Journal articles on the topic 'School: Museum and Heritage Studies'
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Ismaeel, Dina Ahmed, and Ahlam Mohammed Al-Abdullatif. "The Impact of an Interactive Virtual Museum on Students’ Attitudes Toward Cultural Heritage Education in the Region of Al Hassa, Saudi Arabia." International Journal of Emerging Technologies in Learning (iJET) 11, no. 04 (April 5, 2016): 32. http://dx.doi.org/10.3991/ijet.v11i04.5300.
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The goal of this study was to investigate students’ views of the interactive Virtual Museum of Al Hassa Cultural Heritage. In this context, a study was carried out during the second semester of the 2014–2015 school year among sixth-grade elementary school students in Al Hassa, Saudi Arabia. After participating in an interactive virtual museum, 118 students answered a questionnaire after the teaching intervention. SPSS v.21 was used to analyze the data. The results indicated that students had a positive attitude toward the use of an interactive virtual museum in cultural heritage education. The results support the inclusion of cultural heritage in the social studies curricula in K–12 education in Saudi Arabia in order to raise awareness and knowledge of national heritage. The results also confirmed the views of experts regarding the importance and the value of virtual museums as a method for effective learning about cultural heritage.
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McCarthy, Conal, and Alison K. Brown. "Editorial." Museum Worlds 10, no. 1 (July 1, 2022): vii—ix. http://dx.doi.org/10.3167/armw.2022.100101.
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Museum studies is an academic and practical field of research that is ever expanding and alive with potential, opportunity, and challenge paralleling the extraordinary growth of museums in every part of the world. Museum Worlds: Advances in Research, launched in 2012, has responded to the need for a rigorous, in-depth review of current work in museums and related industries, including galleries, libraries, archives, and cultural heritage. The inspiration for the journal came from Howard Morphy, Professor of Anthropology at the Australian National University in Canberra, along with founding editors Kylie Message, also at the ANU, and Sandra Dudley from the School of Museum Studies at the University of Leicester.
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Simbirtseva, Natalia A., Galina A. Kruglikova, and Elena B. Plaksina. "Cultural and Educational Practices in the Museum Environment: Transmission of Cultural Heritage." Changing Societies & Personalities 4, no. 4 (December 29, 2020): 492. http://dx.doi.org/10.15826/csp.2020.4.4.113.
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In the age of digitalisation and globalisation, one of the essential tasks addressed at the level of cultural policy, having relevance for all generations, consists in the preservation of cultural heritage. Cultural and educational practices, integrated in the preschool-, school- and higher education environments and aimed at the formation of the worldview and identity of the younger generation, are considered by the authors as effective and relevant mechanisms for transmitting the memory of values, meanings, places, cultural artefacts, etc. Therefore, it seems advisable for the organisers of multi-level projects to address the potential of the museum as a cultural institute. Today, museums are oriented towards a wide variety of visitors, including professionals and creative audiences of all ages, in the presented activities and services. The transmission of cultural memory in the museum environment is implemented not only in traditional ways, but also through contemporary information and media technologies. The introduction of the younger generation to cultural heritage provides them with an opportunity to experience significant values and meanings of the cultural space and time of the city, region, or country at the personal level.
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Harrison-Buck, Eleanor, and Sara Clarke-Vivier. "Making Space for Heritage: Collaboration, Sustainability, and Education in a Creole Community Archaeology Museum in Northern Belize." Heritage 3, no. 2 (May 31, 2020): 412–35. http://dx.doi.org/10.3390/heritage3020025.
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Working with local partners, we developed an archaeology museum in the Creole community of Crooked Tree in the Maya lowlands of northern Belize. This community museum presents the deep history of human–environment interaction in the lower Belize River Watershed, which includes a wealth of ancient Maya sites and, as the birthplace of Creole culture, a rich repository of historical archaeology and oral history. The Creole are descendants of Europeans and enslaved Africans brought to Belize—a former British colony—for logging in the colonial period. Belizean history in schools focuses heavily on the ancient Maya, which is well documented archaeologically, but Creole history and culture remain largely undocumented and make up only a small component of the social studies curriculum. The development of a community archaeology museum in Crooked Tree aims to address this blind spot. We discuss how cultural sustainability, collaborative partnerships, and the role of education have shaped this heritage-oriented project. Working with local teachers, we produced exhibit content that augments the national social studies curriculum. Archaeology and museum education offer object-based learning geared for school-age children and provide a powerful means of promoting cultural vitality, and a more inclusive consideration of Belizean history and cultural heritage practices and perspectives.
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Mastenitsa, Elena N., and Irina A. Kuklinova. "HOMO MUSEICUS: to the anniversary of Lyudmila Mikhailovna Shlyakhtina." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 93–99. http://dx.doi.org/10.30725/2619-0303-2021-1-93-99.
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The article is devoted to the scientific and pedagogical activities of the candidate of pedagogical sciences, associate professor of the Department of Museology and Cultural Heritage of St. Petersburg State Institute of Culture, Honored Worker of the Higher School of the Russian Federation L. M. Shlyakhtina. Working at the department since its foundation in 1988, she actively participates in the formation and implementation of educational and scientific strategies of this department of the university. As the author of the training courses «Theoretical problems of museology» and «Museum pedagogy», as well as the developer of innovative disciplines of educational programs in the direction of «Museology and protection of cultural and natural heritage» for bachelor’s and master’s degrees, L. M. Shlyakhtina greatly contributed to the professionalization of museum work in Russia. Analyzing the manuals and scientific works created by her and actively used in the educational process, which have become pivotal studies in the field of theoretical museology, museum pedagogy, museological education, the authors state the great personal contribution of L. M. Shlyakhtina in the formation of the scientific school of museology at SPbGIK and in the scientific and methodological support of the training process for the museum industry.
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ALTUKHOVA, SVETLANA. "A MODERN MUSEUM AS A SPACE OF MULTICULTURAL COMMUNICATION: A REVIEW OF CASES OF RUSSIA AND THE UK." History and modern perspectives 2, no. 3 (September 30, 2020): 103–11. http://dx.doi.org/10.33693/2658-4654-2020-2-3-103-111.
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Author considers the issue of transforming the communicative strategy of the modern museum as a promising center for multicultural communication. multicultural communication is understood as a process of interaction between immigrants and the host society. In addition, the inconsistency and ambiguity of understanding the content and consequences of increased immigration, as well as the changes that occur with cultural institutions, also make this story relevant. The author of the article focuses on how a cultural institution such as a museum responds to the challenge of complicated intercultural and multicultural communications in the modern world. The methodological basis for the study is the concept of the «post-museum» and the achievements of the Leyster school of museology in the studies of the communicative and inclusive activities of modern museums. The article presents the author's classification of the levels of work of museums with immigrants and their multicultural communication. The first level is exhibiting and representing the cultural heritage of immigration communities, the second level is attracting immigrants to co-authorship, and the third one is the implementation of comprehensive inclusive work with all ethnic and cultural groups.The highlighted levels are confirmed by real examples and cases from the experience of Russian and British museums, information about which is available on their official websites. In the course of the study, the main conclusions were made. Firstly, to date, there has been a shift in the functional structure of the museum from its custody functions to communication, and the process of interacting with visitors has begun to build on the principle of participation. Secondly, the museum, as a social institution that collects and presents objects of cultural heritage and historical artifacts, works, first of all, with the phenomena of «cultural memory» and «identity», not only representing the latter, but also constructing it through the exposition and museum activity. And thirdly, it is this circumstance that allows museums to become an effective platform for building a multicultural dialogue and processes of social inclusion.
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Wang, Wenrui. "The Ways that Digital Technologies Inform Visitor's Engagement with Cultural Heritage Sites: Informal Learning in the Digital Era." GATR Global Journal of Business Social Sciences Review 10, no. 4 (December 30, 2022): 237–48. http://dx.doi.org/10.35609/gjbssr.2022.10.4(3).
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1. Alivizatou, M. (2019). Digital intangible heritage: Inventories, virtual learning and participation. Heritage & Society, 12(2–3), 116–135. 2. Billett, S. (2009). Conceptualizing learning experiences: Contributions and mediations of the social, personal, and brute. Mind, Culture, and Activity, 16(1), 32–47. 3. Bonilla, C. M. (2014). Racial Counternarratives and L atina Epistemologies in Relational Organizing. Anthropology & Education Quarterly, 45(4), 391–408. 4. Britain, T. (2007). How We Are: Photographing Britain. 5. Brodie, R. J., Hollebeek, L. D., Jurić, B., & Ilić, A. (2011). Customer Engagement: Conceptual Domain, Fundamental Propositions, and Implications for Research. Journal of Service Research, 14(3), 252–271. https://doi.org/10.1177/1094670511411703 6. Budge, K. (2017). Objects in focus: Museum visitors and Instagram. Curator: The Museum Journal, 60(1), 67–85. 7. Budge, K., & Burness, A. (2018). 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Museum websites and museum visitors: digital museum resources and their use. Museum Management and Curatorship, 23(1), 81–99. 28. Moqtaderi, H. (2019). Citizen curators: Crowdsourcing to bridge the academic/public divide. University Museums and Collections Journal, 11(2), 204–210. 29. Müller, K. (2013). Museums and virtuality. In Museums in a digital age (pp. 295–305). Routledge. 30. Nasir, N. S., Rosebery, A. S., Warren, B., & Lee, C. D. (2006). Learning as a cultural process: Achieving equity through diversity. 31. O’Brien, H. L., & Toms, E. G. (2008). What is user engagement? A conceptual framework for defining user engagement with technology. Journal of the American Society for Information Science and Technology, 59(6), 938–955. 32. O’Neill, R. (2017). The Rise of the Citizen Curator: Participation as Curation on the Web. University of Hull. 33. Opie, I., & Opie, P. (2000). The lore and language of schoolchildren. New York Review of Books. 34. Pallud, J. (2017). Impact of interactive technologies on stimulating learning experiences in a museum. Information & Management, 54(4), 465–478. 35. Pallud, J., & Straub, D. W. (2014). Effective website design for experience-influenced environments: The case of high culture museums. Information & Management, 51(3), 359–373. 36. Pozzi, F. (2017). Final Report on User Requirements: Identification and Analysis. Unpublished I-Treasures Project Report. 37. Proctor, N. (2010). Digital: Museum as platform, curator as champion, in the age of social media. Curator: The Museum Journal, 53(1), 35. 38. Rogoff, B., Callanan, M., Gutiérrez, K. D., & Erickson, F. (2016). The organization of informal learning. Review of Research in Education, 40(1), 356–401. 39. Schugurensky, D. (2000). The forms of informal learning: Towards a conceptualization of the field. 40. Scribner, S., & Cole, M. (1973). 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Drakaki, Maria. "Exploring the Process of Educational Visits to the Primary schools as an Educational and Cultural Experience. A study based on Empirically Grounded Theory, in parallel with the Perspective of Cultural Communication." Technical Annals 1, no. 1 (December 22, 2022): 317–23. http://dx.doi.org/10.12681/ta.31818.
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The educational visit, regardless of its multiple valuable functions and concepts, is a process of institutionalized education that takes place in places of cultural reference, according to the instructions given in the respective school curricula. It starts at school and ends at school, with an intermediate phase at the Museum. It is, therefore, typically an educational and cultural experience. However, it includes a series of activities that take place in different spaces of identity and philosophy, actions of people from two different scientific and professional fields, interactions of people who approach the process with different means and of course have different goals, needs and motivations. To the pluralism of this peculiar framework of the educational visit are added the qualitative parameters of the condition related to the person who participates and gives a special imprint to the process with his uniqueness, depending on his role. The comparative analysis of three studies on primary school students, teachers and museum professionals sought to provide an explanation from three different groups of subjects actively participating in an educational visit on the identity of the heritage-focused museum experience. The aim was to highlight the points of identification and differentiation in order to improve the effectiveness of the institution with an emphasis on the goals of cultural communication. In other words, how the educational visits as an institutionalized pillar of cultural heritage communication contribute to the formation of awareness attitudes, and the conscious participation of those involved in the whole process.
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KARABUT, Ju. "RESEARCH CENTERS OF DOMESTIC MAKARENKO STUDIES." Pedagogical Sciences, no. 77 (August 28, 2021): 95–99. http://dx.doi.org/10.33989/2524-2474.2021.77.239313.
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The article for the first time in domestic science systematizes the history of formation and development of Ukrainian centers for the study of the creativity heritage of the outstanding teacher and writer A. Makarenko. It is emphasized that Ukraine is an integral and important part of the world Makarenko studies process, it has been at the origins of this area of research and has remained one of its driving forces for many years.The first independent Makarenko center of Ukraine was a research center formed at the Ivan Franko Lviv State University. Its initiator and long-term leader was F. Naumenko, who in the difficult socio-political conditions of the Western Ukrainian community managed to actualize in the first postwar years this promising scientific direction, unite around him young scientists and create a powerful Makarenko school. Authoritative and one of the oldest Ukrainian centers for the study of the heritage of A. Makarenko is the Kharkiv Makarenko School, personified by scientists of the Kharkiv National Hryhoriy Skovoroda Pedagogical University. A characteristic feature of this scientific center is the almost equivalent representation in it of both pedagogical and literary directions of A. Makarenko’s heritage development. The proximity of Poltava V. Korolenko Pedagogical University with the name of an outstanding teacher-reformer inspires bright traditions of research activity of student and teaching staff, including the activities of Makarenko’s student group, Research Laboratory of A. Makarenko and International and All-Ukrainian Makarenko Center, the creation of the State Museum-Reserve A. Makarenko in the village of Kovalivka near Poltava and the Internet resource “Makarenkiana”, holding annual international scientific conferences, unique editions of archival documents and more. Sumy State A. Makarenko Pedagogical University is also a powerful Makarenko center, which has a deep tradition of development of this area of historical and pedagogical science.
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Abano, OP, Isidro. "A Pedagogical Ministry for the Cultural Heritage of the Church in the University of Santo Tomas." Philippiniana Sacra 56, no. 171 (August 3, 2022): 1251–82. http://dx.doi.org/10.55997/5004pslvi171a3.
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The paper is a narration of the University of Santo Tomas’s response to the call of the Church to form most especially the clergy in the area of cultural heritage. As part of her response, the University has established special subjects in the Ecclesiastical Faculties, a Master’s program in Cultural Heritage Studies at the Graduate School, the CCCPET – Center for Conservation of Cultural Property and Environment in the Tropics, and continuous upgrading and development of the UST Museum. All of them have the same end in view, that is, for the formation of the Christian community and Evangelization that started in this country 500 years ago.
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Darius, Elena I., and Mikhail Yu Shishin. "A.V. KHUDYASHEV (1885–1927): BIOGRAPHICAL FEATURES AND ANALYSIS OF THE ARTIST’S CREATIVE HERITAGE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 253–61. http://dx.doi.org/10.17223/22220836/43/21.
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Alexander Khudyashev is a sculptor, painter, teacher, organizer who played a prominent role in the artistic life of two Siberian cities - Tomsk and Barnaul in the 10–20s of the twentieth century. This article, based on the documents found, represents for the first time the main stages of his life and work, active participation in the All-Siberian Association of Artists «New Siberia». Until recently, very little was known about the life and work of this artist. The authors of the article, relying on archival materials, restored the biography of A. Khudyashev, in particular, more fully covered the Barnaul period of his life. On the basis of the documents found in the State Archive of the Altai Krai, the facts of the early years of the master's biography, the period of study at the Kazan Art School, and studies at private art studios in Moscow became known. The article describes his organizational work in Tomsk: on the board of the Tomsk Society of Art Lovers, participating in annual periodic art exhibitions, organizing a number of exhibitions («Exhibition of paintings and sculptures by local artists» and «Autumn exhibition of local and non-resident authors»). In Novonikolaevsk (now Novosibirsk), together with the assistant of the Leipzig Royal Academy of Arts, Czech artist F. Havelka, he participated in the preparation of the first in the history of the city art exhibition of Tomsk and Novikolaevsk professional artists and students of the Tomsk Real School and private studio F. Havelka. The pedagogical activity of the master is noted: in parallel with the creative and organizational work, Khudyashev taught sculpture in F. Havelka’s private drawing classes, drawing in the theological schooland first city women’s school, as well as in the Mariinsky female gymnasium. In 1918, the artist returned to Barnaul, where, according to A. Khudyashev's questionnaire recently discovered in the State Archive of the Altai Territory, he continued his teaching activities at the Barnaul Pedagogical Technical School and at the Workers' Faculty, and also worked in the Altai provincial department of public education. In addition, the artist was engaged in design activities. Becoming a member of the AllSiberian Society of Artists «New Siberia», he took part in the First All-Siberian exhibition of painting, sculpture, graphics and architecture, opened by members of the "New Siberia" in 1927 in Novosibirsk. The history of the Museum of Fine Arts in Barnaul, the first art museum in Altai, is connected with the name of A. Khudyashev. In difficult historical times, the change of the social and political system, the civil war, the introduction of the New Economic Policy A.V. Khudyashev sought to save a unique collection of the first art museum in Altai, understanding the importance and necessity of his work for future generations. The article introduces for the first time into the scientific parlance and analyzes three of his remaining paintings, now stored in the State Art Museum of the Altai Krai, tells about the composition and fate of the collection of the Museum of Fine Arts in Barnaul.
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Lomakina, Mariia А. "The South-Eastern Suburb of Bakhchisarai though K. F. Bogaevskii’s Watercolours: Salachik and Chufut-Kale." Materials in Archaeology, History and Ethnography of Tauria, no. XXVI (2021): 571–93. http://dx.doi.org/10.37279/2413-189x.2021.26.571-593.
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Although the watercolours and pen drawings of still existing and already lost architectural buildings created by K. F. Bogaevskii in the 1920s are more modest than his pictures, they still form the golden collection of the Crimean past. The sketches of architectural monuments are a specific part of the painter’s heritage, which certainly made an impact on the development of his creative approach to the Crimean landscape, were the job he did by an order from the institution responsible for all cultural heritage in the region, or the Crimean Department for the Museum Affairs and Protection of the Sites of Art, Past, Nature, and People’s Daily Life (KrymOKHRIS). This paper presents K. F. Bogaevskii’s watercolours discovered in the collection of the Bakhchisarai Historical, Cultural, and Archaeological Museum Preserve and I. K. Aivazovskii Feodosiia Art Gallery: they show mediaeval monuments located in the south-eastern suburbs of Bakhchisarai, Salachik, and Chufut-Kale. The art historical analysis of these works has been done; the history of their creation has been explored. The author underlines the significance of these drawings for the scholarly studies of the cultural heritage sites of Bakhchisarai, reconstruction of their authentic appearance, localization and identification, and the studies in the cultural heritage site protection works in the Crimea in the 1920s. Artistic value of the painter’s works under analysis is beyond any doubt: the precision of drawing, reproduction of architectonics of buildings, necessary details of pictures were caused by the task and corresponded to K. F. Bogaevskii’s high professional attitude to works. The watercolours and drawings create an artistic image of the monuments with the composition incorporated into the existing natural setting. K. F. Bogaevskii was a landscape painter, a master with academic education, who passed through A. I. Kuindzhi’s school.
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Lo, Patrick, Holly H. Y. Chan, Angel W. M. Tang, Dickson K. W. Chiu, Allan Cho, Eric W. K. See-To, Kevin K. W. Ho, Minying He, Sarah Kenderdine, and Jeffrey Shaw. "Visualising and revitalising traditional Chinese martial arts." Library Hi Tech 37, no. 2 (June 17, 2019): 273–92. http://dx.doi.org/10.1108/lht-05-2018-0071.
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Purpose The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong. Design/methodology/approach A questionnaire survey in both online and paper-based formats was used for identifying visitors’ experiences in the interactions with the multimedia technologies. For this research study, a questionnaire, consisting of 26 items, was set out to measure the visitors’ experiences at the Exhibition. Since the Exhibition was about presenting a centuries-old Chinese cultural heritage, Hakka Kungfu via the use multimedia technologies, in the context of establishing a dialogue between the past and present, the researchers included questionnaire items that were devoted to enquire about the level of understanding, knowledge and enjoyment, and visitors’ new knowledge about Hong Kong history and culture was successfully disseminated to the respondents at the end of the questionnaire. Findings A total of 209 completed questionnaires were collected at this Hakka Kungfu Exhibition. The findings reveal that the exhibits did attract people at all ages. This Exhibition gave the visitors a sense of interest and wonder in the object and information presented in the Exhibition. Findings of this study also reveal that this Exhibition has successfully attracted a large number of female visitors, as well as visitors who have never taken any martial arts training. In addition, visitors’ Exhibition experience was found to be memorable, as well as enjoyable. Furthermore, visitors’ experience within the Exhibition suggested that it was entertaining, as well as educational. By creating a long-lasting impact on the minds of these Exhibition visitors about the connections between and relevance of traditional Chinese Kungfu, their collective cultural identity, as well as the contemporary society we live in. The Exhibition exemplified the successful integration of the presentation of Kungfu as a form of cultural heritage with engagement-creating technology, in which technology is unobtrusive but effective. Originality/value Although it is already a global trend for the museums to integrate multimedia technologies into their exhibitions, research on the situation and feedback of multimedia technology used in the museum exhibitions in Hong Kong is scarce as well as scattered. Findings of this study could help identify various factors involved in audience participation, thereby exploring the possibility of building a contact point/space for traditional Chinese Kungfu as an intangible cultural heritage, via the integration of the latest media technologies. In particular, the development of multimedia technologies has become increasingly important to museums, and museum professionals have been exploring how digital and communication technologies can be developed to offer visitors a more interactive, personalized museum experience. In general, despite the growing interest in deploying digital technology as interpretation devices in museums and galleries, there are relatively few studies that examine how visitors, both alone and with others, use new technologies when exploring the museum contents.
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Barghi, Rabeeh, Zuraini Zakaria, Mastura Jaafar, and Aswati Hamzah. "Students’ awareness and attitudes toward archaeological conservation: Bujang Valley." Journal of Cultural Heritage Management and Sustainable Development 7, no. 1 (February 6, 2017): 48–56. http://dx.doi.org/10.1108/jchmsd-09-2015-0034.
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Purpose Like other components of cultural heritage, the preservation of archaeological sites is important because they constitute a unique and irreplaceable legacy, something that has been received from the ancestors and that should be passed on to future generations. The purpose of this paper is to explore how well secondary school students in Bujang Valley, Malaysia, understand the concept and value of archaeology and to what extent they are interested in archaeology. Design/methodology/approach A questionnaire survey was administered to 110 students, aged 14 and 15 years, from secondary schools in the Bujang Valley area. Findings The results showed that most of the students were interested in archaeology and had a moderately accurate understanding of what archaeology entailed. Their main information sources included museum visits and participating in local archaeological projects. Participants demonstrated a sense of archaeological responsibility in objecting to the illegal trafficking of artefacts. Practical implications Moreover, these findings have significant implications for heritage and education authorities in the Bujang Valley in terms of planning for educational programmes to raising the awareness of local communities. Originality/value These findings expand upon the knowledge of students’ attitudes towards archaeology.
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Santagati, C., G. D'Agostino, R. Garozzo, F. M. La Russa, and M. Galizia. "PARTICIPATORY APPROACH FOR THE ENHANCEMENT OF ARCHITECTURAL ARCHIVES FUNDS: THE EXPERIENCE AT MUSEO DELLA RAPPRESENTAZIONE IN CATANIA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B5-2020 (August 24, 2020): 99–106. http://dx.doi.org/10.5194/isprs-archives-xliii-b5-2020-99-2020.
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Abstract. This paper describes the results of a participatory approach experienced during the training of university and high school students at the MuRa (Museo della Rappresentazione). Mura is a university museum belonging to the Department of Civil Engineering and Architecture at University of Catania. It houses and exhibits the collections of architectural projects of Francesco Fichera and a series of chalcographies including the collection of the renown engraver Giovan Battista Piranesi. The training program has been addressed at the documentation, visualization and communication of the architectures realized by Francesco Fichera and other Sicilian architects in the city centre of Catania in the first half of XXth century, whose projects are hosted by the museum. The methodology adopted has included the experimentation of participatory strategies aimed at the communication and the narration of the architectures built in the early twentieth century in Catania. After a preliminary training phase on digital tools for 3D documentation and enhancement of architectural heritage, the students were invited to participate with their ideas and creative expressions in the dissemination actions of the identified case studies.
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Scarrocchia, Sandro. "The Italian Memorial At Auschwitz: An Approach Through Conservation Theory." Images 6, no. 1 (2012): 119–29. http://dx.doi.org/10.1163/18718000-12340009.
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Abstract According to Bruno Zevi, the Italian Memorial housed at Block 21 of the Auschwitz concentration camp is among the most significant works of contemporary architecture. Recently, it has become the focus of a political and cultural conflict that is itself worthy of study. The memorial was designed as a post-war symbol of the anti-Fascist movement. It is thus heavily influenced by the politics of the Resistance, which characterized the First Republic and influenced the Italian Constitution. However, this sort of politics is incompatible with the post-Berlin-Wall narrative that the Museum of Auschwitz on the international level, along with various Italian governments on the national level, have decided to promote in the twenty-first century. Yet the Italian Memorial is an integral part of the World Heritage UNESCO site at Auschwitz, and its removal or transfer elsewhere, besides constituting a loss for Italian cultural identity, would also vitiate and downgrade the history of Auschwitz. This study looks at the memorial in terms of the discipline of conservation, applying principles elaborated by the Vienna School (Alois Riegl and Max Dvořák) to show how new exhibitions for the pavilions threaten to transform Auschwitz from a monument and historical document into a museum-style fairground, and to reveal the political motivation behind claims of the Memorial’s contemporary irrelevance.
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Орлова, Екатерина Олеговна. "Project activity and historical reconstruction as a means of moral and patriotic education of preschool children." Management of Education, no. 4(44) (September 15, 2021): 10–18. http://dx.doi.org/10.25726/h3892-8695-7863-q.
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К средствам патриотического воспитания ученые относят родной язык, историю, родную природу, культурно-духовное наследие, представленное музейными экспонатами. В осуществлении патриотического воспитания средствами музейной педагогики, необходимо единство государства и семьи. Характерными чертами музееведения, считает ученый, является неформальность (способность создать атмосферу доверия), демократичность, наглядность, коммуникативность (проведение музейных уроков), интерактивность (создание взаимодействия между учителем и учениками и между самими учениками), эмоциональность (патриотическое воспитание невозможно без чувств формирование чувства гордости за свою Родину). Итак, мы соглашаемся с позицией ученых, что среди ценностей русской национальной культуры, необходимых для осуществления патриотического воспитания учащихся начальной школы, важное место занимает музееведение, которое способно влиять на духовный мир человека на уровне подсознания, эмоционального постижения, интуиции. Музей как центр духовного образовательного обогащения детей расширяет его педагогические возможности, способствует взаимопониманию разных поколений и профессий, привлекает детей к вечным духовным ценностям, углубляет патриотические чувства. Музейная деятельность направлена на формирование патриотизма, чувства принадлежности индивида к обществу, а формы и методы музейной педагогики стимулируют эмоционально-волевую сферу учащихся начальной школы и способствуют достижению основной цели патриотического воспитания. Scientists refer to the means of patriotic education as the native language, history, native nature, cultural and spiritual heritage represented by museum exhibits. In the implementation of patriotic education by means of museum pedagogy, the unity of the state and the family is necessary. According to the scientist, the characteristic features of museology are informality (the ability to create an atmosphere of trust), democracy, visibility, communication (conducting museum lessons), interactivity (creating interaction between teachers and students and between students themselves), emotionality (patriotic education is impossible without feelings, the formation of a sense of pride for one's Homeland). So, we agree with the position of scientists that among the values of Russian national culture necessary for the implementation of patriotic education of primary school students, an important place is occupied by museum studies, which can influence the spiritual world of a person at the level of subconsciousness, emotional comprehension, intuition. The museum as a center of spiritual educational enrichment of children expands its pedagogical capabilities, promotes mutual understanding of different generations and professions, attracts children to eternal spiritual values, deepens patriotic feelings. Museum activity is aimed at the formation of patriotism, a sense of belonging of an individual to society, and the forms and methods of museum pedagogy stimulate the emotional and volitional sphere of primary school students and contribute to the achievement of the main goal of patriotic education.
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Marzano, Annalisa. "Preserving cultural heritage and developing a modern city: the difficult case of Euesperides." Libyan Studies 37 (2006): 89–93. http://dx.doi.org/10.1017/s0263718900004040.
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AbstractThis note reports on a paper presented at the American Institute of Archaeology 107th Annual Meeting (Montreal January 2006). The theme of the American Institute of Archaeology Annual meeting was ‘Management and Preservation of Cultural Heritage’. The Euesperides Project presented a paper on Euesperides (Sidi Abeid, Benghazi), the Archaic Greek settlement founded in the sixth century BC. Although the site was declared a protected area for its historical and archaeological importance, it still lacks effective protection. The site, important also from a naturalistic point of view, is used as an illegal rubbish dumping area and is awaiting a long-promised wall to prevent indiscriminate access to it.The paper stressed that many sites in Libya are in need of preservation and protection, even more so after the opening of the country to tourism. The need to develop new infrastructure, if not carefully planned in respect of the cultural heritage, may result in indiscriminate development, as witnessed at Apollonia, where a harbour was being built near the site, obliterating the ancient port. The paper discussed also the Project's proposal presented to the local authorities, concerning the realization of an archaeological park and museum of the history of Benghazi. These projects are important not only to attract tourists, but above all for the local schools and educational programmes directed to inform the younger generations about the importance of their past.
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Tovstolyak, Nadiya. "MYKHAILO TARNOVSKYI — THE FIRST RESEARCHER OF HISTORY OF TARNOVSKYI FAMILY." Kyiv Historical Studies, no. 1 (2020): 158–62. http://dx.doi.org/10.28925/2524-0757.2020.1.21.
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The article hightlights Mykhailo Tarnovskyi (1865–1943) biography and science activity in the spheres of genealogy, biographic, historical, Shevchenko studies, ethnography. He belonged to the old noble Tarnovskyi family, was born in 1865 in the Kachanivka estate — the famous Ukrainian historical culture centre. His uncle, the Kachanivka estate owner — Volodymyr Tarnovskyi, was the founder of the Museum of Ukrainian Antiquity and well-known philanthropist. Mykhailo Tarnovskyi graduated Kyiv Real School in 1884, he was awarded a diploma in higher education in Switzerland. At the beginning of the 20th century he was a governmental official in Kyiv. In the Soviet Ukraine he worked as a photographer. For many years he researched genealogy and history of the Tarnovskyi family. He was the author of the first article about the Kachanivka estate in 1915 and described the Tarnovskyi family tree. He searched for the materials about members of the Tarnovskyi family and Taras Shevchenko in the Ukrainian museums and archives, recorded the memoirs of his relatives. He wrote the researches down, but his manuscripts were printed by his daughter Iryna Tarnovska only in 1997. We should admit, that it happened to be important publication in use for modern historians. There are still unpublished Mykhailo Tarnovskyi’s manuscripts and photographic works. The author is going to conduct investigation of Mykhailo Tarnovskyi life and science heritage.
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Andrade, Pedro. "Communication of art via open research: on cultural policies, heritage and reception of innovation in art." Comunicação e Sociedade 31 (June 29, 2017): 361–76. http://dx.doi.org/10.17231/comsoc.31(2017).2623.
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This article debates some main modes of art communication within the urban public space, and their interpretation through Open Research. In particular, it discusses communication regimes in places where cultural and artistic events occur, such as the museum. One of the communicative phenomena circulating there is informal art literacy, which is a different and sometimes opposite process in relation to the formal education at school. Having this aim in mind, firstly two core concepts within Art Communication Studies, which are crucial to this debate, are defined: Public Communication of Art-PCA and art literacy. Secondly, questions pertaining to art communication are raised: the definition of cultural policies that allow cultural inclusion of diverse art publics segments; the role of digital devices to improve the understanding of cultural heritage; the more adequate communication and management strategies for improving publics literacy; the reception process undertaken by cultural audiences around art ideas and concepts shared through art events. Thirdly, such questions are framed within the main theoretical and authors’ positioning in Art Communication Studies. Next, some brief practical advices and recommendations concerning how to develop a research on communication within art worlds are exposed in two parts: the first part suggests some hypothesis corresponding to the previous formulated questions. The second part establishes a synthetic and practical agenda for doing a research on this subject. Some emergent sociological apparatuses, produced to improve the social and cultural impact of art communication, are also presented. Finally, specific modes and targets of this impact are discussed.
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Denes, Alexandra, Paritta Chalermpow Koanantakool, Peter Davis, Christina Kreps, Kate Hennessy, Marilena Alivizatou, and Michelle L. Stefano. "Critical Reflections on Safeguarding Culture: The Intangible Cultural Heritage and Museums Field School in Lamphun, Thailand." Heritage & Society 6, no. 1 (May 2013): 4–23. http://dx.doi.org/10.1179/2159032x13z.0000000004.
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Nessim, Marian, Sara Khalifa, and Karim El Sheikh. "City Identity Reflected in Art Craft School Student Projects at Sour Magra El Oyoun in Cairo." Academic Research Community publication 3, no. 4 (May 27, 2019): 49. http://dx.doi.org/10.21625/archive.v3i4.538.
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This paper addresses a very critical issue which concerns designing a project in a historical area meanwhile coping with the contemporary architecture with all its aspects and needs.In this paper, authors represent a real experience with a group of undergraduate students from Arab Academy for Science Technology & Maritime Transport (AASTMT), Smart village. Those groups of students were required to design an “Art craft school and tannery museum” at the wall of “Magra El Oyoun” at “Masr el Kadima”.This historical area had a very special historical and social nature and regulations which opposed a great challenge to the students, especially since all the tanneries now are being demolished and moved to the “Rubeiky”, including the old tanneries that should have been considered as a heritage worth conserving.The course was conducted over 2 phases: Research phase and Design Phase. In research phase, students were requested to study 3 main aspects: Social, Physical and Building regulations.All these studies beside the program of the project formed the identity of the projects which came out with a rich variety of ideas and designs and reflects in different ways the special character of this historical area.The research conclusions, design process and the deliverables will be presented in this paper to show to which extent those group of students succeeded to achieve this goal socially and physically.
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Melnikova, Olga Mikhailovna. "UDMURT CORRESPONDENTS OF ARCHAEOLOGIST O.N. BADER." Yearbook of Finno-Ugric Studies 16, no. 4 (December 26, 2022): 656–66. http://dx.doi.org/10.35634/2224-9443-2022-16-4-656-666.
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The article is devoted to a little-studied period in the history of archaeological research on the territory of Udmurtia in the post-war years, as reflected in letters addressed to the famous archaeologist Otto Nikolayevich Bader. O. N. Bader worked at the Perm (Molotov) University from the second half of the 1940s until 1954, he formed a scientific archaeological school. Together with his students, he engaged in the archaeological study of the vast Ural-Volga region, including the territory of Udmurtia. O. N. Bader maintained contacts with many scientific, educational and museum organizations. The article publishes letters addressed to the scientist from the director of the Udmurt Institute of History, Language and Literature under the Government of the Udmurt ASSR (UdNII) I.F. Kutyavin, the director of the Republican Museum of Local Lore M.N. Sutyagin and researcher of the UdNII A.F. Trefilov. They allow us to see the direction and content of archaeological research, participation of the UdNII and the Republican Museum of Local Lore in them. The letters reflect the formation process of archaeological personnel for Udmurtia, in particular, the beginning of the scientific biography of the famous Soviet archaeologist V.F. Gening. The letters reflect the process of work on the two-volume edition "Essays on the history of the Udmurt ASSR" in terms of writing sections on ancient and medieval history. They reveal the daily life of the researchers in the post-war years. The letters are part of a significant epistolary heritage - letters addressed to O.N. Bader in Perm in the 1940s-1950s. They are kept in the Museum of History of the Perm State Research University and are given to the author for study.
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Kalagurka, Khrystyna. "Makarenko studies at Lviv University." Visnyk of the Lviv University. Series Pedagogics, no. 37 (2022): 91–97. http://dx.doi.org/10.30970/vpe.2022.37.11646.
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The article highlights the main directions of Makarenko studies at Lviv University, namely the theoretical study of A. Makarenko's heritage, publishing activities, international cooperation, scientific and educational events, support of educational community in establishing the museums. Based on the analysis of the scientific collections "A. S. Makarenko", the author of the article summarizes the achievements and interests in the field of Makarenko studies of famous Lviv scholars H. Paperna, O. Nernovia, V. Savynets, and M. Hodyna. It was found that many articles on Makarenko’s achievements were published by Ye. Syavavko, A. Kukhta, I. Baiik, and a Lviv teacher Yu. Lvova, who for many years worked closely with the Department of Pedagogy and Psychology of Lviv University. It is investigated that H. Paperna's contribution was the study of the preconditions for the formation of A. Makarenko's worldview, his personal traits, which influenced the formation of non-standard approaches to working with pupils. In the field of her scholarly interests there was also the study of Makarenko's collective team, in particular the effectiveness of its functioning. V. Savynets and M. Hodyna were the first initiators of Makarenko studies in Western Ukraine. It was found that V. Savynets revealed the pedagogical value of Makarenko's innovations, argued the universality of his methods in working with children in the family, at school, and in special penitentiary institutions. M. Hodyna studied the psychology of A. Makarenko's activity and behavior. O. Nerovnia became one of the first who studied the issue of self-education of the pupils in correctional facilities or special boarding schools and singled out the requirements for the organization of their self-education. Yu. Lvova carried out the approbation of A.Makarenko’s ideas about the activity of youth groups (education of the leaders, the system of assignment, formation of traditions in the team). Thus, they enriched the historical and pedagogical science with new facts and conclusions, and most importantly, practically implemented the basic ideas and approaches of the famous pedagogue. Keywords: Lviv University, Makarenko studies, F. Naumenko, H. Paperna, O. Nerovnia, M. Hodyna, Yu. Lvova.
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Bedulina, I. P. "PRESERVATION, STUDY AND POPULARIZATION OF BOOK HERITAGE IN IRKUTSK ("ACADEMIA" PUBLISHING HOUSE COLLECTION)." Proceedings of SPSTL SB RAS, no. 1 (March 6, 2020): 26–34. http://dx.doi.org/10.20913/2618-7515-2020-1-26-34.
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"Academia" Publishing House (1922–1937) books are an example of high publishing culture.For many years, the products of the publishing house have been the subject of close attention on the part of bibliophiles and collectors in many countries of the world. The reason for this interest is literary impeccability and excellent decoration. To reach unprecedented artistic heights became possible thanks to the work of the best Soviet professional artists. All the existing printing methods, the best printing houses, and graphic art techniques were used while creating these books. The history of the publishing house, covered in rare publications, alongside with triumphal events, victories at international book competitions, is full of dramatic and even tragic pages. It can be called the publishing house of repressed editors, authors, and books.Almost all the managers of Academia, many employees were subjected to repressions, were sentenced to capital punishment. Their names were extorted from the output of the entire book circulation; introductory articles were cut out, publications were discontinued, sometimes, entire print runs of books were destroyed. In modern libraries, copies of such "repressed" books have been miraculously preserved. That is why it is difficult to overestimate their historical and cultural value – genuine documentary witnesses of historical events of almost a century remoteness.The history of the Academia Publishing House is intertwined with Irkutsk, since the stuff included people whose fate related to the city on the Angara: the last head of the “Academia”, Yakov Davidovich Yanson, after the October revolution held leadership positions in the government in Irkutsk; the founder of the Soviet school of folklore and anthrax studies, Irkutsk professor Mark Konstantinovich Azadovsky also collaborated with the publishing house “Academia”.The article is the first to observe the questions of valuable collections formation and preservation in the Irkutsk Regional Universal Scientific Library named after I. I. Molchanov-Sibirsky (IRSUSL), the former library of the Irkutsk Pedagogical Institute and the library of the Irkutsk Regional Art Museum named after V. P. Sukatchev (IRAM). Collecting bit-by-bit book masterpieces, librarians study, popularize them at exhibitions, presentations, lectures, showing the authentic Russian book art culture.
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Danilovich, V. V., and V. L. Lakiza. "Institute of History of the National Academy of Sciences of Belarus: Achievements and Prospects." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, no. 4 (October 31, 2018): 434–46. http://dx.doi.org/10.29235/2524-2369-2018-63-4-434-446.
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The article presents the major accomplishments of the Institute of History of the National Academy of Sciences of Belarus in recent years – the leading scientific organization in the field of fundamental and applied research on national and universal history, archaeology and anthropology, including organization and implementation of activities to study and preserve the historical, cultural and archaeological heritage of the country, practical application and popularization.In the year of the 90th anniversary of the National Academy of Sciences of Belarus the Institute incorporates 5 centers: the Center of Archaeology and Ancient History of Belarus (including departments of archaeology of primitive society, archaeology of the Middle Ages and Modern times, the department of preservation and using of archaeological heritage, the department of history of Belarus in the Middle Ages and early Modern times); the Center of Modern and Contemporary History of Belarus (including departments of history of Belarus in modern times, the military history of Belarus, the department of the newest history of Belarus); the Center of History and Anthropology Related Sciences (including departments of genealogy, heraldry and numismatics, the department of source studies and archeography, the departments of historiography and methods of historical research, anthropology); the Center of General History and International Relations; the Center for History of Geopolitics.The Institute has an Archaeological Scientific and Museum Exposition, the Central Scientific Archive of NAS of Belarus (including the only one in the country Fund of archaeological research documents) and the International School of Historical and Archaeological Research.The article focuses on the achievements of scientists in the framework of fulfilling the tasks of the subprogram “History and Culture” of the state research program “Economics and Humanitarian Development of the Belarusian Society” for 2016– 2020, as well as the results that were included in the TOP 10 achievements of the National Academy of Sciences of Belarus, important publications, scientific and practical events, prospects for the development of scientific research.
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Kovycheva, Elena Ivanovna, Irina Alekseevna Kosareva, and Swetlana Dmitrievna Smirnova. "EDUCATION SYSTEM DEVELOPMENT IN THE FIELD OF FOLK ARTISTIC CRAFTS AND DECORATIVE-APPLIED ARTS IN THE UDMURT REPUBLIC." Yearbook of Finno-Ugric Studies 16, no. 1 (March 20, 2022): 180–92. http://dx.doi.org/10.35634/2224-9443-2022-16-1-180-192.
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The subject of the article is a historical process of teaching folk artistic crafts and decorative-applied arts in the Vyatka province and the modern Udmurt Republic. The research source was archive documents, reports of craftsman houses and centers, reports of educational institutions, published editions. The article studies the influence of the first exhibition events of the mentioned zemstvo and the first handicraft museum on the improvement of skills of artists from the people; describes the opening of training workshops, schools and classes for craftsmen teaching. The article indicates the reasons for the decay of traditional art craftwork during the period from 1930 to 1990, and the circumstances of the formation of new conditions for their development during the post-Soviet period. In the article, modern forms of specialist training in this field are represented based on the example of interaction between professional educational organizations, industrial enterprises, cultural institution. The growth factors of skills level among the specialists of craftwork centers and houses in the Udmurt Republic have been determined. Methodological cooperation and promotion of folk masters' art have been studied in the system of supplementary education. The article analyzes the interaction between scholars and specialists of craftwork centers while creating programs for teaching traditional types of decorative-applied art, enhancing the population engagement with national folk crafts as a cultural heritage of ancestors.
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Jääts, Indrek, and Svetlana Karm. "Aleksei Petersoni roll vepslaste ja udmurtide rahvuslikus taassünnis (1980.–1990. aastad)." Eesti Rahva Muuseumi aastaraamat 63, no. 1 (December 21, 2021): 45–66. http://dx.doi.org/10.33302/ermar-2020-003.
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Estonian ethnographers have always taken a keen interest in Finno-Ugric peoples, their linguistic kin. The golden age of Finno-Ugric studies in Estonian ethnography began in the 1960s and lasted until the early 1990s. The State Ethnographic Museum of the Estonian SSR in Tartu (the current Estonian National Museum) emerged as the center of Finno-Ugric research with its long-term director Aleksei Peterson at the helm of the enterprise. Estonian ethnographers visited almost all Finno-Ugric peoples, with the major focus given to the Veps in the 1960s and 1970s, and to the Udmurts, in the 1980s. The museum acquired an awe-inspiring number of ethnographic objects, descriptions, photographs, drawings and films. Did all this benefit the peoples visited? What was the relationship of Estonian ethnographers with the subjects of their research? Did their plight affect Estonian scholars? The Estonian ethnographers had a high regard for the ethnic particularities, languages and traditional folk cultures of the kindred peoples and resisted their disappearance. Their views contradicted the Soviet nationalities policy which until the mid-1980s, emphasized the convergence and assimilation of nations. The interaction between the Estonian ethnographers and the Veps and Udmurts during the long series of expeditions helped to stimulate the suppressed and weak ethnic self-esteem of the latter. The mid-1980s marked the beginning of the era of Gorbachev’s glasnost and perestroika. As a result, national issues could be discussed openly, and it was at that time that the national revival of the Veps and Udmurts began. Estonian ethnologists embraced the process and actively contributed to it. This is especially true of Peterson, who was quite well known in Vepsia and Udmurtia and had a certain authority there. In his speeches at various events and in the press, Peterson encouraged the use of Veps and Udmurt in public life, including the schools. He emphasized the need to place a greater emphasis on traditional folk culture, which he considered to be critical to the national identity of small nations. His ideas influenced the creation of the open-air museum of the Udmurts. He supported the territorial autonomy of the Veps. He could speak as a messenger of perestroika whose word had weight. Thus Veps and Udmurt activists and nationally-minded ordinary people received inspiration and moral support from Peterson (and other Estonian ethnographers) for the preservation of their mother tongue, national identity and cultural heritage.
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Cocker, Alan. "Editorial." Back Story Journal of New Zealand Art, Media & Design History, no. 1 (December 1, 2016): 2–3. http://dx.doi.org/10.24135/backstory.vi1.8.
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It is a pleasure to be able to introduce the first issue of BackStory. The idea behind this journal is to provide a medium for those interested in ‘looking back’ at New Zealand’s art, media and design history. These are the stories that lie behind current media, art and design production and practice in this country. It is envisaged that this new journal will provide an opportunity to explore our rich heritage in these fields.
In part the motivation to launch a new journal is to meet a perceived need. The country presently does not have a journal which has the focus envisaged for BackStory. The Journal of New Zealand Art History (JoNZAH) was last published in 2012/13 and its absence has meant that those interested in reading and writing about this aspect of our cultural history lost a valued publication. The editorial team has approached the Hocken Library who provided editorial and production input for the JoNZAH and gained their support for the BackStory initiative. It is acknowledged that the new journal is not a re-launch or continuation of the JoNZAH. Instead, BackStory: Journal of New Zealand Art, Media and Design History, seeks to broaden the scope of its predecessor to include media and design history. The editorial teamhope that those who valued the JoNZAH will find value in this journal as a worthy successor.The initial editorial team for BackStory is drawn from the Auckland University of Technology (AUT) and an Editorial Advisory Board has been established. The establishing editorial team are Minna Pesonen (Designer), Rosemary Brewer, Alan Cocker and Peter Hoar from the School of Communication Studies, Peter Gilderdale from the School of Art & Design and Simon Mowatt from the Faculty of Business. It is the hope of this team that BackStory has an appeal beyond academia and will inspire contributions from those working in this country’s libraries, galleries and museums as well as others who have an interest in the history of New Zealand art, design, photography and media. We are pleased that this first issue contains contributions from curators at the Auckland Museum and Te Papa, and that there is a wide representation of different material drawn from across the target disciplines. Our hope is that the quality of the research and writing, and the common New Zealand focus will entice readers into crossdisciplinary explorations.
All submissions except commentaries will be blind peer reviewed by two reviewers to conform to university research publication standards but we are seeking contributions that will have an appealbeyond the university. In the so-called online age the decision to publish a printed form is deliberate. The editorial team are seeking the highest print production standards conscious of the artifact value of this journal.
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Macdonald, Sharon. "Museum Europe." Anthropological Journal of European Cultures 17, no. 2 (September 1, 2008): 47–65. http://dx.doi.org/10.3167/ajec.2008.170204.
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This article is concerned with some of the implications of the fact that Europe is so widely seen as a place replete with heritage, museums and memory, and also with the continuing expansion in numbers and types of heritage, museums and memory. It seeks to explore some of the ways in which heritage, in particular, is understood (including what it calls 'sticky heritage'), and especially the cultural and social work that it is often seen as able to do. To this end, the article reviews a number of trends in heritage developments, especially the diversification of what it calls 'Museum Europe' (e.g. in the establishment of museums or exhibitions about migration) and the kinds of citizenship that this mobilises. Some of the dilemmas as well as capacities of these developments are discussed. At the same time, the article reviews some of the directions in heritage research and the implications of this, and of 'Museum Europe' itself, for anthropology, ethnology and related disciplines.
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Carvalho, Rosário Salema de, and João Pedro Monteiro. "EDITORIAL." ARTis ON, no. 8 (December 30, 2018): 4–7. http://dx.doi.org/10.37935/aion.v0i8.212.
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From the theoretical point-of-view, the azulejo has been studied in Portugal since the second half of the nineteenth century through a perspective that increasingly highlights the idea of originality and, more recently, the identity factor. Actually, today the azulejo is regarded as one of the arts that best identifies Portuguese heritage. However, is it truly so? Is it reasonable to associate identity narratives with azulejo or is this idea connected only to issues of national marketing?Included in the Month of the Azulejo and the European Year of Cultural Heritage, AzLab#42 special seminar, entitled Identity(ies) of the azulejo in Portugal [1], aimed at debating issues of identity related to glazed tiles, focusing its attention both on the historiographic construction of this (these) concept(s) and on the different points that distinguish the Portuguese usage of the glazed tile from how other countries understand this art form.Following a protocol signed between the Rede de Investigação em Azulejo (Azulejo Research Network – ARTIS-IHA/FLUL) and the Amigos do Museu Nacional do Azulejo Association (Friends of the National Azulejo Museum), AzLab#42 took place at Amphitheater III of the School of Arts and Humanities of the University of Lisbon on October 4, 2018. The international call for papers had a significant number of proposals, from which, after a blind peer-review process, six were selected. To the latter, three other sessions were added with guest-speakers whose work has been acknowledged in this field of study, which in turn led to vigorous discussions in the several debates held during the seminar.For the reasons given, because it secures contributes of the several authors with different educational backgrounds and nationalities, the conference proceedings now published are enormously relevant for the future. In addition, this volume also fulfills one of the initial goals of this initiative: to introduce the scientific community’s perspective of this matter and contribute to the theoretical support of the Portuguese azulejo’s application to UNESCO World Heritage.ARTis ON’s special number mirrors AzLab#42 seminar’s program. As a result, it starts with a set of articles related to historiography, featuring studies dedicated to general themes which are followed by more specific ones. Nuno Rosmaninho’s article opens this volume with a study entitled “Portuguese azulejos and other national arts” in which the author seeks to “link the identity appropriation of the azulejo to a source common to most artistic discourse in the nineteenth and twenty-first centuries”.Focusing on differentiating issues, Alexandra Gago da Câmara and Rosário Salema de Carvalho list originality facts identified by European historiography until the mid-twentieth century, observing how these spring from seemingly diverse ideas to actually embody a set of well-defined points. From an even more funnelled perspective, Sandra Leandro explores Joaquim de Vasconcelos’ role in this context while João Pedro Monteiro addresses one of the most significant researchers in the glazed tile field of study – João Miguel dos Santos Simões.The appreciation of the convergent and divergent points between Portuguese and Spanish tiles, understood as focal loci for the azulejo’s universal reach, is presented by Jaume Coll Conesa. Following this study, there is a set of articles that, addressing the call for papers’ theme “azulejo: what identity(ies)”, considers certain distinctive characteristics. Fátima Rodrigues and Pedro J. Freitas analyse patterned tiles using mathematical models of classification; Cristina Carvalho examines advertising panels; Shelley Miller shows how her artistic interventions call the concept of identity into question and, continuing with contemporaneous studies, Inês Leitão ends this section by analysing how artists perceive identity issues associated with the azulejo.However, there is still plenty to debate and clarify. Indeed, one of the most interesting points concerning AzLab#42, and the articles now published, rests on the range of topics that arise as future research perspectives. Nevertheless, is the importance acknowledged to the azulejo today, how it distinguishes national landscape – whether by its physical presence or as a key element in the Portuguese collective imaginary – as well as its role as a reference to a broad set of other cultural and artistic displays, ranging from fashion to cuisine, enough to grant it the status of a culture’s identity defining art form? Or are we sometimes witnessing a discourse that aims to subordinate Portuguese tiles to a wider narrative, making them fit into a set of supposedly distinctive factors, which actually intends to build a national image for foreign consumption?Since we believe this volume is a contribution to the future and that from this initiative several others might be held, for the moment we must thank all participants and AzLab#42’s Scientific and Executive Committee. In addition, we would like to highlight the support given by Inês Leitão in terms of graphic design and organisation as well as by Rafaela Xavier and Fábio Ricardo.---[1] AzLab is a monthly seminar organised by the Az group – Azulejo Research Network, of ARTIS – Instituto de História da Arte da Faculdade de Letras da Universidade de Lisboa (Art History Institute of the School of Arts and Humanities of the University of Lisbon), in collaboration with the National Azulejo Museum (https://blogazlab.wordpress.com). AzLab’s goal is to create new analysis perspectives on issues related to the azulejo, among which are research, inventory, collecting, safeguarding, creating or divulging. The idea of developing a research lab on azulejo, which addresses experimental procedure concepts associated with these spaces, is applied to the discussion AzLab wishes to promote. It also introduces a concept foreign to art history, aiming at developing a multidisciplinary research. Every month a theme is submitted to public debate, which may stem from research projects, masters’ dissertations, PhD thesis, among others. National researchers, who are connected to the most diverse institutions, are invited to participate as well as, whenever possible, foreign scholars. AzLab#42 special Identity(ies) of the Azulejo in Portugal was a one-day conference, which was co-organised by the Amigos do Museu Nacional do Azulejo Association and also supported by Centro Atlântico publisher.
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Babić, Darko. "Bridging the Boundaries between Museum and Heritage Studies." Museum International 68, no. 1-2 (January 2016): 15–28. http://dx.doi.org/10.1111/muse.12100.
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Luo, Pan. "Report on Heritage and Community." Museum Worlds 10, no. 1 (July 1, 2022): 216–17. http://dx.doi.org/10.3167/armw.2022.100118.
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Organized by the Chinese National Museum of Ethnology and Yunnan University, the Third Biennial International Museum Anthropology Conference took place 30–31 October 2021. Seventy-six scholars in the fields of museum studies and anthropology from around the world joined the conference online to explore the theme of “Heritage and Community.” The purpose of this conference is to take museum anthropology as an analytic framework to explore how ethnic minorities, nation-states, and the global community engage with the values of integrity, harmony, strength, and vitality through materials and cultural heritage.
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Ivanysko, Svitlana, and Pavlo Shydlovskyi. "Review of the textbook ‘Introduction to Museum Studies and Monument Studies’." Bulletin of Kyiv National University of Culture and Arts. Series in Museology and Monumental Studies 4, no. 1-2 (December 28, 2021): 79–85. http://dx.doi.org/10.31866/2617-7943.4.1-2.2021.249081.
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Introduction to Museum and Monument Studies book edited by Professor Olena Honcharova, DSc in Cultural Studies, and Associate Professor Serhii Pustovalov, DSc in History, is devoted to topical issues of museum and monument protection, museum studies history and theory, museum staff archaeology training, legislative support for the museum industry, examination of historical and cultural values; presents the views of leading Ukrainian and world scientists and experts on solving current problems in this area. The book is addressed to students, graduate students of field-oriented higher education institutions, museum and heritage conservation staff. For the first time, the textbook comprehensively provides the basics of both programme subject area components: museum studies and monument studies.
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Aleksandra N., Balash. "Museology and research of new materiality." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 18–23. http://dx.doi.org/10.30725/2619-0303-2022-1-18-23.
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The expansion and diversification of the museum space prompts researchers to return to the concept of «museum object», which is fundamental for all museum activities and theoretical museology. The interdisciplinary character of modern humanitarian knowledge gives way to the integration of the concepts of a museum object with new areas of material studies. These studies directly interact with museum practice and influence the construction of new museological theories. The dynamism of the new methodology of material research correlates with the performative nature of modern museum practices, therefore accentuating the mercurial relationship between material, intangible and digital heritage, the museum object itself and the museum collection. The developments and conceptual positions of material studies, transferred to museology, make it possible to substantiate the modes of soft musealization as a hybrid existence of an artifact in the museum and non-museum space, the legitimacy of creative research and interpretations of artifacts and collections, the relevance of their inclusion in museum practice. The considered methods can be fundamental not only for the fixation and representation of intangible heritage in the museum, but for creation and development of collections of digitized and digital heritage as well.
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Kannike, Anu, and Ester Bardone. "Negotiating Food Heritage Interpretations: Experiences of a Project at the Estonian National Museum." Journal of Ethnology and Folkloristics 15, no. 2 (December 1, 2021): 112–34. http://dx.doi.org/10.2478/jef-2021-0020.
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Abstract The article examines varied interpretations of food heritage in contemporary Estonia, relying on the authors’ experiences of a three-year research and development project at the Estonian National Museum (ENM). The study focuses on the museum researchers’ collaboration with different stakeholders, representing small entrepreneurs and the public and non-profit sectors. The authors tackle the partners’ expectations and outcomes of diverse cooperational initiatives and the opportunities and challenges of a contemporary museum as a public forum for discussions on cultural heritage. The project revealed that diverse, complementary, and contested food heritage interpretations exist side-by-side on the Estonian foodscape. Additionally, the project enabled the authors to become better aware of the researcher’s role in the heritagisation process and of the museum as a place for negotiating the meanings and values of food culture.
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Wang (王苍柏), Cangbai. "Diaspora Museum." Journal of Chinese Overseas 18, no. 1 (March 18, 2022): 62–89. http://dx.doi.org/10.1163/17932548-12341456.
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Abstract The existing research on Tan Kah Kee’s museum practices focuses mainly on how he developed museums as an educational institute to modernize China. This paper re-examines his contributions to China’s museum development from a longitudinal perspective and by adopting a transnational view. By contextualizing Tan’s museum exercises in his life experience as a Chinese migrant in British Malaya and through analyzing the architecture design, collection and audiences of his museums, it conceptualizes the museums built by Tan as “diaspora museum,” defined as a heritage-making space constructed through the interactions between Chinese diasporas and the Chinese homeland, produced by and producing a de-territorialized vision of nation and identity. In addition, based on this case study it argues that overseas Chinese opened up an alternative route to transmitting museology to China. Instead of transferring museum directly from Western countries, they acquired a knowledge of museum through encounters with mediated Western modernity in colonial Southeast Asia and then transmitted it (indirectly) to China. Tan’s museum endeavors laid the foundation of a “diasporic heritage-building” tradition that has had a long-lasting impact on museum development in China today and among the overseas Chinese communities.
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Petersen, John. "Though This be Madness: Heritage Methods for Working in Culturally Diverse Communities." Public History Review 17 (December 22, 2010): 34–51. http://dx.doi.org/10.5130/phrj.v17i0.1802.
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In 1998, the NSW Migration Heritage Centre was conceived by the NSW Government as a virtual heritage centre to help ageing former migrants tell their stories. Migration museums and other organisations interested in heritage are grappling with how to identify, record, preserve and interpret the heritage legacy of migration and settlement in their communities. The distinctions between museum and environmental heritage practices have diminished during the past decade in Australia. The Centre’s methodologies are based on historic method and thematic and typology studies, better known for their application to heritage place identification and archaeological artefact studies than for their more recent use by some Australian museum curators for the survey and documentation of collections and community participation in heritage. The ‘virtual museum’ has enabled the Centre to break away from the centralised museum concept, with the associated trappings of venue management, to pioneer a decentralised and dispersed museum model that works almost entirely in collaborative community history research partnerships to document culturally significant collections, and associated migration memories, held by communities and private individuals. The work is centralised on the Centre’s website as a virtual collection of objects, places and associated memories. They are presented in online exhibitions for student research and as a destination for the mass audiences of the worldwide web.
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Senkivska, Halyna. "REPRESENTING THE HISTORY OF UKRAINIAN PRIVATE GYMNASIUM IN THE MATERIALS OF KREMENETS REGIONAL SOCIETY «PROSVITA» NAMED AFTER T. H.SHEVCHENKO." Scientific bulletin of KRHPA, no. 11 (2019): 130–35. http://dx.doi.org/10.37835/2410-2075-2019-11-15.
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In the article the author analyzes some aspects of the cultural and educational activity of Kremenets Gymnasium named after Ivan Steshenko referring to the materials of Kremenets regional society «Prosvita». The conducted analysis shows that the institution became the center of national life of Ukrainians in the region that contributed to the activation of the historical and ethnographic movement in Volyn. It was investigated that local lore studies were carried out on the one hand by Polish research and ethnographic societies, which used the support of the academic institutions of Poland, and on the other hand - Ukrainian local lore centers based on the cultural and educational centers of Western Ukraine, in particular on the Scientific Society of them. Shevchenko, «Prosvita», museum institutions, etc. And certain achievements of the local lore movement in Volhynia became possible to a large extent due to the active work of Prosvita in Kremenets, whose figures influenced the formation of the national consciousness of Ukrainians. On the basis of the analysis of the source base of the research, the investigator presents the facts of the opening of the Ukrainian gymnasium named after Ivan Steshenko, which began functioning on October 1, 1918, and became the focal point of the national life of Ukrainians in the region. At the request of Kremenets' Prosvita, the Ministry assigned her the name of Ivan Steshenko, an active figure of the UPR, the Minister of Education. The opening of the gymnasium was a major event in the life of the region, as it began its activity as a state and was the only Ukrainian secondary school in the whole county. Study of the Ukrainian language and history of Ukraine in the gymnasium was mandatory. The first director of this educational institution was Sergey Milyashkevich, and later in different years of activity – I. Rey, Kobrin, L. Kontsevich. Kremenets Gymnasium was famous for its pets: Ulas Samchuk, Oksana Lyaturinskaya, Cyril Kutsyuk-Kochinsky, Maria Kavun-Kreminyarivska, who became famous writers. Many students of the high school distinguished themselves in the field of Ukrainian writing, education and culture. The author has pointed out the fact that many gymnasium students have been taken an active part in the events of the 40–50's of the twentieth century. The attention has been emphasized on Mykola Medvetsky (pseudo Hrin) as the leader of the rebel formation, who belonged to the secret youth organization «Yunak», which had appeared in an educational establishment. The indisputable role of the gymnasium in forming the intellectuals of the region, which left a significant trace not only in the history of Kremenets but also throughout Ukraine, is noted. The author concludes that the Ukrainian gymnasium named after Ivan Steshenko at that time became the center of the historical and ethnographic movement in the region. In spite of the interference of the then system in scientific life, obstacles on the part of the authorities, the Ukrainian gymnasium did a lot for the national revival of the region, contributed to the establishment of national education. Materials concentrated in the rayon society "Prosvita", contribute to the understanding of its historical heritage, the formation of national consciousness.
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Sergeev, Tikhon S. "ETHNOCULTURE OF THE MONGOLS IN THE WORKS OF ORIENTALIST N.Ya. BICHURIN." Historical Search 3, no. 2 (June 30, 2022): 95–104. http://dx.doi.org/10.47026/2712-9454-2022-3-2-95-104.
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The article is dedicated to the role of a native of Chuvashia, an outstanding learned monk, corresponding member of the Russian Academy of Sciences, founder of Russian sinology N.Ya. Bichurin (1777–1853) in the study and popularization of the ethnoculture of the Mongols in the XIX century. Mongol studies date back to the XIII century, the time of Genghis Khan, who created a vast and powerful Mongol Empire. It was a memoir of ambassadors and travelers, Western European Christian missionaries. In the XIX century, the center of world Mongolian studies was concentrated in Russia, where A.L. Leontiev, I.K. Rossokhin, Ya.I. Schmidt, O.A. Kovalevsky, A.V. Popov, I.P. Voytsekhovsky, P.Ya. Petrov and other orientalists were focusing on its problems. They studied languages, history, ethnography, geography of the peoples of China, Mongolia, Tibet, India, Kalmykia, etc. A significant trace in the study of the Mongolian language and ethnoculture was left by Professor of Kazan University O.M. Kovalevsky, a participant of expeditions to Transbaikalia and Mongolia (1828–1833), the author of grammar, anthology, and dictionaries of the Mongolian language. The Kazan school of orientalists included N.Ya. Bichurin (monk Hyacinth), the head of the IX Russian Theological mission in China (1807–1821), and a participant of ethnographic expeditions (1830–1831, 1835–1837). During 1828–1853 he published a number of fundamental works on Oriental studies, including on the ethnoculture of the Mongols and their neighbors: a translation of the “History of the Mongols”, the works “Notes on Mongolia”, “The History of the Four Khans from the Family of Genghis Khan”, “Historical Review of the Oirats or Kalmyks from the XV century to the present time”. He published more than a dozen articles in well-known Russian popular journals. Not all the judgments and conclusions of N.Ya. Bichurin on the ethnogenesis of some Eastern peoples are shared by modern scientists. Nevertheless, his works on China, Mongolia, Tibet, Kalmykia, the Uyghur territories to a certain extent helped the Russian state to learn about the internal and external problems of the Eastern countries and peoples, their original ethnic culture. The learned monk was sympathetic to the peoples of the East and predicted our rapprochement in the historical future. Laureate of four Demidov Prizes, Corresponding Member of the Russian Academy of Sciences N.Ya. Bichurin received well-deserved recognition during his lifetime. Our contemporaries, residents of Chuvashia, with respect and pride treat the heritage of the outstanding countryman N.Ya. Bichurin. Settlements, streets, museums are named after him, monuments and busts are built in his honor, state and public awards (order, medal, pennant, prizes) are established.
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Orr, Noreen. "Museum Volunteering: Heritage as ‘Serious Leisure’." International Journal of Heritage Studies 12, no. 2 (March 2006): 194–210. http://dx.doi.org/10.1080/13527250500496169.
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Poulot, Dominique. "Intangible Heritage in France." Ethnologies 36, no. 1-2 (October 12, 2016): 177–206. http://dx.doi.org/10.7202/1037606ar.
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In this article, Dominique Poulot provides a historical overview of the notion of intangible cultural heritage and its relationship to museum studies in France. He brings the study up to the present day to examine the current impact of intangible cultural heritage on the museums. Since 2006, when France signed the UNESCOConvention for the Safeguarding of Intangible Cultural Heritage, intangible cultural heritage has emerged as an issue of current concern. In the museum world, various institutional intermediaries are being used in order to educate curators about intangible heritage, by way of ICOM France, for example. At the same time, theMission du patrimoine ethnologique(Ethnological Heritage Mission, or MPE) has initiated a collective reflection concerning the new categories and new framework of activities for intangible cultural heritage issues only very recently considered “ethnological” in nature. Hence intangible heritage would seem to be on the agenda of various state administration bodies according to a top-down process characteristic of the centralized tradition of French museum and heritage organizations. The situation has apparently become even more propitious in this regard since a certain number of recent events have served to highlight the fact that the opposition between the notion of ever-changing social space dear to anthropologists and the enclosure of objects conserved at the museum dear to tangible-culture specialists has become a thing of the past.
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Soerjoatmodjo, Gita Widya Laksmini, and Veronica Anastasia Melany Kaihatu. "Family Decision Making on Cultural Heritage." Asian Journal of Quality of Life 2, no. 5 (December 18, 2016): 11. http://dx.doi.org/10.21834/ajqol.v2i5.57.
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AkhirPekan@MuseumNasional or Weekend at Museum Nasional is a Sunday family 15-20-minute theatre program organized by a museum consultancy, @Museum, in collaboration with Teater Koma for Indonesia’s National Museum. As a follow-up research, it zooms in on the decision-making process which leads to family participation in this cultural heritage appreciation program. Semi-structured interviews in this preliminary qualitative research to families attending the program show that aspiration, prior experience and the roles of mothers contributes to the process. It is hoped that this writing would provide feedbacks to other similar initiatives which promote the appreciation of cultural heritage.2398-4279 © 2017 The Authors. Published for AMER ABRA by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, UniversitiTeknologi MARA, Malaysia.Keywords: heritage appreciation; consumer behaviour; family decision-making process; museum learning
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Soerjoatmodjo, Gita Widya Laksmini, and Veronica Anastasia Melany Kaihatu. "Family Decision Making on Cultural Heritage." Asian Journal of Quality of Life 2, no. 5 (January 1, 2017): 11. http://dx.doi.org/10.21834/ajqol.v2i5.7.
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AkhirPekan@MuseumNasional or Weekend at Museum Nasional is a Sunday family 15-20-minute theatre program organized by a museum consultancy, @Museum, in collaboration with Teater Koma for Indonesia’s National Museum. As a follow-up research, it zooms in on the decision-making process which leads to family participation in this cultural heritage appreciation program. Semi-structured interviews in this preliminary qualitative research to families attending the program show that aspiration, prior experience and the roles of mothers contributes to the process. It is hoped that this writing would provide feedbacks to other similar initiatives which promote the appreciation of cultural heritage.2398-4279 © 2017 The Authors. Published for AMER ABRA by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, UniversitiTeknologi MARA, Malaysia.Keywords: heritage appreciation; consumer behaviour; family decision-making process; museum learning
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Gómez-Hurtado, Inmaculada, José María Cuenca-López, and Beatrice Borghi. "Good Educational Practices for the Development of Inclusive Heritage Education at School through the Museum: A Multi-Case Study in Bologna." Sustainability 12, no. 20 (October 21, 2020): 8736. http://dx.doi.org/10.3390/su12208736.
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This article presents the outcomes and conclusions of a research work designed to determine and describe good inclusive practices for the development of heritage education in schools through museums in the city of Bologna. To this end, we applied a qualitative methodology through the study of four cases, four museums in the city of Bologna, selected for their good practices in educational programmes for schools. Instruments such as interviews, observation, and documentary analysis were used. The results emphasise a close school-museum relationship, with heritage as an agent that enhances people’s identity, a fundamental element in the citizenship development of Bolognese society, and a key aspect for the development of inclusive principles and the care of all people, although improvements in the processes and some limitations in the development of the programmes are perceived. The outcomes highlight the importance of school and museum relations and the development of an inclusive heritage education that advocates a holistic, integrative, and complex approach to heritage, as an essential element in the development of the individual and of society.
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Loulanski, Tolina, and Vesselin Loulanski. "Outgrowing the museum: The heritage Of Rakuchu Rakugai and its modern purposes." International Journal of Cultural Studies 14, no. 6 (June 13, 2011): 607–30. http://dx.doi.org/10.1177/1367877911402590.
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The Rakuchu Rakugai folding screens represent one of the most brilliant genres of medieval Japanese painting. This article studies the growing significance attributed to such objects from the past, the plurality of messages they convey to people, the increase in meanings, readings and uses they have and the beginning of their new life as ‘heritage’. It is demonstrated that through acquiring a ‘heritage status’ they grow out of the proportions of isolated artistic objects that are silently housed in designated museums, and transform to become an integral part of the city itself, its contemporarity in space, spirit, people and activities, attesting to history of place and local distinctiveness. When would art grow to such dimensions? What is the reason behind this astonishing metamorphosis? We answer these questions, discussing Rakuchu Rakugai from a new heritage perspective that is theoretically grounded in the Heritage Studies literature.
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MISHCHENKO, L. "VISUALIZATION OF INDEPENDENT WORK OF LAW STUDENTS IN THE CONDITIONS OF BLENDED LEARNING." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 29 (September 10, 2022): 151–57. http://dx.doi.org/10.33989/2075-146x.2022.29.264295.
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The article highlights the life and scientific achievements of Olexandr Tverdokhliebov (historian, ethnographer, writer, teacher, member of the Kharkiv Historical and Philological Society, archivist of the Kharkiv Historical and Philological Society, member of the project of the Ministry of Finance of the Russian Empire, dedicated to various studies activist, member of the Okhtyrka Enlightenment (1917–1918), whose scientific work on the history of Sloboda and Left-Bank Ukraine still remains on time and which significance of works for historical and regional scientific research on the history of Slobidska Ukraine. The manuscripts of the researcher, which are stored in the funds of the Okhtyrka Museum of Local Lore, archival institutions, confirming the exceptional importance of works for historical and regional scientific research on the history of Sloboda Ukraine, which are published and currently important nowadays. The historical essay «City of Akhtyrka» describes all aspects of life of the inhabitants of the provincial Slobozhansk city in Kharkiv province in the XIX century, where the author delinetes the historical and geographical features of the city, its physical and geographical characteristics, settlement history and version of the origin of the city name. The industrial development of the city of Okhtyrka is illuminated in the work «The fate of the tobacco factory, established under Peter I in Akhtyrka», where the historian described the socio-economic and production conditions of tobacco growing and tobacco production. In the research and description of Orthodox parishes, churches and monasteries of Okhtyrka district of Kharkiv province, which are described in the work «On the history of Skelsky monastery». The author showed the formation of the monastery economy, in particular, its land tenure, which was an extremely important issue for the monastery, which was associated with the names of famous in the Left Bank of Ukraine family Shimonovsky, Hetmans I. Mazepa and I. Skoropadsky. The creative work of the historian includes explorations dedicated to Kotelevshchina, where the author provided information about the geographical location, socio-economic development of the region; archaeological monuments, features and descriptions of Kotelva buildings. Tverdokhlebov's ethnographic studies for the purpose of collecting folklore material became the basis of scientific ideas, methods of collecting ethnographic materials.The researcher managed to record many songs, thoughts of blind people, lyre players, bandura players of Okhtyrka district, which were written from lyricists Glushchenko and Gordienko. Ethnographic explorations became the basis for writing the works «Old World Carnival», «Popivna», «From the Past and Present Povorsklania» and others. O. Tverdokhlebov as a participant in the project of the Ministry of Finance of the Russian Empire, which was devoted to the study of handicrafts in different regions, studied pottery, leather, blacksmithing, sailing of several districts of Kharkiv province, the results of which were published in the third issue «Proceedings of the Commission for the Study of Handicrafts of the Kharkiv Province of Akhtyrsky District» 1885,where handicraft tools and means, living and working premises of craftsmen of Boromlya, Okhtyrka, Kuzemin, Kotelva and other settlements were illuminated and demographic characteristics of artisans (marital status, surnames, etc.) were described, also economic side of crafts and many other important issues that contribute to an objective assessment of the then state of folk crafts in Slobozhanshchina were outlined. The researcher focuses on the economy, culture, life, handicrafts, education, spiritual heritage of Slobozhanshchina, which are reflected in the work of the scientist «Hereditary Colonel», «Akhtyrka city», «Kotelva», «The fate of the tobacco factory founded by Peter I in Akhtyrka», «Century of Akhtyrsky district school (1790 – 1890)», «Akhtyrsky district on the eve of the XIX century» etc.
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Kesküla, Eeva. "Reproducing Labor In The Estonian Industrial Heritage Museum." Journal of Baltic Studies 44, no. 2 (June 2013): 229–48. http://dx.doi.org/10.1080/01629778.2013.775852.
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Dolák, Jan. "Vědecko-pedagogická práce na odboru Muzeologie a kulturní dědictví v Bratislavě." Muzeológia a kultúrne dedičstvo 8, no. 3 (September 2020): 139–46. http://dx.doi.org/10.46284/mkd.2020.8.3.8.
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The article deals with museology (museum studies) and cultural heritage studies as basic tools for active and successful museum practice. It brings forward the question of importance and suitability of various museum courses and their relation to specialized university studies that work towards the improvement of daily museum practice. It analyses and evaluates not only the studies, but also scholarly and project activities of Museology department at the Comenius University in Bratislava.
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Abdel, Ahmed Fouad Latif Abdel Fattah. "Revealing researcher engagement in museum-related research: a reflective account." Journal of Qualitative Research in Tourism 2, no. 1 (May 25, 2021): 42–59. http://dx.doi.org/10.4337/jqrt.2021.01.03.
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The absence of extended discussions about the feasibility of carrying out qualitative research within the ‘research methods’ sections of most heritage and mainstream museum studies articles means there is not much direction provided to novice heritage and museum researchers as well as aspiring PhD candidates to augment their own methodological practices. Literature related to unexpected circumstances during fieldwork, the importance of human interactions in data collection and the self-reflection of researchers in heritage and museum-related research remains limited. This paper reflectively explores aspects of the author’s journey as a PhD researcher at the Egyptian Museum in Cairo, Egypt, and the challenges encountered during fieldwork. The paper concludes that recognizing and encouraging reflexivity and interpersonal engagement and reflecting on challenging moments during the research process in museums and heritage sites brings insight to the study, and brings the researcher/researchee closer to the reader.