identity in a museum has become the centre of research attention. Children are a large group of visitors who come into contact with the national narrative in museums. Involving children in the research of the concept of national identity constructed in the museum can bring many interesting findings. However, research with children is difficult. Especially for beginning researchers or museum staff, who do not have in-depth experience with qualitative research. Thus, the aim of the study is to present possible ways of researching national identity with children. Attention will be drawn to the discussion of which variables and which data collection techniques are possible to examine national identity and it’s concept with children.
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Pittelou, Jean-François. "Un nuevo Reglamento de acceso a disposición de los investigadores y del público para consultar los archivos del Comité Intemacional de la Cruz Roja." Revista Internacional de la Cruz Roja 21, no. 137 (October 1996): 590–92. http://dx.doi.org/10.1017/s0250569x00021476.
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En julio de 1995, el Consejo Ejecutivo del CICR solicitó a la Dirección de Derecho Internacional y Doctrina y a la División de Archivos que redactaran un nuevo Reglamento de acceso a los archivos del CICR. En su reunión del 17 de enero de 1996, la Asamblea del CICR aprobó el texto que le fue presentado y encargó a la División de Archivos organizar la consulta de los archivos públicos del CICR.El CICR adopto esta medida teniendo en cuenta el extraordinario interes que los archivos de una institución, presente en la mayoría de los conflictos de estos últimos treinta años, tienen para el público. Responde, simultáneamente, al interés científico de los historiadores y al deseo manifestado por institueiones tales como el Yad Vashem World Centre for Teaching the Holocaust de Jerusalén, el United States Holocaust Memorial Museum de Washington, o el Centra de Documentación Judío Contemporáneo de París, de completar las respectivas colecciones de archivos. El CICR también desea facilitar el acceso a las personas en busca de datos biográficos o de testimonios relacionados con las víctimas de los conflictos.
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Szafrański, Wojciech. "‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING." Muzealnictwo 62 (September 13, 2021): 227–35. http://dx.doi.org/10.5604/01.3001.0015.2686.
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The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.
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Gattégno, Jean. "France's new national library: a museum of books or a people's study centre?" Logos 1, no. 4 (1990): 14–17. http://dx.doi.org/10.2959/logo.1990.1.4.14.
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Bird, Stephen. "A Specialist Labour History Archive The National Museum of Labour History Archive Centre." History Workshop Journal 37, no. 1 (1994): 170–76. http://dx.doi.org/10.1093/hwj/37.1.170.
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McKeown, Roy. "The Centre for Image Information: the shape of things to come." Art Libraries Journal 18, no. 3 (1993): 28–31. http://dx.doi.org/10.1017/s0307472200008427.
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Since its transfer to De Montfort University at Leicester, Britain’s National Art Slide Library, formerly at the Victoria and Albert Museum, has become the catalyst for a new Centre for Image Information. The Centre will provide a clearing house for information, a research centre, and an image bank, and will concern itself with images in all formats with an emphasis on new technology. Whether moving images are to be included will depend on the availability of funding. A major component of the Centre’s initial strategy will be the development of a high resolution database of images capable of being delivered as medium resolution databases, optical discs, slides, or on paper. Although the Centre has been conceived primarily as a national service, institutions in other countries in addition to those in the UK are invited to join as Associates, and the Centre is eager to exchange information across national boundaries.
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Negueruela, Iván. "Managing the maritime heritage: the National Maritime Archaeological Museum and National Centre for Underwater Research, Cartagena, Spain." International Journal of Nautical Archaeology 29, no. 2 (October 2000): 179–98. http://dx.doi.org/10.1111/j.1095-9270.2000.tb01451.x.
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Negueruela, I. "Managing the maritime heritage: the National Maritime Archaeological Museum and National Centre for Underwater Research, Cartagena, Spain." International Journal of Nautical Archaeology 29, no. 2 (August 2000): 179–98. http://dx.doi.org/10.1006/ijna.2000.0314.
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Golebiowski, Anja. "“Abandoned Secrets”. The Question of the Holocaust Narratives in Ukrainian Literature." Poznańskie Studia Slawistyczne, no. 12 (September 21, 2017): 93–105. http://dx.doi.org/10.14746/pss.2017.12.6.
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The reportage Ukraine without Jews (1943) by the Soviet writer Vasilij Grossman is one of the earliest public reports on the Holocaust. Although Ukraine had been in the centre of the Nazi mass murder and single voices like the ones of Grossman or Il’ja Ėrenburg even called betimes attention to the ongoing genocide of Ukrainian Jews, any tradition of Ukrainian Holocaust narratives has not been developed yet. Since its independency in 1991, there are attempts to participate in the Western memory discourse, but by now, they have rather no broader impact. The reception of the debate on the Holocaust serves more likely as a backdrop for its own discourse of victimization, the Holodomor, which is used for developing a national identification within the current Ukrainian nation-building process. Since the Orange Revolution, as the Ukraine has found itself in a critical phase of a socio-political upheaval, some texts of leading Ukrainian writers (Marija Matios, Oksana Zabužko, Jurij Vynnyčuk) have occurred that carefully raise the subject of the Holocaust, or rather the gap in the Ukrainian consciousness. This paper gives an overview about the texts and works out the narrative strategies, whereby only the coming years will show, if these texts constitute the beginning of a Ukrainian Holocaust literature.
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Kirsch, Otakar, and Lucie Jagošová. "Theory as a Platform for the Education of Museum Staff. Development of the Centre for the Study of Museology in the Years 1967–1982." Muzeum: Muzejní a vlastivedná práce 55, no. 2 (June 1, 2017): 3–15. http://dx.doi.org/10.1515/mmvp-2017-0041.
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AbstractThe aim of the presented study is to bring together almost fifteen years of the Centre for the Study of Museology of the Charles University’s Faculty of the Arts at the National Museum in Prague (herein - after referred to as the Centre), one of the most important contemporary methodological and educational centres in the field of museology. The subject of interest will gradually become an analysis of the factors and phenomena that led to its establishment in 1967, including the theoretical concept of the head of the Centre, Jiří Neustupný, which became the starting point for the final form of its curriculum. In addition to outlining the structure for the curriculum for the students of Charles University’s daily study and for the museum staff and introducing personalities who have participated in educational activities, the text also deals with its non-teaching activities (such as research and methodological activities, cooperation within both the domestic and the international museum organisations, while collecting and publishing museological literature). The work was created to commemorate the 50th anniversary of the museological centre which is recognised by international authorities and, as the first one, this work seeks to map its development.
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Jasińska, Anna, and Artur Jasiński. "THE CALOUSTE GULBENKIAN MUSEUM IN LISBON." Muzealnictwo 58, no. 1 (April 10, 2017): 24–37. http://dx.doi.org/10.5604/01.3001.0009.8341.
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The Calouste Gulbenkian Museum is located off the tourist paths, on the outskirts of Europe, and far away from the centre of Lisbon, in the serenity of the Santa Gertrudes Park. Its austere concrete buildings hide treasures from the collection of an extraordinary man, a millionaire of Armenian origin, an oil magnate, and an art and garden lover. The article presents the collector, the history of his collection and the museum buildings which now form an original park and museum complex run by the Calouste Gulbenkian Foundation. In 2010, the complex was entered into the register of national monuments of Portugal, thus being the first masterpiece of the 20th-century architecture to feature in this register.
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Mikešová, Pavla. "Museums and Their International Audiences." Muzeum: Muzejní a vlastivedná práce 55, no. 2 (June 1, 2017): 42–44. http://dx.doi.org/10.1515/mmvp-2017-0046.
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Abstract The National Museum, the Centre for Presenting Cultural Heritage in cooperation with the Náprstek Museum of Asian, African and American Cultures, held on the 24th and the 25th October 2017 a specialised seminar entitled “Museums and Their International Audiences” focusing on the work of the museum staff with foreigners who are living in the Czech Republic and foreign visitors. The seminar presented innovative projects from the environments of museums and galleries that present the culture and the history of foreigners and national minorities who are living in the Czech Republic, it dealt with the role of museums in the field of integration of foreigners and with possibilities of cooperation with the non-profit sector in this area. On the second day of the seminar a specific intercultural skills training was held.
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ULLAH, MISHKAT, MUHAMMAD NAEEM, KHALID MAHMOOD, and MUHAMMAD ATHER RAFI. "Faunistic studies of the tribe Brachinini (Carabidae: Coleoptera) from northern Pakistan." Zootaxa 4232, no. 2 (February 15, 2017): 173. http://dx.doi.org/10.11646/zootaxa.4232.2.2.
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A faunistic study of the tribe Brachinini from northern Pakistan was carried out including extensive fieldwork collections and specimens housed in the Insect Repository, Pakistan Museum of Natural History, Islamabad and the National Insect Museum, National Agricultural Research Centre, Islamabad. Ten species belonging to three genera were identified from the study area, including four new records for Pakistan, Brachinus (Brachinus) ejaculans Fischer Von Waldheim, 1828, Brachinus (Neobrachinus) pallidipes Reitter, 1919, Pheropsophus (Stenaptinus) consularis (Schmidt-Goebel, 1846) and Pheropsophus (Stenaptinus) lineifrons Chaudoir, 1850. A key for these species is provided. A new combination is proposed for Brachinus (Brachynolomus) pallidipes Reitter, 1919, namely Brachinus (Neobrachinus) pallidipes Reitter, 1919, comb. nov.
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Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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ULLAH, MISHKAT, MUHAMMAD NAEEM, KHALID MAHMOOD, and BEULAH GARNER. "Addition to the knowledge of Tribe Chlaeniini Brullé, 1834 (Coleoptera: Carabidae) from Pakistan." Zootaxa 5115, no. 4 (March 16, 2022): 451–86. http://dx.doi.org/10.11646/zootaxa.5115.4.1.
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A series of fieldwork events were conducted for the collection of Carabidae specimens in different regions of Pakistan from 2014–18. The fieldwork yielded 378 specimens belonging to tribe Chlaeniini Brullé, 1834. Fieldwork collections were supplemented by the Coleoptera collections of repositories including Pakistan Museum of Natural History, Islamabad; National Insect Museum, National Agricultural Research Centre, Islamabad and the Natural History Museum, London. This study resulted in the identification of 32 species and subspecies belonging to three genera (Chlaenius Bonelli, 1810, Harpaglossus Motschulsky, 1858 and Pristomacherus Bates, 1873). Sixteen species have been reported for the first time from Pakistan. A new combination is proposed for the subspecies Callistomimus littoralis littoralis (Motschulsky, 1859) to Pristomachaerus littoralis littoralis (Motschulsky, 1859) comb. nov. (= Callistomimus littoralis littoralis Chaudoir, syn. nov.). An identification key was developed for the species and subspecies of the tribe Chlaeniini from Pakistan.
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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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Wojcieszak-Zbierska, Monika, and Jan Zawadka. "CULTURAL VALUES AS A DETERMINANT OF THE DEVELOPMENT OF TOURISM IN RURAL AREAS AND THEIR POPULARITY AMONG POLES BASED ON THE EXAMPLE OF FOLK CULTURE MUSEUMS." Annals of the Polish Association of Agricultural and Agribusiness Economists XX, no. 1 (April 4, 2018): 149–55. http://dx.doi.org/10.5604/01.3001.0011.7242.
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The aim of this article is to present the role and significance of cultural values in the development of rural tourism and their knowledge and popularity among Poles on the example of selected museums of folk culture in Mazovia and Podlasie. The survey was conducted among 459 people. The selection of respondents was quota-random. The research sample reflects the structure of Polish residents in terms of gender and major age groups. It allows us to conclude that many museums presenting folk culture enjoy great interest (eg. the National Ethnographic Museum in Warsaw, the Radom Village Museum or the Agriculture Museum in Ciechanowiec). Unfortunately, there are also some that are relatively rarely visited (eg. the Ethnographic Centre in Lelisa or the Museum of Small Homeland in Studziwody).
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Esteve-Coll, Elizabeth. "Image and Reality: the National Art Library." Art Libraries Journal 11, no. 2 (1986): 33–39. http://dx.doi.org/10.1017/s0307472200004624.
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The Library of the Victoria and Albert Museum originated in the mid-19th century as the library of a School of Design, and adopted the title ‘The National Art Library’ later in the century following publication of the Universal Catalogue of Books on Art. Decades of steady growth and of low usage ended in the late 1960s, when sudden growth of art publishing, and of interest in art history, generated demands the Library was not equipped to meet. The Library possesses one of the world’s outstanding collections of art publications but is still funded, staffed, and administered as if its role was merely that of a Department of the Museum. Currently all aspects of the Library’s procedures and policies are under review; government funding is to be sought for a programme of computerisation, and it is hoped to redefine the Library’s role in national and international contexts and to re-establish it as the ‘heart and core’ of art library provision in the U.K., as an active participant in cooperative schemes and projects, and as a training centre for art librarianship, or in other words, as an active and truly national art library.
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Bližňáková, Magdalena. "Zpráva z konference Muzeum pro návštěvníky IV: Virtuální komunikace (nejen) v době koronavirové." Muzeum Muzejní a vlastivedná práce 59, no. 2 (2022): 46–55. http://dx.doi.org/10.37520/mmvp.2021.013.
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The report deals with a two-day conference organized by Centre for the Presentation of Cultural Heritage of the National Museum, which focused on educational, presentation and marketing strategies of Czech and Slovak museums and galleries during the coronavirus pandemic. It briefly introduces the content of the contributions and their most important topics.
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Kõresaar, Ene, and Kirsti Jõesalu. "Okupatsioonide muuseumist Vabamuks: nimetamispoliitika analüüs." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 136–61. http://dx.doi.org/10.33302/ermar-2017-006.
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From “Museum of Occupations” to “Vabamu”: Analysis of Naming Policy This article focuses on the debate around the name Vabamu and is aimed at discussing whether and how the culture of remembering the Soviet era can change in today’s Estonia. In February 2016, the Estonian Museum of Occupations announced its plans to refresh its identity and change the name of the museum to the Museum of Freedom Vabamu. The planned name change sparked controversy in society about the meaning of the (Soviet) military occupation, the sufferings of that period and ways of commemorating them. Over 60 stories were published in the Estonian media from February to August 2016, accompanied by lively discussion on social media. Estonia’s Russian-language media did not participate in the discussion. The article analyses the Vabamu name debate in the context of naming policy and Estonian 20th century historical memory. First of all, the term of “occupation” is explained from the aspect of Estonia’s political identity and Baltic, Russian and European relations. Secondly, the article analyses the main voices and topics in the debate and which of the current memory regime’s models and frameworks of memory policy emerged. It asks, from the perspective of memory studies, why the name change to “Vabamu” was not carried out according to original plans. The main sources of the analysis were texts in the media; including social media; interviews with the museum director, participatory observations at meetings of the museum’s advisory board, and at meetings and temporary exhibitions organized by the museum. In addition to documenting the development of the name debate, the participation, observation and interviews made it possible to explore the conceptual objectives behind the name “Vabamu”. The following opinions resonated in discussions: (1) opinions of the Memento organization (which advocates for the rights of those who suffered persecution by the Soviet regime) and Soviet-era dissidents in media opinion pieces and segments and public statements; (2) statements made by politicians (mainly rightconservatives); (3) opinions from members of the Estonian émigré community; (4) statements from museum managing director Merilin Piipuu and the chairwoman of the Kistler-Ritso foundation Sylvia Thompson, which reflected the museum’s intentions; and (5) the public discussion initiated by the museum. A key date in the development of the debate was 25 March 2016, the anniversary of mass deportations in 1949 when also the representatives of Memento organization voiced their opinion. Giving up “occupation” in the name of the museum occasioned property claims of the generation of victims of communism. The repressed people considered the Museum of Occupation their symbolic place. For this group, the disappearance of the word “occupations” from the museum name actualized the complexity of policy of recognizing their experience ever since the late 1980s. The debate regarding the establishing of a memorial to victims of communism in Tallinn also had an influence. The discussions over “Vabamu” were held in a transnational context, pertaining mainly to neighbouring Russia, and the global Holocaust memory culture. The name change was perceived above all as an adoption of Russian memory politics, not just in the context of the Baltic states but in the broader geopolitical context. Giving up the word “occupation” was seen by critics – and at the outset of the debate by the museum as well – as a national security issue. As the discussion evolved, the museum distanced itself from the security discourse and cited Russian tourists and Estonian Russians as target groups that needed to be reached and included. The comparison to the Holocaust memory culture was also used as an argument by both parties. The opponents of the new name used international comparisons to stress the remembering of the violent past in similar (national) threat contexts. On the other hand, the museum used the Holocaust argument from the standpoint of Jewish identity to justify its intention to move further past the national narrative of occupation. The debates over the name Vabamu were also related to a perception of intergenerational changes in memory work. The museum was reconceptualising the past and future to reach out to younger generations whose experience horizon is radically different from that of the generation of the victims of repressions and whose sense of freedom is more individualized. For opponents of “Vabamu”, the museum staff themselves represented the younger generation who no longer had a link to Estonia’s past ordeals and for whom intergenerational memory and solidarity had become interrupted. Their preference for a multiperspective narrative in place of a narrative of victimhood and resistance was interpreted as an ethical softening toward the victims and trivialization of trauma. As a result of the name debate, the museum decided to forgo a radical change in the name and opted for a compromise: Vabamu, the Museum of Occupations and Freedom. The debate over the concept of occupation showed the importance of linguistic definitions in a more extensive battle over how the past is represented. The concept of occupation has been the core of political identity both in postcommunist Estonia and the other two Baltics. The term “occupation” is related to all of the key elements in Estonia’s postcommunist narrative. Associating the memory of the (Soviet) occupation with security policy in the Vabamu debate points to a main reason for persistence of Estonian current memory culture – the so-called Russian threat, which is perceived as an existential danger, a constant challenge to the survival of the Estonian state. Earlier studies have shown that for Estonians, personal, social, cultural and political memory is strongly interwoven when remembering the 20th century: the national story is strongly supported by family stories. This makes the national narrative personal. When central symbols of the historical memory come under fire, fears are stoked and appeals to a moral duty to preserve a common past are heard.
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Kawamura, Naomi Ostwald, and Tobias A. Ryan. "Hearing Beyond What Is Spoken: Collective Grief at the Nikkei National Museum & Cultural Centre." Journal of Museum Education 46, no. 2 (April 3, 2021): 184–91. http://dx.doi.org/10.1080/10598650.2021.1917056.
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Balzhitova, Olga Mikhailovna. "MUSEUM PROJECT ACTIVITIES AS A WAY OF ENVIRONMENTAL EDUCATION (ON THE EXAMPLE OF THE NATURAL SCIENCE CENTRE OF THE SAIC RB «NATIONAL MUSEUM OF THE REPUBLIC OF BURYATIA»)." Вестник Восточно-Сибирского государственного института культуры 152 (December 29, 2022): 141–48. http://dx.doi.org/10.31443/2541-8874-2022-4-24-141-148.
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At present the Museum of Natural Science is a cultural institu-tion not only carrying out its activities in the field of storing, studying and exhibiting museum objects of cultural and natural heritage, but al-so actively introducing new ways and methods of environmental edu-cation in its cultural and educational activities of the museum visitors. One of such methods is the project activity. The author considers the project activities in the museum as one of the ways of eco-education of different visitors, including people with disabilities on the example of the Natural Science Center of the SAIC RB «National Museum of the Republic of Buryatia».
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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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Mihăilescu, Dana. "Crossroads: Jewish Artists during the Holocaust, National Museum of Art of Romania, Bucharest, October 11, 2010–February 13, 2011." Images 5, no. 1 (2011): 123–25. http://dx.doi.org/10.1163/187180011x604508.
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Rimmaudo, Annalisa. "Acquisition and exploitation in the Bibliotheque Kandinsky’s artists’ books collection." Art Libraries Journal 32, no. 2 (2007): 32–35. http://dx.doi.org/10.1017/s0307472200019179.
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The collection of artists’ books at the Musée National d’Art Moderne in the Centre Georges Pompidou grew spontaneously at first, once the museum had been created, but since the end of the 1980s its growth has been much more deliberate. A formal acquisition policy has been introduced that ensures that gaps resulting from the early collecting history are filled; this also encourages the exploration of new directions in consultation with the Museum curators. Many activities are now undertaken to make the most of the holdings, such as exhibitions and seminars encouraging exploitation of the collection and ensuring continued analysis and debate.
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van Gils, Martijn. "Material Remembrance in Contentious Spaces: Framing Multi-Scalar Memories and National Culpability in the Museo della Fondazione della Shoah." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 177–98. http://dx.doi.org/10.57225/martor.2018.23.10.
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In the last decade, several initiatives to build a state-of-the-art Holocaust museum in Rome have been proposed only to subsequently fail to materialize—primarily due to fund cuts. Instead, today, the Museo della Fondazione della Shoah consists of a small, self-sufficient project with very limited display space (one floor), often dependent on travelling collections. The museum’s development and its current status are relevant for memorial discourses in Italy. The memories of Fascism and Italy’s role in the Holocaust sit uneasily in public discourses: from the post-war era, there has been a tendency to defer national responsibility through circulation of the brava gente myth and the focus on Nazi occupiers rather than Italian collaborators and the ideology of fascism that preceded Hitler. While such initiatives as the creation of the Day of Memory have generated a platform for debate, this apologetic attitude has persisted in public circles, leading to a divided memory scape. As a material and symbolic entity, the Museo makes a conscious attempt to intervene in this divided memory. In this paper, I will engage with two of the Museo’s past exhibitions to analyse its discursive framing of Italy’s role in the Holocaust, incorporating a multi-scalar analysis and drawing on the concept of “cosmopolitan memory.” I will argue that the Museo is a local site of memory that establishes a dialogue with transnational memorial discourses. This is reflected in both the Museo’s contents as well as its setup: due to its small size, the Museo is often dependent on travelling collections. In its exhibitions, the Museo provides interrelational descriptions of the socio-political climate in the 1930s and focuses on multiple ethnic and national groups. However, it does not reflect on individual perpetrators, which would further aid its desired—and necessary—pedagogical function of contextualising its historical subject matter from the framing of the present.
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Aaslestad, Katherine, and Karen Hagemann. "1806 and Its Aftermath: Revisiting the Period of the Napoleonic Wars in German Central European Historiography." Central European History 39, no. 4 (December 2006): 547–79. http://dx.doi.org/10.1017/s0008938906000185.
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If the French faced the 200th anniversary of the Napoleonic Empire with some trepidation about how to commemorate the infamous Corsican, the British celebrated the Battle of Trafalgar as an enduring national victory. A grand exhibit in the National Maritime Museum in London, “Nelson and Napoleon,” observed this event in 2005. In contemporary Germany, however, the commemoration of 1806 has occurred mainly among small circles of specialists and remained largely absent from popular historical consciousness. In recent times, besides the exhibition on the Holy Roman Empire in the German Historical Museum in Berlin, only small local exhibits and substantial articles in magazines like Die Zeit and Der Spiegel recall 1806. Past momentous occasions such as 1848, 1914–1919, 1933–1945, and 1949 clearly overshadow in contemporary historical memory the tumultuous decades that surrounded the Napoleonic Wars. This tendency to overlook and underestimate the significance of the early nineteenth century also remains evident among scholars who work on later periods of German history. In the shadow of World Wars and the Holocaust, the period of the Revolutionary and Napoleonic Wars between 1792 and 1815 seems distant to the contemporary audience. But why do historians also tend to disregard the importance of this era of warfare and domestic, social, and economic transformation—a period so rich in complexity—and its enduring consequences for nineteenth- and twentieth-century Europe?
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Varley, Gillian. "An English art librarian in Paris: a report and diary." Art Libraries Journal 14, no. 1 (1989): 9–15. http://dx.doi.org/10.1017/s0307472200006064.
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Following Nicole Picot’s visit to England, the subject of the report printed above, Gillian Varley from the National Art Library of the Victoria and Albert Museum in London spent two weeks at the Bibliothèque Publique d’Information at the Centre Georges Pompidou in Paris, during the summer of 1988. She also visited a number of other art libraries in Paris. The text of her report is followed by extracts from her diary of her trip.
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Grincheva, Natalia. "The Form and Content of ‘Digital Spatiality’: Mapping the Soft Power of DreamWorks Animation in Asia." Asiascape: Digital Asia 6, no. 1-2 (April 29, 2019): 58–83. http://dx.doi.org/10.1163/22142312-12340102.
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Abstract The article explores a series of blockbuster exhibitions of DreamWorks Animation developed by the Australian Centre of the Moving Image (ACMI) in collaboration with one of the largest Hollywood producers. Curated by ACMI, this blockbuster exhibition was designed to provide a behind-the-scenes look into collaborative processes involved in DreamWorks animations. This exhibition travelled across the Asia-Pacific in 2015-2017 and was hosted by a number of museums, such as the ArtScience Museum in Singapore, the Te Papa Museum in New Zealand, the Seoul Museum of Art in South Korea, and the National Taiwan Science and Education Centre in Taiwan. It displayed over 400 unique objects from the studio’s archive ‘of rare and never before displayed material’, such as drawings, models, maps, photographs, posters, and other artworks. The article explores the highly favourable reception to the DreamWorks Animation blockbuster in different cities in Asia. It employs a geo-visualization of Asian engagement with the blockbuster exhibit to reveal and explain local and global mechanisms of ‘attraction’ power, generated by DreamWorks in different Asian countries. Contributing to the special issue, this article engages with two aspects of it: the form, cultural digital mapping; and the content, the nature of media pop culture exemplified through the traveling blockbuster.
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Picot, Nicole. "Stage dans des Bibliotheques d’Art en Grande Bretagne organise par la BPI et le British Council." Art Libraries Journal 14, no. 1 (1989): 4–8. http://dx.doi.org/10.1017/s0307472200006052.
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During October, 1987, Nicole Picot, arts librarian of the Bibliothèque Publique d’Information at the Centre Georges Pompidou in Paris, worked at the National Art Library at the Victoria and Albert Museum in London. She also visited several other British art libraries in order to gain a wider view. Her report is printed below. As part of the same arrangement, Gillian Varley from the National Art Library spent two weeks, in June, 1988, at the Bibliothèque Publique d’Information; her report, and extracts from the diary of her visit, are also published in this issue of the Arts Libraries Journal.
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Giuliani, Gaia. "Razza cagna:mondomovies, the white heterosexual male gaze, and the 1960s–1970s imaginary of the nation." Modern Italy 23, no. 4 (October 24, 2018): 429–44. http://dx.doi.org/10.1017/mit.2018.32.
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This article investigates the role, reception, and socio-cultural, political relevance ofmondomovies in the context of late 1950s–early 1980s film and documentary. Themondogenre debuted with reportage films about sexuality in Europe and reached its pinnacle with Gualtiero Jacopetti’s assemblage films. The historical context in which this genre evolved, and white masculinity was rearticulated and positioned at the centre of the national imagined community, is mapped focusing both on gender and race constructions and on thegazeidentifying, encoding and decoding the sensationalist presentation of postcolonial/ decolonising Otherness. A brief review of some of the author’s published work on 1962–1971mondomovies introducesCannibal Holocaust(1979) and director Ruggero Deodato’s controversial reflection on the white, capitalist, sexist, Western and neo-colonial anthropological gaze.
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Pakhomov, Olexandr. "The Biology, Ecology and Medicine Faculty of Dnipropetrovsk National University after Oles’ Gonchar." Acta Agraria Debreceniensis, no. 38 (November 3, 2010): 15–17. http://dx.doi.org/10.34101/actaagrar/38/2754.
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The historical rewiev of Biology, Ecology and Medicine Faculty is presented. The Faculty of Biology, Ecology and Medicine has 7 Departments, Aquarium complex, Zoological Museum, Vivarium and Herbarium. It works in cooperation with the Research Institute of Biology, Botanical Garden, O. L. Bel’gard International Biosphere Station, and Biological Station of DNU and forms the regional Centre of Science, Education and Culture in the field of Biology, Ecology and Nature Conservation in Central Ukraine. The Faculty proposes courses in the following specialities: Biology, Zoology, Botany, Microbiology and Virology, Biochemistry, Physiology, Ecology, Environmental Protection and Balanced Nature Management. All of them have the highest IV level of accreditation. Students get a pedagogical education.
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MacANDREW, RICHARD. "Robert McAndrew FRS (1802–1873) – a family perspective." Archives of Natural History 35, no. 1 (April 2008): 71–75. http://dx.doi.org/10.3366/e0260954108000065.
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A brief biographical account is given of the nineteenth-century marine dredger, naturalist and shell collector, Robert McAndrew, based on a hitherto unavailable family memoir written in 1915 by his youngest son, George. Robert McAndrew's extensive shell collection is kept in the University of Cambridge Museum of Zoology. George's own residence was at Juniper Hall in Surrey, a property sold to the National Trust in 1945 and now leased to the Field Studies Council as a field study centre.