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1
Porter, Gaby. "Seeing through Solidity: A Feminist Perspective on Museums." Sociological Review 43, no. 1_suppl (May 1995): 105–26. http://dx.doi.org/10.1111/j.1467-954x.1995.tb03427.x.
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Applying poststructuralist and feminist theory to museums, this chapter traces the gendered relations of representation in museums. The author takes the relation of text, author and reader from poststructuralist studies and translates these to the museum forms of exhibition, curator and visitor. She examines the relations between men and women, masculine and feminine as they are constituted in museums, tracing a series of gendered, hierarchical oppositions. These are central to the ways in which museums organize their identity, space, collections and exhibitions to make meanings. She concludes that the roles of women as they are represented are relatively passive, shallow, undeveloped, muted and closed; the roles of men are, in contrast, relatively active, deep, highly developed, fully pronounced and open. Together, these provide a thread for the museums in the stories and narratives they construct. The author addresses the challenge of applying abstract and theoretical ‘readings’ to museums – where the collections appear to resist such readings through their concrete and solid presence, and where the prevailing professional culture is empirical and anti-theoretical. This challenge was also her own, as a museum worker struggling to develop a theoretical critique. Finally, she describes exhibitions in Britain and northern Europe which are more productive, diverse and open to re-reading. They are interdisciplinary and irreverent, breaking new ground in museum exhibition-making, developing new methods, forms of expression and themes.
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Schwartz, John Pedro. "“TO HELP THE NATION TO SAVE ITS SOUL”: MUSEUM PURPOSES IN JAMES'S THE PRINCESS CASAMASSIMA." Victorian Literature and Culture 38, no. 1 (February 23, 2010): 239–54. http://dx.doi.org/10.1017/s1060150309990416.
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In a 1927 lecture the Director of the British Museum Sir Frederic Kenyon countered the futurist leader F. T. Marinetti's calls for the destruction of museums by arguing that “in times of upheaval . . . salvation is to be found in adherence to tradition” rather than in “break[ing] loose from” it. Kenyon explained the museum's role in promoting this salvation: A visit to a museum will not by itself quench a revolution. It would have been useless to invite the pétroleuses of the Commune to an official lecture in the Egyptian Gallery at the Louvre; but if they had been brought up to respect the past, there might have been a revolution without pétroleuses. Every form of instruction or experience which teaches men to link their lives with the past makes for stability and ordered progress. Hence the value of history and hence also the value of those institutions which teach history informally and without tears. (24–25) This is perhaps the most explicit statement of the British Museum's ideological function in early twentieth-century museum discourse. The museum acts as an ideological state apparatus that calls out to museum-goers to identify with, rather than agitate against, the social order symbolized in the “examples of great men” and the “monuments of the past” (23–24). Though not without critics, much of the new museology since the 1980s draws on this historical record and poststructuralist theory to argue that the modern museum operates as a site for the reflection or reinforcement of existing power relations. Critics have associated the museum, for example, with racism and sexism (Haraway), with classism (Bourdieu and Darbel), with imperialism and colonialism (Barringer and Flynn), with mechanisms of social control (Sherman and Rogoff), and with the consecration of state authority (Duncan and Wallach). Whereas Kenyon's defense of the museum suggests a reactionary position, the cultural destruction he combats amounts to a revolutionary act, whether accomplished by the “gay incendiaries with charred fingers” exhorted by Marinetti in his movement-founding manifesto of 1909 or the communardes accused of torching the French capital during the semaine sanglante in 1871 (43). For cultural destruction is inescapably political, as Antonio Gramsci argued in “Marinetti the Revolutionary” (1916). The Italian theorist and political activist identified the futurist discourse against the museum and the aesthetic tradition it perpetuates with the Marxist task of destroying “spiritual hierarchies, prejudices, idols and ossified traditions” to make way for the creation of a new, proletarian civilization (Gramsci 215).
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Dalton, Kathleen. "Finding Theodore Roosevelt: A Personal and Political Story." Journal of the Gilded Age and Progressive Era 6, no. 4 (October 2007): 363–84. http://dx.doi.org/10.1017/s1537781400002206.
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A grand man-on-horseback statue of Theodore Roosevelt stands guard at the American Museum of Natural History in New York. Its heroic magnitude should remind historians that cinematic stories about masterful men possessing larger-than-life powers compete quite well in the marketplace of ideas with interpretations that show “great” men as vulnerable and fallible. How could historians ever expect to win popular audiences from the latest opiate of the reading people, books about the dash and drama of great men? Men who dare to perform bold deeds appeal to much larger audiences than most other topics historians consider historically significant. Celebrationist history wins applause; long footnotes do not. In public squares across the globe, the man-on-horseback type evokes nationalism inspired by battles won. People in other countries also lie to themselves about their pasts. Why should it be different here?
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GOODFRIEND, JOYCE D. "Slavery in colonial New York City." Urban History 35, no. 3 (December 2008): 485–96. http://dx.doi.org/10.1017/s0963926808005749.
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Manhattan's landscape contains few material reminders of its colonial past. Traces of the Native Americans who frequented the island, the Dutch who planted New Amsterdam at its tip and the various European and African peoples who populated the city renamed New York by the English in 1664 are few and far between. Though the obliteration of the tangible remains of seventeenth- and eighteenth-century city dwellers speeded the transformation of Manhattan into a vibrant twentieth-century metropolis, the dearth of visible signs of this era has complicated historians' efforts to fabricate enduring images of the men and women of this early urban society. Their stories, though dutifully rehearsed by schoolbook writers and museum curators, have rarely become etched in memory.
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Ревякина, Валентина Ивановна, and Семен Олегович Семибратов. "EMERGENCE OF EDUCATION IN TOMSK GUBERNIYA: FROM THE ARCHIAL FUNDS." Pedagogical Review, no. 5(33) (October 26, 2020): 121–28. http://dx.doi.org/10.23951/2307-6127-2020-5-121-128.
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Основная цель статьи – показать историю становления и развития начальных училищ и гимназий (мужских и женских) в сибирских территориях периода ХVII – начала ХХ в. на архивных материалах уникального томского школьного музея народного образования. Представлена динамика создания и функционирования различных типов образовательных учреждений духовного ведомства и сословного предназначения. На основе данных из архивных фондов музея народного образования города Томска подчеркнута роль выдающихся общественных деятелей и сибирских просветителей П. И. Макушина и Г. Н. Потанина по строительству новых школ и созданию различных образовательно-просветительских обществ, среди которых Общество попечения о начальном образовании. Показан опыт распространения грамотности населения на территориях Томской губернии путем открытия бесплатных библиотек, книжных магазинов, общедоступных музеев. Описана история школьного музея народного образования, в котором документально представлена целостная картина школьного образования в период существования Томской губернии до 1925 г. Архивные документы и экспонаты музея также отражают современное состояние педагогических кадров, содержание учебных программ и достижения школьной системы образования. The main purpose of this article is to illustrate the historical emergence and developing of elementary schools, men and women gymnasiums in Siberian territories in the period of of the 17th - early 20th centuries using archival materials from the unique school museum of public education in Tomsk. The dynamic of formation and functioning of the various types of ecclesiastical educational institutions and class purpose are presented. On the basis of data from the archival funds of the Museum of Public Education of the city of Tomsk, the role of prominent public figures and Siberian educators P.I. Makushin and G.N. Potanin in the construction of new schools and the creation of various educational societies, including the Society for the Care of Primary Education. The distribution of literacy experience is illustrated by means of creation free libraries, book shops and accessible museum on the Tomsk province territories. Today more than a hundred municipal and departamental museums operate on the territory of the modern Tomsk region. Most of these museums have special sections containing archival documents and exhibits, dedicated to education. The article describes the history of the Tomsk school museum of public education, which documents a complete picture of school education during the existence of the Tomsk province until 1925. Archival documents also reflect the current state of the teaching staff, the content of educational programs and achievements of the school educational system.
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Larson, Carolyne Ryan. "“The Ashes of our Ancestors”: Creating Argentina's Indigenous Heritage in the Museo Etnográfico, 1904–1930." Americas 69, no. 04 (April 2013): 467–92. http://dx.doi.org/10.1017/s0003161500002601.
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On September 28, 1927, the central atrium of the Museo Etnográfico on Buenos Aires's Calle Moreno was crowded with people. More than 100 men and women were in attendance, from Universidad de Buenos Aires rector Ricardo Rojas to Argentine president Marcelo T. de Alvear, wrapped in heavy jackets against the spring chill to participate in the inauguration of the museum's new building. Previously housed in “the gloomy catacombs” of an administrative basement, the Museo Etnográfico had now relocated to an airy, Baroque-style building two blocks south of the city's central Plaza de Mayo. In his inaugural speech on that chilly September morning, museum director Salvador Debenedetti proclaimed that the Museo Etnográfico, until then a predominandy academic museum, was undergoing a powerful transformation: it was becoming a public museum. Debenedetti proclaimed that the museum's new incarnation would be a place “of tranquility and of meditation, which will move the spirit of the people and lead them from epoch to epoch, from region to region, from culture to culture.” He described the museum's public visitors, or “the people,” as active participants in the institution's openly nation-building agenda, and celebrated their participation as a “patriotic conjunction, inspired by die desire for scientific progress, the love of truth, [and] the desire to know better and penetrate in its essence the thought of our native ancestors in the land of América.”
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Larson, Carolyne Ryan. "“The Ashes of our Ancestors”: Creating Argentina's Indigenous Heritage in the Museo Etnográfico, 1904–1930." Americas 69, no. 4 (April 2013): 467–92. http://dx.doi.org/10.1353/tam.2013.0030.
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On September 28, 1927, the central atrium of the Museo Etnográfico on Buenos Aires's Calle Moreno was crowded with people. More than 100 men and women were in attendance, from Universidad de Buenos Aires rector Ricardo Rojas to Argentine president Marcelo T. de Alvear, wrapped in heavy jackets against the spring chill to participate in the inauguration of the museum's new building. Previously housed in “the gloomy catacombs” of an administrative basement, the Museo Etnográfico had now relocated to an airy, Baroque-style building two blocks south of the city's central Plaza de Mayo. In his inaugural speech on that chilly September morning, museum director Salvador Debenedetti proclaimed that the Museo Etnográfico, until then a predominandy academic museum, was undergoing a powerful transformation: it was becoming a public museum. Debenedetti proclaimed that the museum's new incarnation would be a place “of tranquility and of meditation, which will move the spirit of the people and lead them from epoch to epoch, from region to region, from culture to culture.” He described the museum's public visitors, or “the people,” as active participants in the institution's openly nation-building agenda, and celebrated their participation as a “patriotic conjunction, inspired by die desire for scientific progress, the love of truth, [and] the desire to know better and penetrate in its essence the thought of our native ancestors in the land of América.”
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Smirnov, A. V., and D. V. Sundukov. "DETERMINATION OF INTRAVITAM BODY TYPE IN MEN DRAWING ON THE OSTEOMETRIC CHARACTERISTICS OF SKELETONISED CLAVICLES." Russian Journal of Forensic Medicine 6, no. 1 (March 26, 2020): 27–32. http://dx.doi.org/10.19048/2411-8729-2020-6-1-27-32.
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One of the major challenges faced by a forensic medical expert when performing the examination of bone remains for the purposes of personal identification is the determination of group characteristics, which include the person’s body type. The present study focuses on a new method for determining the intravitam body type when considering skeletonised remains.Aim. To develop diagnostic mathematico-statistical models that allow the intravitam body type in men to be determined, drawing on the osteometric characteristics of skeletonised clavicles.Material and methods. We studied clavicles from the osteological collection held at the Department of Anthropology, Lomonosov Moscow State University (62 adult male skeletons) according to the expanded osteometric program (15 characteristics). The obtained data were processed by StatSoft STATISTICA 10 using multivariate stepwise discriminant analysis (MDA).Results. We have developed diagnostic models allowing the intravitam body type (ectomorph, mesomorph and endomorph) to be determined on the basis of skeletonised clavicles with an accuracy of 62.9–79 %. Using the proposed models, a more accurate determination of ectomorphs and mesomorphs (90 %) than endomorphs (41–58.8 %) is observed. In order to increase the objectiveness of the expert’s conclusion, we used function Pl showing the probability of correct body type classification in every single case. The diagnostic models were successfully verified using the skeletal samples held at the Peter the Great Museum of Anthropology and Ethnography, with the maximum accuracy level reaching 80 %.
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Dominy, Nathaniel J., Samuel T. Mills, Christopher M. Yakacki, Paul B. Roscoe, and R. Dana Carpenter. "New Guinea bone daggers were engineered to preserve social prestige." Royal Society Open Science 5, no. 4 (April 2018): 172067. http://dx.doi.org/10.1098/rsos.172067.
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Bone daggers were once widespread in New Guinea. Their purpose was both symbolic and utilitarian; they functioned as objects of artistic expression with the primary function of stabbing and killing people at close quarters. Most daggers were shaped from the tibiotarsus of cassowaries, but daggers shaped from the femora of respected men carried greater social prestige. The greater cross-sectional curvature of human bone daggers indicates superior strength, but the material properties of cassowary bone are unknown. It is, therefore, uncertain whether the macrostructure of human bone daggers exists to compensate for inferior material properties of human femora or to preserve the symbolic value of a prestigious object. To explore this question, we used computed tomography to examine the structural mechanics of 11 bone daggers, 10 of which are museum-accessioned objects of art. We found that human and cassowary bones have similar material properties and that the geometry of human bone daggers results in higher moments of inertia and a greater resistance to bending. Data from finite-element models corroborated the superior mechanical performance of human bone daggers, revealing greater resistance to larger loads with fewer failed elements. Taken together, our findings suggest that human bone daggers were engineered to preserve symbolic capital, an outcome that agrees well with the predictions of signalling theory.
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Couturier, Myriam. "Exhibition Review: Gender Bending Fashion." Fashion Studies 2, no. 2 (2019): 1–9. http://dx.doi.org/10.38055/fs020202.
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The Boston Museum of Fine Arts’ recent 2019 exhibition, Gender Bending Fashion, explored some of the ways in which designers and wearers in European and American contexts have challenged traditional ideas around dress and gender over the last century. This included the rejection of conventional dress codes (in the form of men wearing skirts and women wearing suits); the blurring of gender lines in fashion (the combination of “masculine” and “feminine” design elements and the construction of unisex clothing); as well as attempts to transcend the idea of gendered dress altogether (through the creation of new forms of genderless clothing). This review highlights key objects featured in the exhibition, with special attention paid to everyday ensembles and personal narratives that effectively communicated ideas of embodiment, cultural experience, and fashion storytelling that were missing from some of the high fashion garments on display. The deliberately critical and academic approach taken by the curatorial team is discussed, as are some of the tensions and material challenges inherent in representing different bodies and expressions of gender in the context of a major museum fashion exhibition. This exhibition addresses themes that are of critical importance to fashion curators, scholars, and anyone interested in fashion studies more generally.
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Yatsenko, Sergey. "Two Sarmatian Stone Slabs with Tamgas in Odessa Archeological Museum Collections." Nizhnevolzhskiy Arheologicheskiy Vestnik, я (June 2021): 204–16. http://dx.doi.org/10.15688/nav.jvolsu.2021.1.10.
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Based on a series of high-quality photos, new analysis was performed for tamgas along with animal and male images on Sarmatian stone slabs from Kryvyi Rih and from Gorgippia. Both stone slabs were created as a result of natural shape stones edges chipping; both were dug into the ground and functioned as the mini-shrines located, probably, in sacred places or at the settlement entrances. They are similar in size, both painted red and both contain a number of sacrificial recesses at the top (in the sacred numbers 3 or 7). Slab from Kryvyi Rih (Figs. 1–2) depicts large earliest signs (mostly used on territories of Western Ukraine and the “barbarian” parts of Crimea) placed around the head of a god with animal ears (similar to the Ossetian Afsati). The later minor signs include the largest number of the Lower Don and the Central Asia (Kangju, Khorezm) tamgas. Also the signs of the kings found here (the ruler of Khorezm – no. 9, the co-ruler of Tiburius Julius Eupator of Bosporus – no. 8). The complex of images was in use since the beginning of the 1st until the middle of the 3rd centuries CE. Five hands of different men are depicted in relief on the stone slab from Gorgyppia (Fig. 3). There are three hands with goblets for making a contract and a quiver with a belt in front of them (probable heroization motif). There are also a hand raised for prayer and a hand passing a quiver. Those three participants match three tamgas (belonging to the “barbarian” regions of Crimea) and three sacrificial recesses at the top. All the images on the slab were probably made at the same time, shortly after the middle of the 2nd c. CE.
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Lorenc, Magdalena. "POLITICAL UNDERTONE OF THE NEW ICOM MUSEUM DEFINITION, OR MANEUVERING A TRANSATLANTIC AMONG ICEBERGS." Muzealnictwo 61 (August 10, 2020): 164–71. http://dx.doi.org/10.5604/01.3001.0014.3469.
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The museum definition is of systemic importance for ICOM, since it demarcates the area of activity of this international non-governmental organization grouping museum curators. The answer to the question whether the new museum definition presented at the ICOM General Conference in Kyoto on 1–7 September 2019 reveal a political undertone is sought. The majority of the attendees did not support the put-forth proposal, opting to postpone the vote on its acceptance. What I mean by the ‘political undertone of the new museum definition’ is that the definiens takes into account the fact that museums are institutions tangled up in exerting power and applying symbolic violence. According to the Kyoto definition museums are identified with critical museums, treated as space for public debate directed at the future. This vision did not convince the majority, since it excluded many institutions until now regarded to be museums from the museum category. As such, the Kyoto definition turned out not to be a definition, but a political manifesto of a group of museum curators. Additionally, not being coherent, it proved useless for phrasing legislative acts.
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Browder, G. C. "Eichmann's Men, Hans Safrian (New York: Cambridge University Press in association with the United States Holocaust Memorial Museum, 2010), x + 315 pp., cloth, $80.00, pbk., $23.99." Holocaust and Genocide Studies 25, no. 2 (August 1, 2011): 308–11. http://dx.doi.org/10.1093/hgs/dcr025.
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Goldstein, Barry. "Small Hours in the Meatpacking District." Gastronomica 11, no. 4 (2011): 23–25. http://dx.doi.org/10.1525/gfc.2012.11.4.23.
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New York's Meatpacking District, on Manhattan's west side south of Fourteenth Street, has gone through several incarnations. In the early twentieth century, it was home to hundreds of butchers and processors. During the past decade, development exploded, and today, only seven meat wholesalers and distributers remain. The area was designated a historical district in 2003, and even this remnant will soon diminish, displaced by a new home for the Whitney Museum. But between the hours of 2:00 and 10:00 a.m., tractor-trailers still idle on Washington Street, whole carcasses are loaded into large refrigerated workrooms, and men who commute from Jersey and outlying boroughs still labor under cold fluorescents over bloodied power saws. A photo essay showing activities in DeBragga and Spitler, Inc. and J.T. Jobbagy, Inc., two of the remaining meat wholesalers and butchers in New York's Meatpacking district. Photographer Barry Goldstein is the author of Gray Land: Soldiers on War (W.W. Norton & Co., 2009). He is Associate Professor of Medical Humanities at the University of Rochester Medical Center, and Visiting Professor of Humanities at Williams College.
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Mitterauer, Michael. "Shroud and Portrait of a Medieval Ruler." Balkanistic Forum 29, no. 3 (November 1, 2020): 197–223. http://dx.doi.org/10.37708/bf.swu.v29i3.10.
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The research is concerning two unusual evidences of the late Medieval art, which could be seen in the Museum of the cathedral St. Stephan in Vienna. Both of them are related to Herzog Rudolf IV of Austria (1358 - 1365). One artefact in the museum is his silk gold woven shroud elaborated with especial mastership from Chinese silk in Tabriz, a city in present Iran. Especially important for this fabric is that thanks to the interwoven name of the ruler it could be dated precisely. The road of this Near East fabric to Europe and to the tomb of the Herzog in Vienna could be reconstructed. Rudolf IV died suddenly during the visit to his relative Bernabo Visconti in Milano who was one of the richest men in Europe by that time. Probably the fabric was brought across the Silk Road to Constantinople and further across the sea to Genova and to the city of silk Lucca and then to Milano. Such gold woven fabrics from the Islamic world could be found not rarely in the European ruler’s tombs. The second unusual object in the cathedral museum is a portrait of the Herzog. So far this portrait was attributed to a Prague artist. But it could be proved that it originated from Upper Italy and probably was painted by an artist from Verona who was associated to the society around the great humanist Francesco Petrarca. This portrait rises the question about the emergence of early ruler's portraits in Eu-rope and in this aspect is also related to achievements of the „Palaeologus Renaissance“ art in South – East Europe. The two objects are considered as expression forms of the ruler’s funeral culture of the late Medieval age. In the context formed by the comparative approach new possibilities for analysis are created which cross over the traditional methodology of History of Art.
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Hakiwai, Arapata, and Paul Diamond. "Plenary: The legacy of museum ethnography for indigenous people today - case studies from Aotearoa/New Zealand." Museum and Society 13, no. 1 (January 1, 2015): 107–18. http://dx.doi.org/10.29311/mas.v13i1.320.
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The following plenary took place at the seminar ‘Reassembling the material: A research seminar on museums, fieldwork anthropology and indigenous agency’ held in November 2012 at Te Herenga Waka marae, Victoria University of Wellington, Aotearoa New Zealand. In the papers, indigenous scholars and museum professionals presented a mix of past legacies and contemporary initiatives which illustrated the evolving relations between Māori people, and museums and other cultural heritage institutions in New Zealand. Whereas most of the papers at this seminar, and the articles in this special issue, are focused on the history of ethnology, museums, and government, between about 1900 and 1940, this section brings the analysis up to the present day, and considers the legacy of the indigenous engagement with museums and fieldwork anthropology for contemporary museum practice. What do the findings, which show active and extensive indigenous engagements with museums and fieldwork, mean for indigenous museum professionals and communities today?
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Arnold, Lois. "The Education and Career of Carlotta J. Maury: Part 1." Earth Sciences History 28, no. 2 (November 5, 2009): 219–44. http://dx.doi.org/10.17704/eshi.28.2.343vu112512w8170.
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Carlotta Maury (1874-1938) was a paleontologist who specialized in Tertiary mollusks. She was involved in confidential explorations for the oil industry as well as teaching and museum work. This paper—the first of a two-part biographical narrative—traces her educational background and the earlier part of her career. She was born into a family with significant scientific interests and accomplishments. Influenced by the educator Elizabeth Agassiz, Maury attended Cornell University, where despite different academic programs designed to prepare women for occupations considered suitable for them, and the prejudice of male faculty, she obtained a PhD. Her mentor was the paleontologist Gilbert Harris. Women's difficulties in gaining acceptance in fieldwork with men and academic advancement are explored. Maury's failure to be promoted at Barnard College led her to accept a position at a college in South Africa. By 1918, expeditions there, in New York, Louisiana, Trinidad, and one that she led to Santo Domingo had resulted in several publications.
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Fialko, O. Ye, M. A. Homchyk, and Yu P. But. "MEDICAL INSTRUMENTS FROM THE SCYTHIAN KURGANS OF KHERSON REGION (a New Look at Famous Artefacts)." Archaeology and Early History of Ukraine 28, no. 3 (September 22, 2018): 109–21. http://dx.doi.org/10.37445/adiu.2018.03.10.
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In 1973, the Kherson Expedition of the Institute of Archaeology of Ukraine under the leadership of A. I. Terenozhkin discovered a group of kurgans near the village of Lvove in the Kherson region. Five Scythian graves were investigated in the mound 11. Two of them belonged to the Amazons and have not been robbed.
Some of the items from these kurgans are stored in the National Museum of Ukrainian History. After the restoration, they in fact have got a second life and a new attribution. The most interesting are things from burial 2: a pair of iron spring forceps, an iron knife with a bone faceted handle, and a bronze bowl. According to the Doctor of Veterinary O. P. Melnyk, these items are close to modern medical instruments. The bronze bowl with thin sides, a flat bottom and a corolla with a rigid ledge could serve for fast heating of water and sterilization of tools. Iron forceps could be used to take tools out of boiling water. The shape of the knife blade and its technological features are similar to modern hoof knives designed to care for the hooves of animals. A similar bowl was found in burial No. 4, while another bowl and a bronze knife were in the main burial 7 of the same kurgan.
Moreover, the collection of the Museum contains a series of iron knives from kurgans near Pervomaivka village in Kherson region. Their design features, according to Professor O. P. Melnyk, allow us to see in them medical instruments. One of them by the shape of its blade resembles a modern scalpel.
Judging by pieces of art, healing and zootechnics have reached a high level among the Scythians. Significant examples in this respect are the metal bowl from the kurgan Kul-Oba and the amphora from the kurgan Chortomlyk. The scene of the castration of a horse is depicted on an amphora. As reported by Strabo, the Scythians had a common practice to castrate horses, and the Amazons have been taking care of their horses on their own. Consequently, it is quite possibly that the Amazons carried out certain veterinary operations. In addition to castration, an equally important operation in horse breeding is the cleansing of hooves.
The considered artefacts served as tools that could be used both in medicine, and in veterinary medicine. Thereby we can make a conclusion that the Scythian Amazons did not concede to men in medical practice as well.
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Østby, Erik. "A Protocorinthian aryballos with a myth scene from Tegea." Opuscula. Annual of the Swedish Institutes at Athens and Rome 13 (November 2, 2020): 123–38. http://dx.doi.org/10.30549/opathrom-13-05.
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During the preparation of the new exhibition in the Museum of Tegea it was discovered that one composed fragment from a Protocorinthian aryballos with a complicated, figured representation, found during the excavations of the Norwegian Institute at Athens in the Sanctuary of Athena Alea in the 1990s, joined with another fragment found by the French excavation at the same site in the early 20th century. After the join, the interpretation of the scene must be completely changed. The aryballos has two narrative scenes in a decorative frieze: a fight between two unidentified men over a large vessel, and an unidentified myth involving the killing of a horse-like monster by two heroes, with the probable presence of Athena. Possibly this is an otherwise unknown episode from the cycle of the Argonauts, involving the Dioskouroi, perhaps also Jason and Medea. The aryballos was produced by an artist closely related to and slightly earlier than the so-called Huntsmen Painter; he was active in early Middle Protocorinthian II, and demonstrates a skill astonishing for this period in creating a many-figured and sophisticated, narrative composition.
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Sharma, Shikha, and Pavel R. Kholoshin. "New Data on Traditional Pottery in India (Pune, Maharashtra)." Archaeology and Ethnography 20, no. 5 (2021): 154–65. http://dx.doi.org/10.25205/1818-7919-2021-20-5-154-165.
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Purpose. A brief survey of the pottery community in the Mundhwa area was conducted in March 2019 and February 2020 as part of the Russian-Indian anthropological expedition organized by the Paleoethnology Research Center, State Museum of Biology (Moscow, Russia) and Savitribai Phule Pune University (Pune, India). The purpose of the study was to provide an initial insight into how traditional pottery functions in these urbanized environments. Results. Various forms of pottery production have been identified. The most widespread was men’s pottery using a potter’s wheel. Only men are engaged in the manufacture of pottery here – Hinduism forbids women from working on a potter’s wheel. All craftsmen work almost all year round, reducing production during the rainy season. With the rapid urbanization and concentration of the population, the demand for pottery has increased. Potters buy practically all raw materials. The clay is brought by peasants from villages within a radius of 80 km by trucks several times a year. The preparation of raw materials, as well as kneading the clay paste, is carried out by most potters by hand. All potters use an electric potter’s wheel to create the vessels. The surface treatment of products by potters is carried out by smoothing using fingers or scrapers while the wheel is rotating. Firing is carried out in square ovens made of bricks. The firing of products begins in the evening, active combustion lasts two to three hours, after which the oven is left to cool until the morning, when the finished vessels are removed. One firing requires about 150 kg of wood. Potters who migrated here from Uttar Pradesh use open firing for their vessels. Conclusion. The authors found that: the traditional nature of the craft is preserved in the community: knowledge and skills are passed down through the family line, the potters use traditional raw materials, building techniques and firing devices; resettled potters demonstrate mixed skills in different levels of pottery production, for example using a mixture of different natural clays; under the pressure of economic conditions, the electric pottery wheel is spreading, the way firing is organized has slightly changed.
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Classen, Albrecht. "Sherry C. M. Lindquist and Asa Simon Mittman. With a Preface by China Miéville, Medieval Monsters: Terrors, Aliens, Wonders. New York: The Morgan Library & Museum, 2018, 175 pp., more than 90 colored ill." Mediaevistik 31, no. 1 (January 1, 2018): 284. http://dx.doi.org/10.3726/med012018_284.
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This wonderfully illustrated book accompanied an exhibition that took place at the Morgan Library & Museum, New York, from June 8 to September 23, 2018, authored by two well established and respected art historian*s, who provide us with a sweeping view of the world of monsters and many other related creatures in medieval fantasy. While previous research mostly focused on monsters in the narrow sense of the word, i.e., grotesque and oversized human-like creatures normally threatening ordinary people in their existence, Lindquist and Mittman pursue a much broader perspective and incorporate also many other features in human imagination, including wonders, aliens, Jews, Muslims, strangers in general, the femme fatale, sirens, undines, mermaids (but there is no reference to the Melusine figure, though she would fit much better into the general framework), devils, and evil spirits. However, I do not understand why ‘gargoyles’ have been left out here. This vast approach allows them also to address the beasts from the Physiologus tradition, then natural wonders, giants, and then, quite surprisingly, religious scenes in psalters (148), depictions of nobles playing chess (150; where are the wild men alleged surrounding the players?), the whore of Babylon (153), figures from the Apocalypse, and anything else that smacks of wonder.
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Novotny, J., and C. E. Watanabe. "After the fall of Babylon: A new look at the presentation scene on Assurbanipal relief BM ME 124945–6." Iraq 70 (2008): 105–25. http://dx.doi.org/10.1017/s0021088900000899.
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BM ME 124945–6, a relief of Assurbanipal, was discovered in the ruins of Room M (the so-called ‘Throne Room’) of the North Palace in the Assyrian capital of Nineveh, and is now on display in the British Museum (Fig. 1). The slabs are divided into two registers: an upper register and a lower register, which are separated by a broad wavy band, each side of which forms the bank of a river. Two rivers flow horizontally in parallel in the centre of the slabs. The presentation scene appears in the lower register, which shows the Assyrian king Assurbanipal (668–631 BC) reviewing war spoils taken from Babylon after the city was captured by the Assyrian army in late 648 BC. The aim of this paper is to examine the spoils represented on the relief and, by carefully analysing Assurbanipal's inscriptions, to clarify how textual accounts of the event or events are reflected in the narrative scheme of the composition.The presentation scene is further divided into three rows by simple horizontal lines, each forming a ground line that normally indicates the recession of space based on the principle of “vertical perspective” in which distant figures are placed higher than nearer ones. The king is represented on the right of the scene, occupying the upper and middle rows (Fig. 2). He is mounted on a chariot and is accompanied by courtiers and soldiers who all face to the left of the scene. An epigraph is engraved above the horses of the king's chariot. On the far side of the scene, Assyrian soldiers, in the upper row, proceed towards the king. The first person is a eunuch raising his right hand; he is followed by a bearded man (Fig. 3). Then there are three soldiers, each holding a particular item of booty (Fig. 4). These men are followed by two wheeled vehicles: one is carried on the shoulders of several men (Fig. 5) and the other pulled by a group of soldiers (Fig. 6). To the far left of the scene, prisoners are led away by soldiers. In the middle row, four foreigners face right (Fig. 7), and behind them stand two scribes making a record in front of one pile of bows and quivers and another of severed heads (Fig. 8). More soldiers follow from the left with a team of horses. The lower row shows a procession of prisoners; all of them move from left to right (Fig. 9). To the far left, there are two sets of chariots, the horses of which are being led by soldiers (Figs. 10 and 11). The overall composition, except for the lower row, is arranged symmetrically facing to the centre, with special emphasis on the king.
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Zubar, Mykhailo. "Museum’s functions transformation and origin of narrative exhibitions in current conditions." Text and Image: Essential Problems in Art History, no. 1 (2020): 114–21. http://dx.doi.org/10.17721/2519-4801.2020.1.08.
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The article considers the role, the function and the place of museums in the modern world in the conditions of the electronic revolution, change of generations, the beginning of the postmodernism era. Accordingly, to these statements, there are questions related to the revision of the museum communication system relatively modern forms, understandable to the new generation. Speaking of museum communication, first of all, we mean a change in approaches to the formation and creation of a museum exhibition, which is the main platform for interaction with the public, and therefore communication with the visitor. The author pays attention to the issue of separating the second main function of the museum, along with storage. In today's digital and post-industrial society, the availability of collections for visitors comes to the fore in museums, as well as the form of exhibitions and the way it constructed. The article analyzes the reasons for the change of museums forms and their activities, following the functioning of various models in society and their conflict. It argued that the situation in museums reflects a broader conflict between two models of democracy, which, although unevenly, but coexist today: pedagogical and performative model. The first, among other things, provides that a person, to be a citizen, must be prepared through education, to participate in high culture. The second considers each person as a consumer/customer who consciously has the right to accept or reject a product. Therefore, the author paid special attention to the narrative museum as one of the forms of the postmodern museum, which functionates within the framework of the performative model, the construction of its exposition and the perception of its visitors. Also, considers the range of ways of displaying objects as well as its expansion in comparison with the classical modernism museum. Additional modern presentation methods provided, including story virtualization and related educational activities that added to the classical exposition base. The author present signs characterize the narrative of the museum.
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Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.
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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.
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Papazoglou-Manioudaki, Lena, Argyro Nafplioti, J. H. Musgrave, R. A. H. Neave, Denise Smith, and A. J. N. W. Prag. "Mycenae Revisited Part 1. The Human Remains from Grave Circle A: Stamatakis, Schliemann and Two New Faces From Shaft Grave VI." Annual of the British School at Athens 104 (November 2009): 233–77. http://dx.doi.org/10.1017/s0068245400000241.
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Building work at the National Archaeological Museum in Athens in 2003 led to the rediscovery of the two male skeletons from Shaft Grave VI at Mycenae, found by Panayiotis Stamatakis in 1877 as he completed the excavation of Grave Circle A begun by Schliemann. The find provided a triple opportunity. First came a re-assessment of Stamatakis's important and often pioneering role both at Mycenae and in the archaeology of the later Bronze Age, which has generally been overlooked both because of Schliemann's very vocal antagonism and because of his own overwork and early death. Second, a detailed study of the skulls along with the post-cranial bones allowed a reconstruction of the faces of the two men to set beside the earlier reconstructions of the faces of seven individuals from Grave Circle B. This showed that although the two men were very likely related to each other, one could not demonstrate kinship with any of the seven faces from Circle B on the basis of their facial appearance alone. Finally – to be described in subsequent articles – it opened the way for the first modern morphological and chemical analysis (using strontium isotope ratios) of the entire collection of surviving human skeletal material from Grave Circle A to determine the number of individuals represented, their biological sex and their age at death. By assessing the quality of their living conditions as reflected in their skeletal and dental health, and by exploring skeletal evidence of engagement in physical activities through activity-related modifications there was the opportunity to reconstruct the lifestyle of the men and women buried in the grave circle.Οικοδομικές δραστηριότητες στο Εθνικό Αρχαιολογικό Μουσείο στην Αθήνα το 2003 οδήγησαν στην ανακάλυψη εκ νέου των δύο ανδρικών σκελετών από το Λακκοειδή Τάφο VI, που αττοκάλυψε ο Παναγιώτης Σταματάκης το 1877 με την ολοκλήρωση της ανασκαφής του Ταφικού Κύκλου Α, η οποία ξεκίνησε από τον Heinrich Schliemann. Αυτό το εύρημα μας έδωσε μία τριπλή ευκαιρία. Πρώτον, επαναξιολογήθηκε ο σημανηκός και συχνά πρωτοποριακός ρόλος, που διαδραμάτισε ο Σταματάκης στις Μυκήνες και την αρχαιολογία της ύστερης Εποχής του Χαλκού. Ο ρόλος του αυτός γενικά παραβλέφθηκε εξαιτίας τόσο του έντονου ανταγωνισμού εκ μέρους του Schliemann όσο κοα του υπερβολικού φόρτου εργασίας αλλά και του πρώιμου θανάτου του Σταματάκη. Δεύτερον, η λεπτομερής μελέτη των κρανίων και μετα-κρανιακών οστών επέτρεψε την αποκατάσταση των προσώπων των δύο ανδρών και τη σύγκρισή τους με τα πρόσωπα επτά ατόμων από τον Ταφικό Κύκλο Β, τα οποία είχαν νωρίτερα αποκατασταθεί. Αυτή η σύγκριση έδειξε ότι παρά την πιθανή συγγένεια των δύο ανδρών του τάφου VI, δεν μπορεί να υποστηριχθεί ανάλογη σχέση μεταξύ αυτών και των επτά προσώπων από τον Ταφικό Κύκλο Β με μόνο κρντήριο τα φυσιογνωμικά τους χαρακτηριστικά. Τέλος, όπως θα παρουσιαστεί σε επόμιενα άρθρα, η μελέτη αυτή άνοιξε το δρόμο για την πρώτη σύγχρονη μορφολογική και χημική ανάλυση (της ισοτοπικής αναλογίας του στροντίου) ολόκληρης της συλλογής ανθρωπίνων σκελετικών υπολειμμάτων από τον Ταφικό Κύκλο Α, με στόχο τον προσδιορισμό του αριθμού των αντιπροσωπευομένων ατόμων και τον καθορισμό του βιολογικού φύλου και της ηλικίας θανάτου αυτών. Αξιολογώντας την ποιότητα των συνθηκών διαβίωσης των ατόμων αυτών, όπως αυτή ανπκατροπτίζεται στη σκελετική και οδοντική τους υγεία, και εξετάζοντας σκελετικές μοφτυρίες yrn την ενασχόλησή τους με φυσικές δραστηριότητες κατέστη δυνατό να ανασυνθέσουμε τον τρόπο ζωής των ανδρών και γυναικών ττου είχαν ταφεί στον Ταφικό Κύκλο Α.
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Kahn, Rebecca. "Man, Woman, Child." Digital Culture & Society 6, no. 2 (December 1, 2020): 63–86. http://dx.doi.org/10.14361/dcs-2020-0205.
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Abstract This paper is concerned with the ethical aspects of museum metadata. These are not always immediately evident when working with the metadata related to museum objects, although, I will argue, they are embedded in the object, accumulated at each phase of its journey into the institution; and continue to accumulate while it is part of a collection. This takes place against a backdrop of new development and possibilities afforded by digital technologies for building connections between and across heritage collections online, which can result in these complicated metadata potentially entering the data ecosystem. This eventuality, I will argue, has ethical and technical implications which need to be considered and understood through the theoretical lenses of critical data studies, museum informatics and the growing calls from museum scholars and others to decolonisation of museum collections. Using a small collection of drawings from the Pitt Rivers Museum of Anthropology and World Archaeology at the University of Oxford, I will demonstrate how difficult museum metadata can be buried deep in museum documentation, and how this data, once brought to the surface by digitisation, can expose the trauma of a collection’s origins. I will go on to ask whether the current models used to share heritage data online are appropriate mechanisms for materials with such sensitive histories, and ask how best to handle them in the increasingly digital future.
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Espersen, Anders Have. "Fællesskab og integration – De bosniske krigsflygtninge i Randers 1993-2010." Kulturstudier 2, no. 1 (June 6, 2011): 91. http://dx.doi.org/10.7146/ks.v2i1.5191.
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<p class="MsoNormal">Kulturhistorisk Museum Randers har i de senere år sat øget fokus på byens indvandrerhistorie. I 2003 dokumenterede museet de tyrkiske gæstearbejderes historie, og i 2005 blev der set nærmere på tyrkernes børn.<span style="font-family: 'Times New Roman'; font-size: small;"> </span>Tyrkerne var den første store gruppe af indvandrere i Randers, men er i antal siden blevet overhalet af bosnierne, hvoraf de første kom til byen som krigsflygtninge i 1993.</p> <p class="MsoNormal">Denne artikel er baseret på en undersøgelse af de bosniske krigsflygtninge, som museet foretog henover sommeren 2010. Udover at klarlægge det historiske forløb for bosniernes tilværelse i Randers, giver undersøgelsen gennem tolv interviews et indblik i, hvordan bosnierne er faldet til i byen. Det beskrives desuden, hvorledes det er at være bosnier i Randers i dag. Interviewgruppen udgjordes af otte kvinder og fire mænd. Blandt kvinderne var der fire, der aldersmæssigt befandt sig i tyverne, mens de resterende befandt sig i henholdsvis trediverne, fyrrerne og halvtredserne. For mændenes vedkommende var den ene halvdel i fyrrerne og den anden i halvtredserne.<span style="mso-spacerun: yes;"> </span></p> <p class="MsoNormal">Undersøgelsen viser blandt andet, at de mål for integration, som Randers Kommune satte sig, da det fra 1995 stod klart, at de bosniske flygtninge ville blive i byen, på de fleste områder stemte overens med ønskerne fra størstedelen af bosnierne. For kommunen blev det i løbet af kort tid det væsentligste, at de mange nye borgere blev i stand til at klare sig selv gennem sprog, beskæftigelse og bolig, mens det for bosniernes vedkommende handlede om hurtigst muligt at komme i gang med det liv, som krig og uvished havde afbrudt. At de bosniske flygtninge skulle integreres socialt i det danske fællesskab og gennem danske netværk var af begge parter prioriteret lavere. Selvom kontakten til danskerne i Randers stadig mest er begrænset til arbejde og uddannelse, opfattes bosnierne i Randers i dag, både af dem selv og den danske majoritetsbefolkning, alligevel som den mest velintegrerede større indvandrergruppe i byen.</p>
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KOWAL, EMMA. "Spencer's double: the decolonial afterlife of a postcolonial museum prop." BJHS Themes 4 (2019): 55–77. http://dx.doi.org/10.1017/bjt.2019.12.
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AbstractIn the mid-1990s, staff at Museum Victoria planned the new Melbourne Museum. The Indigenous gallery was a major focus at a time when many museums around the world forged new ways of displaying Indigenous heritage. Named Bunjilaka (a Woiwurrung word meaning ‘place of Bunjil', referring to the ancestral eaglehawk), the permanent Indigenous exhibit was a bold expression of community consultation and reflexive museum practice. At its heart was a life-size model of Baldwin Spencer, co-author of the classic anthropological monograph The Native Tribes of Central Australia (1899). When Bunjilaka was replaced with a wholly Indigenous-designed exhibit of Aboriginal Victoria in 2011, the model was informally retained by museum staff. Initially sitting awkwardly on a trolley in a narrow room where objects were processed for accession, Spencer himself remained unrecorded in any database. With no official existence but considerable gravity, he ended up housed in the secret/sacred room, surrounded by restricted objects that Spencer the man had collected. This article traces Spencer's journey from a post-colonial pedagogical tool to a transgressive pseudo-sacred object in an emerging era of decolonial museology. I argue that Spencer's fate indicates a distinct period of post-colonial museology (c.1990–2010) that has ended, and illustrates how the shifting historical legacies of science operate in the present.
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Lumans, Valdis O. "Eichmann's Men. By Hans Safrian. Translated by Ute Stargardt. New York: Cambridge University Press. Published in Association with the United States Holocaust Memorial Museum. 2010. Pp. vii+317. Cloth $85.00. ISBN 978-0521851565. Paper $26.99. ISBN 978-0-521-61726-0." Central European History 44, no. 1 (March 2011): 183–86. http://dx.doi.org/10.1017/s0008938910001366.
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Emelyanenko, Tatyana G. "Materials of I.M. Pulner on the Ethnography of the Georgian Jews in the Аrchive of the Russian Ethnographic Museum: 1926–29." Herald of an archivist, no. 2 (2021): 603–14. http://dx.doi.org/10.28995/2073-0101-2021-2-603-614.
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The article introduces one of the documentary sources on the history and ethnography of the Georgian Jews stored in the archive of the Russian Ethnographic Museum – field materials collected by I. M. Pulner in his expeditions to Georgia in 1926, 1928, and 1929. The introductory part of the article provides a brief summary of the main stages of his professional activity, wherein his study of the Georgian Jews ethnography dates back to his student years. The expeditions he carried out at that time were the first experience of purposeful ethnographic study of this Jewish ethnic group. Pulner's field materials accrue special scientific value as they contain real facts and people’s statements, as well as ethnographer’s direct observations, which give a fairly objective idea of everyday culture and socio-economic conditions of the Georgian Jews in the second half of the 1920s. The documents of the archive include expedition journal and report, as well as separate notes on various areas of Georgian Jewish culture. Most notes date from Pulner’s first trip to Kutaisi; in the following two years, he mostly visited villages where the Georgian Jews lived, but the archive of the Museum contains only several his recordings of weather wisdom, culinary recipes, and song lyrics written down in these trips. The article chiefly analyses Pulner’s Kutaisi materials. Drawing on them, methods and peculiarities of his ethnographic work among the local Jews are revealed; areas in which he collected his data are described; certain information is cited concerning occupation, material situation, organization of religious life, specificity of religious rituals performed in synagogue, Sabbath celebration, state of Jewish education following the closure of Jewish schools during the Soviet era, attitude to the ideas of Zionism among the youth, relations (including matrimony) between the mountain Jews, Ashkenazi, and Georgians Jews, traditional dwelling and its decoration, festive and everyday food, clothing, folk sayings, wedding ceremonial rites, etc. Among all occupations, Pulner underscored trade, which remained the main occupation of the Jews of Kutaisi, although it fell into decay under the Soviet rule, forcing Jews to master new professions of porters and water sellers, which were considered lowly occupations in Georgia. Talking about the synagogue, he drew attention to the fact that among the Georgian Jews it was not just a place for performing religious rites, but also the center of the Jewish quarter residents’ social life; he noted the leading role of cantor in synagogue service and detailed its procedure. There are interesting materials about relationship between the Georgian Jews and the Jews of other ethnic groups (mountain, Ashkenazi) demonstrating their distancing, as well as materials on their close cooperation with the Georgians in everyday life. Information on material culture is brief and concerns mainly clothing worn by men and women. Of the wedding rituals, Pulner managed to record only matchmaking rites. He did not succeed in continuing a full-scale study the eorgian Jews, and those materials he collected during his student expeditions remain rare evidence of the Georgian Jews in the Soviet era.
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Sergei, V. E. "Отцейхгаузадомузеяизисториивоенно-историческогомузеяартиллерии,инженерныхвойскивойсксвязи." Istoricheskii vestnik, no. 24(2018) part: 24/2018 (September 29, 2019): 134–97. http://dx.doi.org/10.35549/hr.2019.2018.36654.
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The article is dedicated to the history of the Military Historical Museum of Artillery, Engineering and Signal Corps. The author examines the main stages of the museums formation, starting with the foundation of the Arsenal, established in St. Petersburg at the orders of Peter the Great on August 29th 1703 for the safekeeping and preservation of memory, for eternal glory of unique arms and military trophies. In 1756, on the base of the Arsenals collection, the General Inspector of Artillery Count P.I. created the Memorial Hall, set up at the Arsenal, on St. Petersburgs Liteyny Avenue. By the end of the 18th century the collection included over 6,000 exhibits. In 1868 the Memorial Hall was transferred to the New Arsenal, at the Crownwork of the Petropavlovsky Fortress, and renamed the Artillery Museum (since 1903 the Artillery Historical Museum). A large part of the credit for the development and popularization of the collection must be given to the historian N.E. Brandenburg, the man rightly considered the founder of Russias military museums, who was the chief curator from 1872 to 1903. During the Civil and Great Patriotic Wars a significant part of the museums holdings were evacuated to Yaroslavl and Novosibirsk. Thanks to the undying devotion of the museums staff, it not only survived, but increased its collection. In the 1960s over 100,000 exhibits were transferred from the holdings of the Central Historical Museum of Military Engineering and the Military Signal Corps Museum. In 1991 the collection also received the entire Museum of General Field Marshal M.I. Kutuzov, transferred from the Polish town of Bolesawjec. The Military Historical Museum of Artillery, Engineering and Signal Coprs is now one of the largest museums of military history in the world. It holds an invaluable collection of artillery and ammunition, of firearms and cold steel arms, military engineering and signal technology, military banners, uniforms, a rich collection of paintings and graphic works, orders and medals, as well as extensive archives, all dedicated to the history of Russian artillery and the feats of our nations defenders.Статья посвящена истории создания ВоенноИсторического музея артиллерии, инженерных войск и войск связи. Автор рассматривает основные этапы становления музея, начиная с основания Арсенала, созданного в СанктПетербурге по приказу Петра I 29 августа 1703 года для хранения и сохранения памяти, во имя вечной славы уникального оружия и военных трофеев. В 1756 году на базе коллекции Арсенала генеральный инспектор артиллерии граф П. И. создал мемориальный зал, установленный при Арсенале, на Литейном проспекте СанктПетербурга. К концу 18 века коллекция насчитывала более 6000 экспонатов. В 1868 году Мемориальный зал был перенесен в Новый Арсенал, на венец Петропавловской крепости, и переименован в Артиллерийский музей (с 1903 года Артиллерийский Исторический музей). Большая заслуга в развитии и популяризации коллекции принадлежит историку Н.Е. Бранденбургу, человеку, по праву считавшемуся основателем российских военных музеев, который был главным хранителем с 1872 по 1903 год. В годы Гражданской и Великой Отечественной войн значительная часть фондов музея была эвакуирована в Ярославль и Новосибирск. Благодаря неусыпной преданности сотрудников музея, он не только сохранился, но и пополнил свою коллекцию. В 1960х годах более 100 000 экспонатов были переданы из фондов Центрального исторического военноинженерного музея и Музея войск связи. В 1991 году коллекцию также получил весь музей генералфельдмаршала М. И. Кутузова, переданный из польского города Болеславец. Военноисторический музей артиллерии, инженерных войск и войск связи в настоящее время является одним из крупнейших музеев военной истории в мире. Здесь хранится бесценная коллекция артиллерии и боеприпасов, огнестрельного и холодного оружия, военной техники и сигнальной техники, военных знамен, обмундирования, богатая коллекция живописных и графических работ, орденов и медалей, а также обширные архивы, посвященные истории русской артиллерии и подвигам защитников нашего народа.
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عبد السلام إبراهيم, عبد الواحد. "بسجل الدخول بالمتحف المصري بالقاهرة 43649 ملاحظات على لوحة پا-سر رقم (Observations on Paser Stela no. 43649 in the Egyptian Museum, Cairo)." Abgadiyat 7, no. 1 (2012): 15–24. http://dx.doi.org/10.1163/22138609-00701007.
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The stela of Paser, which the Cairo Museum possesses (JdE 43649), is one of the most important religious documents ever found in Egypt. It was unearthed in Abydos, but the exact provenance is unknown. The stela is a limestone of very mediocre quality, and measures 54×35 cm. It was purchased in Balliana, the market town of the Abydos region. The inscriptions and representations are somewhat carelessly incised. It is the single document which provides the greatest information on the cult of King Nebhepetre Ahmose I at Abydos. A good photograph is reproduced of G. Legrain “Un miracle d‘Ahmes Ier a Abydos sous le regne de Ramses II.”, in ASAE 16, 1916. It describes a land dispute put before the barque oracle of the deified Nebpehtyre Ahmose I, in the Year fourteen of the King Ramses II of the Nineteenth Dynasty, some two-hundred-and-thirty- five years following the death of Nebpehtyre Ahmose I. The names and titles of the priests and priestesses serving the cult of King Nebpehtyre Ahmose I are found on a variety of objects from Abydos, spanning the period from the early Eighteenth Dynasty into the reign of King Ramses II of the Nineteenth Dynasty. The activity of an oracle cult of the deified King during the Ramesside Period implies that significant transformations to the nature and practice of Ahmose‘s worship had taken place over time at Abydos. Perhaps the oracles are the best illustrations of the interest which the deity was believed to take in human affairs. The oracles also show how the Egyptians almost forced their gods to abandon a passive attitude towards men and to reveal their will, advice or knowledge. This was through the intermediary of the statue of the god which was asked questions, though more than one case is related where the initiative was from the god himself. Strangely enough, the practice of approaching the god and consulting him appears relatively late in Egypt, the first known instances dating from the New Kingdom. It is not necessary to conclude from this, as has sometimes been done, that the practice was originally unknown to Egypt, and was introduced from abroad. On the contrary, consultation with the god is the natural outcome of man‘s reasoning, and the rather original technique which the Egyptians devised for this purpose suggests that oracles in Egypt were of native origin. The first reference to the divine being manifested is probably that made by King Tuthmosis III, who relates how, when he was still a boy, the god Amun, in the course of a procession of his statue round the temple, noticed him and halted. (Please note that this article is in Arabic)
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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
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Wang, Yun-Ciao, Chin-Ling Chen, and Yong-Yuan Deng. "Museum-Authorization of Digital Rights: A Sustainable and Traceable Cultural Relics Exhibition Mechanism." Sustainability 13, no. 4 (February 14, 2021): 2046. http://dx.doi.org/10.3390/su13042046.
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The digital rights management of museums is a mechanism that protects digital content from being abused by controlling and managing its usage rights. Traditional museums attach importance to the collection, display, research, and education functions of “objects”. In response to natural or man-made disasters, people are often caught off guard, destroying material, intangible assets, and spiritual symbolism. Therefore, with the advancement of digital technology, this research is based on the mechanism of blockchain, through the authorization of cryptographic proxy re-encryption, and proposes a new method for the preservation and authorization of digital content in museums, which can effectively display, store, and promote “important cultural relics and digital archives”. In this research, the Elliptic Curve Digital Signature Algorithm (ECDSA), blockchain, and smart contracts are used to design a sustainable and traceable cultural relic exhibition mechanism. The proposed scheme achieves publicly verifiable, transparency, unforgeability, traceability, non-repudiation, standardization of stored data, timeliness, etc., goals. It is the museum’s preservation and innovation approach for the unpredictable future. Through appropriate preservation and management mechanisms, it has extremely important practical significance for the protection of museum collections, the inheritance of historical and cultural heritage, and the expansion of social education.
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Indria, Ida Ayu Gede Megasuari. "REVITALISASI MUSEUM MANUSIA PURBA GILIMANUK." Forum Arkeologi 29, no. 3 (April 20, 2017): 147. http://dx.doi.org/10.24832/fa.v29i3.92.
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Revitalization of the Ancient Man of Gilimanuk Museum is very important to do as a first step to establish better communication between the Museum and the community it serves. This study aimed to describe the revitalization performed at the Museum of Ancient Man Gilimanuk and its relation to the strengthening of national identity. Methods of data collection in this study is observation, interview, and literature study. This research uses descriptive analysis techniques with a philosophical approach. The results showed that the revitalization performed at the Ancient Man Museum of Gilimanuk includes updating the interior of the main exhibit hall and also a site museum arrangement in accordance with the concept of the new museum. The revitalization at the Ancient Man Museum of Gilimanuk can increased the public awareness of their cultural identity. Revitalisasi sangat penting dilakukan sebagai langkah awal untuk membangun komunikasi yang lebih baik antara Museum Manusia Purba Gilimanuk dan masyarakat yang dilayani. Penelitian ini bertujuan untuk mendeskripsikan revitalisasi yang dilakukan di Museum Manusia Purba Gilimanuk dan kaitannya dengan penguatan identitas bangsa. Metode pengumpulan data dalam penelitian ini adalah observasi, wawancara, dan studi kepustakaan. Penelitian ini menggunakan teknik deskriptif analisis dengan pendekatan filosofis. Hasil penelitian menunjukkan bahwa revitalisasi yang dilakukan di Museum Manusia Purba Gilimanuk meliputi pembaharuan interior ruang pameran utama dan juga penataan ruang site museum sesuai dengan konsep new museum. Adanya revitalisasi di Museum Manusia Purba Gilimanuk dapat berpengaruh pada meningkatnya kesadaran masyarakat akan identitas budayanya.
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Björling, Mikael, and Guro Hjulstad. "Air Exchange Rate and Internal Air Flows in a Naturally Ventilated Museum Building." E3S Web of Conferences 246 (2021): 01003. http://dx.doi.org/10.1051/e3sconf/202124601003.
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A controlled indoor environment is crucial to the preservation of valuable historical artefacts in museums, but is influenced by many factors such as building properties, exhibit design, number of visitors, outdoor conditions etc. This study aims to monitor the local air exchange rates (AERs) and internal air flows in the Viking Ship Museum, Oslo, Norway during different outdoor conditions and is part of a project to create a new museum for the ships. Homogeneous emission tracer techniques (with tracer A) were used to monitor the local mean age of air (from which the local AER can be estimated). The internal air flows from a building zone were monitored by loading that zone with another tracer (B). The building outline is in the shape of a cross with four wings emanating from a central tower and thus naturally creates five zones to investigate. Three measurement periods were conducted with outdoor conditions ranging from winter to late summer. During winter conditions the average hourly air exchange rate (ACH) for the museum is fairly low (0.05 h-1), but during summer conditions it rises fourfold (0.2 h-1). During the summer, windows and doors may be kept open and the number of visitors peaks. The internal flows are very large, as indicated by very similar patterns of the sampler loads for both A and B tracers in relation to the twenty sampling positions.
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Lemos, Fabiano. "Ways to live history. Or philosophy, culture, and architecture in the origins of the museum Altes in Berlín." education policy analysis archives 19 (January 20, 2011): 2. http://dx.doi.org/10.14507/epaa.v19n2.2011.
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From the beginnings of what we now know as our modernity, man has been surprised with his own finitude. The 18th and 19th century bourgeois needed to formulate complex ways of preserving the past and of linking with it. In the philosophes’ circle, time concept starts to double itself in the idea of origin, that, for them, had become opaque. We just need to think of the broad-range process of structuring museums and restructuring natural history collections in cities such as Paris and Berlin, around the turn to the 19th century, so that we can be convinced that the surprise with that origin that one cannot recognize anymore, that becomes object of popular and scientific interest, leads each and all of the decisions in this process. Museum is just one of the institutions in which man, through a complex series of idealizations of space, show himself the spectacle of a lost time and, thus, of a culture whose educational thrive can only be understood by associating to these institutions. Our task is to investigate – and the case study of the grounding of the Altes Museum in Berlin, between 1822 and 1830, will perform this concretely – which educational policy made the emergence of this new ideological model possible, and , on the opposite way, which conceptual elaborations confirmed or legitimated the new pragmatic topography of time in modernity within the institution that had as aim, precisely, articulate and administrate past and memory.
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Economou, G., E. Konstantinidi-Syvridi, I. Kougemitrou, M. Perraki, and D. C. Smith. "A MINERALOGICAL STUDY OF SOME MYCENAEAN SEALS EMPLOYING MOBILE RAMAN MICROSCOPY." Bulletin of the Geological Society of Greece 43, no. 2 (January 23, 2017): 804. http://dx.doi.org/10.12681/bgsg.11246.
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The National Archaeological Museum in Athens is the largest archaeological museum in Greece, and one of the most important museums in the world, devoted to Ancient Greek art and history. Among other exhibits, it owns a large collection of gemstones some of which were used during prehistoric times (Mycenaean period) as seals. Their shape varies from round to oval, flattish or cylindrical, and they are delicately engraved as intaglios with a variety of depictions (lions, bulls, man, etc). They show a wide range of colours from reddish, brown, to purplish and blue. The six sealstones described here come from the Chamber Tombs of Mycenae (15th-14th cent. BC). Museum exhibit labels recognize them as varieties of quartz such as jasper (NAM 3138), sardonyx (NAM 2316 & 2865), agate (NAM 4928), amazonite (NAM 2863) and gold-mounted carnelian (NAM 6489). Raman Spectroscopic analysis has been carried out with a new MRM (Mobile Raman Microscope) using a Kaiser Holoprobe with a NIR 785nm laser. The Raman spectra acquired from 1s-60s measurements confirmed that, in all six sealstones, quartz was the major mineral species clearly identified by its characteristic peaks. The second most important phase was moganite, a little-known polymorph of quartz. The amber-coloured sealstone (NAM 6489) was confirmed as carnelian, whereas the blue-green amazonite-coloured sealstone (NAM 2863) was not detected as amazonite. Small amounts of haematite were detected in the NAM 2865 & NAM 3138.
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Bergman, Diane. "Bernard V. Bothmer: a man of honour." Art Libraries Journal 38, no. 4 (2013): 50–56. http://dx.doi.org/10.1017/s0307472200018800.
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Bernard V. Bothmer left his mark on the world of Egyptology in three of the United States’ great art institutions: the Museum of Fine Arts in Boston, the Brooklyn Museum and the Institute of Fine Arts, New York University. He created gallery displays, developed library collections and founded image collections that continue to influence scholars worldwide. One can wonder how the course of American Egyptology would have developed if circumstances had not driven him out of his native Germany. Despite hardship, fear and a career interrupted, he trained and profoundly influenced at least four generations of historians of Egyptian art. BVB, as he was affectionately known to those close to him, inspired all who worked with him to the highest level of achievement, a standard which came to be known as “Brooklyn Quality”.
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Flores Silva, Joana Angélica. "Mulheres Negras e a Discussão de Gênero na Construção das Narrativas nos Museus de Salvador." Mosaico 9, no. 2 (May 27, 2017): 178. http://dx.doi.org/10.18224/mos.v9i2.5239.
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O artigo trata da representação das mulheres negras nos museus históricos de Salvador, a partir dos vieses em gênero, raça e classe ao analisar o lugar que as mesmas ocupam nas exposições de longa duração, levando em consideração a teia de relações estabelecidas na tríade HomemXObjetoXRealidade. A abordagem se debruça sobre o discurso construído pelos museus ao atribuir à mulher branca o papel de protagonista na historiografia do país, enquanto que concede a figura da escravizada à mulher negra nesse mesmo contexto histórico, o que retroalimenta o imaginário coletivo quando lhe outorga a condição de subalterna. Com base na práxis museológica, a pesquisa deter-se-á no âmbito da reinterpretação dos signos, no processo de musealização dos objetos que representam o universo feminino. Assim, o estudo traz como contribuição, a reflexão acerca da construção de novas narrativas que evidenciem de forma não discriminatória a participação dos sujeitos nos espaços de memória.
Palavras-Chave: Museus de Salvador; Museologia; Gênero; Mulheres negras; Representações
ABSTRACT
The article deals this the representation of black women in the historical museums of Salvador, starting in the gender, race and class. Analyzing the place they occupy in long - term exhibit, taking into account of relationships established in the triad Man x Object x Reality. The approach focuses on the discourse constructed by the museums in assigning the white woman the role of protagonist in the historiography of the country, while granting the figure of the enslaved to the black woman, in this same historical context, which feeds the collective imaginary when it grantates the subordinate condition. Based on the museological praxis, the research will focus on the reinterpretation of signs, in the process of musealization of objects that represent the feminine universe. Therefore, this article bring forward a contribution, the reflection about the construction of new narratives that evidence in a non-discriminatory way the participation of the subjects in the memory spaces.
Keywords: Museums of Salvador; Museology; Genre; Black Women; Representations
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Hughson, John, and Kevin Moore. "‘Hand of God’, Shirt of the Man: The Materiality of Diego Maradona." Costume 46, no. 2 (June 1, 2012): 212–25. http://dx.doi.org/10.1179/0590887612z.00000000010.
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Among the ‘first eleven’ items of interest in the National Football Museum, Manchester, UK is the football shirt worn by Diego Maradona (b. 1960) in the 1986 FIFA World Cup quarter-final match between Argentina and England. This paper reflects upon the cultural significance of the shirt as a museum object. A discussion of the shirt’s history, from its wearing at the 1986 match to its imminent reappearance in the National Football Museum’s new location, leads to the conclusion that, above all, although it may be subject to differing symbolic interpretations, the shirt exists as a material object, the observation of which affords football aesthetes an appreciative reminder of Maradona’s extraordinary artistry with a ball at his feet.
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Westhorpe, R. N. "Geoffrey Kaye—a man of many parts." Anaesthesia and Intensive Care 35, no. 1_suppl (June 2007): 3–10. http://dx.doi.org/10.1177/0310057x0703501s01.
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Geoffrey Kaye was primarily an anaesthetist, but there were many facets to his life, not all of them involving medicine. He was also a researcher, author, teacher, engineer, inventor, metalworker, organiser, traveller, visionary and collector. Geoffrey Kaye had a vision for Australian anaesthesia. He put many of his own resources into the establishment of a ‘centre of excellence’ where the needs of a specialist society could be accompanied by an active educational and research facility. He was so far ahead of his time that his vision foundered on lack of enthusiasm from others. There is no doubt that Geoffrey is best remembered for his lasting legacy, the Geoffrey Kaye Museum of Anaesthetic History, now housed at the Australian and New Zealand College of Anaesthetists in Melbourne. It is his core collection of equipment, documents and memorabilia that now gives us insight into the development of our specialty. His collecting extended beyond his love of medicine. He was renowned for his collection and knowledge of exquisite tableware, porcelain, and furniture, much of which now remains in the Ian Potter Museum collection, also in Melbourne.
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Taylor, R. E., Louis A. Payen, and Peter J. Slota. "The Age of the Calaveras Skull: Dating the “Piltdown Man” of the New World." American Antiquity 57, no. 2 (April 1992): 269–75. http://dx.doi.org/10.2307/280732.
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The Calaveras skull, first reported in 1866, represents the earliest purported fossil human discovery in California and one of the earliest in the New World. The specimen is in the possession of the Peabody Museum, Harvard University. The validity of the original "Tertiary" age assignment was rejected by the first generation of professional American archaeologists early in the twentieth century. Radiocarbon analyses using both conventional decay counting and accelerator mass spectrometry indicate a late Holocene age for the Calaveras skull.
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Gill, Brian. "Charles De Kempeneer (c.1852–1884), preparator: one of Auckland Museum’s earliest employees." Records of the Auckland Museum 53 (December 20, 2018): 77–84. http://dx.doi.org/10.32912/ram.2018.53.5.
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Henry Ward, the American businessman and trader in natural history specimens, visited Auckland Museum in 1881 and subsequently helped the museum to recruit a preparator. Correspondence between Ward and the museum’s curator, Thomas Cheeseman, shows that the first preparator sent by Ward was the Belgian, Charles De Kempeneer, who had worked previously for about seven years at both the “Royal Museum”, Brussels, and at Ward’s establishment in Rochester, New York State. De Kempeneer started at Auckland Museum in July 1882 for a trial period of about three months until October 1882, the museum having insufficient funds to pay him for longer. He then got work with the Macleay collection in Sydney (Australia) but negotiated with Cheeseman a permanent position at Auckland Museum, whose finances had been improved by the Costley Bequest of 1884. De Kempeneer returned to Auckland to commence work but died on arrival, a tragic loss of a talented young man. By virtue of his short-term engagement, De Kempeneer ranks as one of Auckland Museum earliest employees and the museum’s archival record of the Cheeseman correspondence has enabled a memory of him to be recovered.
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Starza-Majewski, O. "A Kusāna Mathurā Head of a Man in the National Museum at New Delhi." South Asian Studies 6, no. 1 (January 1990): 1–8. http://dx.doi.org/10.1080/02666030.1990.9628396.
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Butkutė, Jolanta. "Museum as Educational Environment." Geografija ir edukacija mokslo almanachas / Geography and Education Science Almanac 4 (October 11, 2016): 137–47. http://dx.doi.org/10.15823/ge.2016.12.
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The article analysis major changes in preparation of museums’ educational programs. Such programs’ attractiveness from educational perspective, not only in terms of presenting new way of knowledge, but also as one of the way how to acquire, to learn and to use that knowledge in practical way. Educational sessions are seeking to help schoolchildren to learn in a better way, to remember particular information and strengthen it by completing practical tasks. The purposes of education are: a) to stimulate cultural, cognitive, artistic and other activities; b) to understand, remember and grasp the mea ning of the given information; c) to strengthen the newly acquainted information by completing practical tasks; d) inspirational aspect of given information; e) understanding of process and it’s phenomenon, correlation with the obtained information; f) ones’ interdisciplinary aspect. Educational programs are being modified depending on visitors’ given feedback and ones needs. The article consists of several parts. The first part analysis the spread of educational programs in museums throughout Lithuania’s municipalities. The second part analysis the spread of educational programs in museums depending on a particular educational area. The third part analysis museums’ educational programs’ need and availability in the period of 2008–2014.
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Aarekol, Lena. "Roald Amundsen - fortellinger om en polarhelt." Nordlit 16, no. 1 (May 1, 2012): 97. http://dx.doi.org/10.7557/13.2305.
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2011 is the Nansen-Amundsen Year in Norway. This year celebrate two anniversaries with great significance for Norway. It is 150 years since the birth of Fritdjof Nansen and 100 years since Roald Amundsen, accompanied by four of his men, arrived as the first at the South Pole. During this year several new exhibitions has been made and displayed in different museums in Norway. The article surveys the role of today's museums has in forming the narratives about the Norwegian polar history, the polar heroes and Roald Amundsen especially. An examination of a so called traditional Polar exhibition shows that their main focus on artifacts and theirlack of contextualization, gives the exhibition an aura of authenticity. While new exhibitions are characterized by emphasis on contextualization, critical questions and giving different groups a voice. It is argued that the museums both contributes to conserve the prevailing concepts and representations, but also contributes to give new understandings and perspectives of Roald Amundsen and the Norwegian Polar history. It is important to understand how the museums exhibitions are contributing to the collective memory.
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Yuan, Ao. ""Rebirth" of Old Buildings - Impressing on Protecion & Reuse of the Old Buildings of Zeche Zollverein near Essen in the Ruhr Area, Germany." Applied Mechanics and Materials 409-410 (September 2013): 496–99. http://dx.doi.org/10.4028/www.scientific.net/amm.409-410.496.
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In Zeche Zollverein near Essen in the Ruhr Area, the old plants are rebuilt as culture & recreation places such as museum, restaurant and theater and so on, they get the rebirth. The industrial feel was conserved, and the buildings continue the history with immitting of new blood at the mean time. Symbiosis of old and new building proposed new ideas.
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Laporte, Léo. "George G. Simpson (1902-1984): Getting Started in the Summer of 1924." Earth Sciences History 9, no. 1 (January 1, 1990): 62–73. http://dx.doi.org/10.17704/eshi.9.1.1t25282v8vp24w08.
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In the middle of his first year of graduate work in vertebrate paleontology at Yale, George Gaylord Simpson began looking about for employment for the coming summer. He needed a job that would not only further his paleontological education, but also, with a wife and infant daughter to support, one that would pay him a salary, however modest. He eventually obtained a position prospecting for Tertiary mammals in Texas and New Mexico as a field assistant to William Diller Matthew of the American Museum of Natural History. By the end of the summer, Simpson established himself as an energetic and highly successful field man, having made two major fossil discoveries, thereby impressing both Richard Swan Lull, his major advisor at Yale, and Matthew, whom he would eventually succeed at the American Museum as curator of fossil mammals. When Simpson returned to Yale in the fall, Lull, despite his earlier refusal, permitted him to study the Marsh Collection of Mesozoic mammals for his dissertation. Matthew, too, was enthusiastic about Simpson's demonstrated abilities for he became Simpson's mentor, acting as informal off-campus advisor for his dissertation and eventually an advocate for Simpson's appointment at the American Museum. Simpson also learned, the hard way, about scientific protocol and professional territoriality when a short paper he wrote describing the geologic results of his work in New Mexico was suppressed by Childs Frick, honorary curator of the Department of Vertebrate Paleontology who had supported the New Mexico (and Texas) excursion with his own funds. Frick's financial support of the Museum apparently gave him greater influence than Matthew who, as chairman of Vertebrate Paleontology, had initially approved Simpson's paper for publication in the Museum Bulletin.
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Debenham, Margaret. "Joseph Merlin in London, 1760–1803: the Man behind the Mask. New Documentary Sources." Royal Musical Association Research Chronicle 45 (2014): 130–63. http://dx.doi.org/10.1080/14723808.2014.888175.
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Joseph Merlin (1735–1803), ‘Ingenious Mechanick’, musical-instrument maker and flamboyant showman, is perhaps best remembered for his Museum in Princes Street, London, with its scintillating displays of automata and extraordinary inventions. Two newly identified sets of Court documents, Nicholl v. Merlin, 1779 and Merlin v. Celsson, 1779–81, now provide insights into previously unknown aspects of his business dealings and personal life. The former concerns a dispute over a house that Merlin commissioned to be built in 1776, the latter a violation of his 1774 combined harpsichord-pianoforte patent rights. Material relating to Lavigne Verel, his musical instrument foreman from 1773 to 1781, is also reported. Amongst other novel findings, perhaps the most surprising is Merlin's marriage in 1783. Contemporary primary-source material consulted includes original manuscripts held at The National Archives, UK, the Scone Palace Archives, Parish Registers, Land Tax and Apprenticeship records and numerous contemporary newspaper advertisements and notices.