Academic literature on the topic 'Social history Museums'
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Journal articles on the topic "Social history Museums"
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Burgess, Chris. "The Development of Labor History in UK Museums and the People's History Museum." International Labor and Working-Class History 76, no. 1 (2009): 26–35. http://dx.doi.org/10.1017/s0147547909990044.
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Labor history in UK museums is constantly in a state of change. A hundred-year-old tradition of displaying and interpreting the history of the common people has seen a shift from the folk life museum to a much more all-encompassing model. The academic trend for and acceptance of working-class history began this process, and museums followed, albeit at a much slower pace. Young curators actively involved in the History Workshop, Oral History, and Women's History movements brought their new philosophies into the museum sphere. This internally driven change in museums has been matched with demand for change from above. Museums have been given a central role in the current Labour government's wide-ranging strategies to promote an understanding of diversity, citizenship, cultural identity, and lifelong learning as part of a broader social inclusion policy. The zenith of this plan would be a museum devoted to British national history, though whether this will take place is yet to be seen. The transformation of the People's History Museum makes an interesting case study. The museum, originally an institution on the fringes of academic labor history and actively outside the museum community, is now at the forefront of labor history display, interpretation, textile conservation, and working-class historical research.
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Abbasov, Iftikhar B., and Christina Lissette Sanchez. "Design features of the Inca museum of culture." International research journal of engineering, IT & scientific research 6, no. 5 (August 19, 2020): 1–12. http://dx.doi.org/10.21744/irjeis.v6n5.970.
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The paper deals with the development of a design concept for a museum of Inca culture in Ecuador. The current trends in the organization of historical museums in Latin America are presented. An overview of the graphic support of the Latin American museums of culture, archeology, and history is made. The historical foundations of the Museum of Inca culture are presented, the iconography of the Inca civilization of various periods is analyzed. The current state of the museum, the history of its foundation, prerequisites for creating a new brand are described. Associative graphic images for creating a new logo for the museum were considered, corporate colors were substantiated, and components of the brand were developed. This will strengthen the museum's brand and increase its social significance for the popularization of the Inca culture.
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de Szegheo Lang, Tamara. "The Explosion in Grandma’s Attic, the Cabinet of Curiosities, and Chance Encounters at the GLBT History Museum." Journal of the Canadian Historical Association 26, no. 2 (August 9, 2016): 83–110. http://dx.doi.org/10.7202/1037227ar.
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This article proposes that objects might be instrumental in museum exhibitions that promote critical thinking around issues of human rights and social inequity. Objects have the potential to present histories that have been marginalized for far too long and to get away from rehearsed narratives, while also engaging the visitor through emotional connection — making the visitor care about the histories that are being presented. In looking at the GLBT Historical Society Archives and History Museum in San Francisco, this article claims that new museums that grow out of community-based archives might provide the opportunity for the kinds of critical engagements with objects that national-scale museums that attempt to address social problems often do not have. Specifically addressing the GLBT History Museum’s inaugural exhibit, “Our Vast Queer Past,” this article argues that the organization of objects on display, greatly influenced by their archival roots, gives viewers the opportunity for chance encounters with histories that come to matter to them.
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (October 14, 2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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TAYANÇ, Mehmet, and Hasan YENİÇIRAK. "Toplumsal Hafızanın Taşıyıcı Mekânı Olarak Müzeler." MSGSÜ Sosyal Bilimler, no. 25 (May 31, 2022): 11–19. http://dx.doi.org/10.56074/msgsusbd.1123707.
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The memory of societies has always been built over space and transferred to the next generation. These spaces sometimes appear as monuments, squares, or museums. In addition to their traditional roles in preserving history and historical artifacts, museums have taken on new roles, such as the re-creation of social memory. The aim of this paper is to show how museums shape today’s reality by re-presenting the past. The paper consists of three parts. First, discussions on what social memory is and what kinds of functions it has in building space are presented. Second, the phenomenon of social memory taking root in space is explored. The roles of space in creating identity, making history, and inventing tradition are explained. Third, analysis of the role of museums as places of memory in the reproduction of social and cultural norms is undertaken.
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Komova, О. "DIRECTIONS OF REFORMING THE MUSEUM SECTOR IN EUROPE: EXPERIENCE FOR UKRAINE." Вісник Київського національного лінгвістичного університету. Серія Історія, економіка, філософія, no. 26 (January 9, 2023): 11–23. http://dx.doi.org/10.32589/2412-9321.26.2021.269853.
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The article research the main problems of the Ukrainian museum sector, analyzes museum reforms in the EU-member states over the last 20 years, and suggests the major vectors of museum reform in Ukraine based on the best practices of the Western European museology. The article deals with the forms and methods of activity of the museum institution within the framework of this action on successful dialogue with the public, effective use of information technologies. Communication capabilities of museums are related to their ability to communicate information with real objects directly or indirectly. The foundationof the communicative work of the museum is its foundations since the exhibition, and the educational and communicative projects organized on its basis are impossible without scientifically attributed and carefully preserved collections. Accordingly, the most effective channel of museum communication remains the exposition of the museum.Along with traditional forms and tools of museum communication, such as exhibition and exhibition, educational and educational, publishing, holding scientific conferences, the presentation of museums in the media, the new ones, connected with the development of modern information technologies, become especially important. These include museums’ websites, virtual museums, virtual tours and tours, QR codes, 3D technology, profiles of museums in social networks. It is the active development of the latter that will promote the broader communication of the museums with a broad audience of visitors, the expansion of inter-museum contacts, the integration of domestic museums into the world museum community. Methodological basis of work is a comprehensive and systematic approaches involving methods of analysis, synthesis, comparative history, descriptive methods and methods of «oral history». It was proved that at the present stage museums act as intermediaries in solving complex social problems and conflicts; projects, as an effective form of implementing social activity of museums, contribute to the adaptation of museums and the museum industry as a whole to modern conditions of socio-economic and cultural life, support and promotion of the best examples of creative museum practices in Ukrainе.
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Prianti, Desi Dwi, and I. Wayan Suyadnya. "Decolonising Museum Practice in a Postcolonial Nation: Museum’s Visual Order as the Work of Representation in Constructing Colonial Memory." Open Cultural Studies 6, no. 1 (January 1, 2022): 228–42. http://dx.doi.org/10.1515/culture-2022-0157.
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Abstract The study of colonialism and its legacies have mostly left the category of memory studies. However, for the colonised subject, what they experienced in the past inevitably forms their present and future discourse. This study focuses on how the museum’s visual order articulates colonial memory. By looking at the work of representation, in this context museum’s visual order, this study investigates how memory lives on through the circulation of colonial memory that the museum simulates. Museum’s visual order translates how colonial memory should be remembered and celebrated as public knowledge. Although research on how museums affect society knowledge have been part of both memory and museum studies, those two studies barely touch upon museums’ role in translating colonial memory in the postcolonial nation. Memory lives on through its circulation in media forms. However, premeditation and mediation are made possible through articulating social and cultural sites, in this case, museums practice. In order to achieve its purposes, this research investigates public museums in different parts of Java, Indonesia which have colonial memory objects. The combination of field observation, document review, and visual method followed by focus group discussion between stakeholders and researchers are conducted to propose the research conclusion. This research argues that the museum’s visual order translates interrelated colonial memories to be accepted as a part of the history that forms the “existence” of the nation and to be appreciated as public knowledge that is shared and forms the national identity. In doing so, museum practice roams into the area of political visibility which decides the legibility of the narrative related to colonial memory. In addition, as museum practice is basically a colonial legacy, this research concludes that it is essential to deconstruct the practice from the perspective of the colonised.
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Banjeglav, Tamara. "Exhibiting Memories of a Besieged City. The (Uncertain) Role of Museums in Constructing Public Memory of the 1992-1995 Siege of Sarajevo." Südosteuropa 67, no. 1 (March 26, 2018): 1–23. http://dx.doi.org/10.1515/soeu-2019-0001.
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Abstract The author examines museums in Sarajevo, the capital of Bosnia and Herzegovina, and their exhibitions dealing with the city’s most traumatic event in recent history—the 1992-1995 siege. She analyses how the interpretations and re-interpretations of history in these museums have been affected by social, political, cultural, and institutional contexts, and how various ‘memory entrepreneurs’ have played a role in building the public memory of the city’s siege. The analysis focuses on, but is not limited to, three museums: the History Museum of Bosnia and Herzegovina, the Tunnel Museum, and the War Childhood Museum. This discussion is supplemented by an analysis of other museums in Sarajevo that also demonstrate how the political deadlock in the country has affected the cultural sector. The author argues that the various museums to have opened in Sarajevo in recent years indeed have the potential to become crucial public spaces where authoritative notions of history, memory, and identity can be critically examined, negotiated, and contested.
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Suciu, Silvia. "De la muzeul-templlu la muzeul forum - evoluția muzeului în spațiul public." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 224–44. http://dx.doi.org/10.47802/amet.2017.31.12.
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A nu arăta o operă de artă înseamnă a nu-i permite să fiinţeze. (Boris Groys) Museums and their public haven’t always been as we know them today. In 17th century, curiosity cabinets (mirabilia) have been realized by nobles and aristocrats; the only public of these cabinets was the collector and his fellows, belonging to the same social class. The first museums as public institutions appear in 18th century, continuing to develop during 19th century, but their image and accessibility is very different from nowadays. The situation changes after the World War II, when appear a lot of theoretical studies about museums and their public. The Museum-Temple is transforming into Museum-Forum, where every member of the community must feel represented. In the second part of the article we realized a classification of the museums and a description of each specific class which form this cultural diversity: art museums, history museums, anthropology museum, natural history museums, technical museums, monetary museums. Historical and contemporary examples of museums can be found through this study.
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Moro Sundjaja, Arta. "An Adoption of Social Media for Marketing and Education Tools at Museum Industry." Advanced Science Letters 21, no. 4 (April 1, 2015): 1028–30. http://dx.doi.org/10.1166/asl.2015.5975.
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Museum as a cultural heritage of Indonesia must communicated the history to the community. Current trend of museums visitors is declining, however some museums had increased the number of visitors. The increase of visitors from Museum of Fatahillah caused by marketing tools development. The aimed of this paper is to determine factors that influence the perceived usefulness and perceived ease of use of social media so that museum management can adopt it to promotion and education activities. This paper propose several factors in adoption of social media at museum industry which are crucials for museum to increase the numbers of visitors.
Dissertations / Theses on the topic "Social history Museums"
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Smith, Charlotte H. F. "The house enshrined : great man and social history house museums in the United States and Australia /." Online version, 2002. http://bibpurl.oclc.org/web/24545.
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Clouse, Abigail Elizabeth. "The Social History of a National Collection: Anthropology, Repatriation and the Politics of Identity." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/195523.
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In this dissertation I analyze the social history of an anthropological collection at the Smithsonian Institution. Combining archival and historical research with interviews, I trace the Army Medical Museum (AMM) collection from its origin in the mid-nineteenth century to the present. The Smithsonian's AMM collection is the product of mid- to late-nineteenth century government science. Assembled in the midst of westward expansion and colonization, this collection is the result of numerous government-sanctioned collecting efforts. Accordingly, the objects and human remains that comprise this collection were taken from scores of Native American tribes from all parts of the United States. Amassed during some of the darkest moments in the history of the United States - marked by warfare, death and the displacement of countless Native Americans - the AMM collection represents the Smithsonian's earliest collecting efforts. The social history of this collection spans from the earliest days of the SI to the present, marked by concerns regarding cultural property rights. And what the present moment demonstrates is the continued relevance of this colonial past, especially in the context of repatriation. I analyze critical contemporary issues of repatriation in terms of the historical legacy of collecting in the U.S. and demonstrate the role that collections play in negotiating identities. For that purpose, I begin with the supposition that objects shape as well as materialize identity, and that disciplines define themselves by virtue of what they collect. I examine recent shifts in what is deemed ethically appropriate for collection and how this affects the various ways museum anthropologists define the discipline. Ultimately, this dissertation advances a critical historical analysis of the AMM collection, providing a more dynamic understanding of the role that repatriation plays in redefining the roles of anthropologists within museums.
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Heider, Cynthia. "Sympathy and Science: Social Settlements and Museums Forging the Future through a Usable Past." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/512948.
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HistoryM.A.
Affiliates of the United States settlement house movement provided a historical precedent for engaged, community-centered museum practice. Their innovations upon the social survey, a key sociological data collection and data visualization tool, as well as their efforts to interpret results via innovative, culturally democratic exhibition techniques, had a contemporary impact on both museum practice and the history of social work. This impact resonates in the socially-responsive work of community museums of the recent past. The ethics of settlement methodology- including flexibility, experimentalism, empathetic practice, local community focus, and social justice activism- foreshadow the precepts and practices of what is now known as public history.
Temple University--Theses
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Smith, Charlotte H. F., and n/a. "The house enshrined: the great man and social history house museums in the United States and Australia." University of Canberra. Resource, Environment & Heritage Sciences, 2002. http://erl.canberra.edu.au./public/adt-AUC20050701.140057.
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This thesis is a study of the origins and rationale of two categories of house
museum - here named "Great Man" and "Social History" - in the United States
and Australia. An examination of cultural, social and historical change provides
the context for the genres' evolution.
The Great Man genre was born in mid nineteenth-century America when two
houses associated with George Washington - Hasbrouck House and Mount
Vernon - were preserved and translated to museum status. Mount Vernon quickly
became the exemplar for house museums.
Civil religion, a secular nationalism that adopted the forms and rituals of church
religion, focusing on hero worship, pilgrimage and contemplation of transcendent
collective purpose, provided the ideology that sustained the new museum type.
Great Man house museums became the shrines at which such rituals could be
practiced.
In the early twentieth-century the specialization of heritage organizations
encouraged a new breed of heritage professional. Largely fabric focused, these
"new museum men" influenced philosophy, management and conservation
practice at house museums throughout the century.
Social history made its impact upon house museums in the latter decades of the
twentieth century. The paradigm encouraged the creation of a new category of
house museum. Existing Great Man house museums adopted some of its
characteristics though never lost their hero worship foundations. In fact, I posit
that the idea of hero worship was transferred to the new genre.
The birth and evolution of the two categories of house museum is demonstrated
through four biographical studies: Vaucluse House in Sydney; Monticello in
Charlottesville VA; the Lower East Side Tenement Museum in New York City;
and Susannah Place Museum in Sydney. I believe the findings demonstrate an
argument that applies at hundreds of house museums in the United States and
Australia.
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Henderson, Ashley S. Hafertepe Kenneth C. ""The ace of clubs" a social and architectural history of the Draughon-Moore House, Texarkana, Texas, 1885-1985 /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5246.
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Liu, Ariel. "The relationship between engagement and learning in school students' interactions with technology-driven multimodal exhibits in museums." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:5c8405d5-a834-4b0f-b160-56c988f452f8.
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This thesis reports a qualitative study of the use of multimodal technologies in museums— specifically, it examines the relationship between visitor engagement and learning, focusing on the use of multimodal technologies during school trips. The study was conducted in the Natural History Museum and the Churchill Museum, both in London, with participants from several secondary schools. These sites were chosen due to their concern for the added value of learning and public engagement, including their education-orientated investments in technology, museum activities, and architecture. In the course of data collection, visits were made to six schools and both museum sites; the participants included 117 students, 18 teachers, three museum educators, and eight museum curators and media designers. The study used a combination of video data analysis, stimulated recall interviews, document analysis, and engaging students in talk and reflection about their visit both at the museum and afterwards. The qualitative approach and multimodal analysis identify how the students’ social interactions help them construct learning through decontextualised bodily movements, which trigger contextualised discussion. The study demonstrates how multimodal analysis can be used in research to capture a wide scope of information, while maintaining a micro-level of analysis and understanding—here, capturing the detail of students’ interactions and perceptions. The findings suggest that the learning experience in museums is produced through multiple layers of interaction and through the exchange of physical and psychological behaviour among people, resources, and space. Here, the multimodal technologies with which the students engaged essentially acted as initial platforms for sensory stimuli and social interaction, supporting their peer communication and motivating them to further explore both the given topic and their own understanding of their learning methods. It was the students’ further conversation, observation, and participation, however, that created a more meaningful and entertaining learning experience in the museums.
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Silva, Sabrina Damasceno. "Curadoria em museus de história natural: processos disruptivos na comunicação da informação em exposições museológicas de longa duração." Universidade Federal do Rio de Janeiro / Insitituto Brasileiro de Informação em Ciência e Tecnologia, 2015. http://ridi.ibict.br/handle/123456789/786.
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Abordagem às singularidades curatoriais nos museus de história natural, a partir da consideração de que o conceito de curadoria possui significados variáveis em diferentes áreas do conhecimento e espaços de preservação da memória. Há, contudo, um ponto de convergência, especificamente nas instituições museológicas, que se encontraria presente em meio a essa diversidade: uma figura decisória (o especialista), possuidora de expertise. Os espaços museológicos de história natural possuem sua origem nos denominados “gabinetes de curiosidades” relacionados à tradição enciclopedista que delineou uma de suas principais singularidades: a busca por uma representação da totalidade por meio de sua materialidade. Uma das especificidades dos museus de história natural repousa no papel essencial de ensejar a compreensão das “formações discursivas” advindas de interpretações da ciência moderna acerca da natureza e dos artefatos oriundos dos diversos grupos sociais humanos através do tempo. A curadoria no interior dos museus de história natural determina a formação, gestão e comunicação pública da ciência por meio das evidências materiais do mundo sensível. Considera-se como aporte teórico desta tese que os processos curatoriais podem ser entendidos à luz das conceituações foucaultianas acerca do “dispositivo”, percebido como uma rede de relações que podem ser estabelecidas entre elementos heterogêneos: discursos, instituições, arquitetura, regimentos, leis, medidas administrativas, enunciados científicos, proposições filosóficas, morais, filantrópicas, o dito e o não dito. Perspectiva que permite a reflexão acerca dos fluxos informacionais presentes no cotidiano desses museus de história natural.
The present study discusses the curatorial singularities in natural history museums. We consider the concept of curatorship has heterogenic meanings in different areas of knowledge and space of memory preservation. There is, although, a point of convergence in this diversity: a decision-making specialist, a researcher owner of expertise. The museolgical spaces of natural history was originated in the denominated “cabinets of curiosities” related to an encyclopedic tradition that delineate one of the main singularities of natural history museums: the search for a totality representation through its materiality. One of the specificities of the museological spaces of natural history lies on the essential paper to provide the comprehension of “discursive formations” that becomes of modern science interpretation about nature and artefacts from different social human groups through time. The curatorship in natural history museums determinates the development, management and science public communication. Our propose is consider the curatorial processes in view of concepts of Michel Foucault, specially the “dispositive”, that is structured for a heterogenic ensemble of discourses, institutions, architecture forms, laws administrative measure, scientific enunciations, moral and philanthropic proposition, what is sad and the unsaid. That perspective allows reflection about informational flow that integrates part of daily of these museums of natural history.
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Considine, Marie. "The social, political and economic determinants of a modern portrait artist, Bernard Fleetwood-Walker (1893-1965)." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3639/.
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As the first major study of the portrait artist Bernard Fleetwood-Walker (1893-1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant-garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits. Emerging, and soon dominant, tabloid newspapers shaped content and language to attract readers, influencing the articulation of the reception of the artist’s work. This thesis also makes a contribution to the regional perspective, demonstrating the temporary co-existence of multiple, heterogeneous, modern art worlds. Throughout the thesis the relevance of economic factors is emphasised, reappraising the Marxist theory of modern art and concluding that a more complex economic description is required to provide a sensitive and insightful analysis of art history.
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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Barretto, Margarita 1952. "Museus por teimosia : uma analise da utilidade social dos Museus de Campinas." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252154.
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Orientador : Olga Rodrigues Moraes von SimsonDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Books on the topic "Social history Museums"
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David, Fleming, Paine Crispin, and Rhodes John G, eds. Social history in museums: A handbook for professionals. London: HMSO, 1993.
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Commission, Great Britain Museums and Galleries. Standards in the museum care of larger and working objects: Social and industrial history collections 1994. London: Museum & Galleries Commission, 1994.
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Museums and the First World War: A social history. London: Leicester University Press, 1994.
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Tony, Bennett. The birth of the museum: History,theory, politics. London: Routledge, 1999.
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Tony, Bennett. The birth of the museum: History, theory, politics. London: Routledge, 1995.
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Marcus, Alan S. Teaching history with museums: Strategies for K-12 social studies. New York: Routledge, 2012.
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Urbanski, Christin. Facets: History fellows 2012. St. Paul: Minnesota Historical Society Press, 2012.
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1961-, Healy Chris, and Witcomb Andrea 1965-, eds. South Pacific museums: Experiments in culture. Clayton, Vic: Monash University ePress, 2006.
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Muzei Uzbekistana i sot︠s︡ialʹno-kulʹturnye perspektivy ikh razvitii︠a︡. Tashkent: Izdatelʹsko-poligraficheskiĭ tvorcheskiĭ dom imeni Gafura Guliama, 2007.
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Il museo tra storia, cultura e didattica: Funzione educativa e ruolo sociale. Pisa: Edizioni ETS, 2015.
Find full textBook chapters on the topic "Social history Museums"
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Tomasiewicz, Kasia. "‘We are a social history, not a military history museum’." In Museums, Modernity and Conflict, 213–34. Abingdon, Oxon ; New York : Routledge, 2020. | Series: Routledge research in museum studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429295782-14.
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Borruso, Francesca, and Marta Brunelli. "Il museo racconta la scuola tra passato e presente." In La Public History tra scuola, università e territorio, 59–74. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-616-2.08.
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The Museums of educational heritage - especially those established in University Departments – represent an extraordinary resource for scientific research, education, and the Third Mission, which is aimed at promoting collaboration, dialogue and exchange between the University and its territory to generate knowledge and benefit of social, cultural, and economic nature as well. Within the Third Mission precisely lies Public History defined as "the communication of history outside academic environments" (AIPH 2018). In this framework the paper presents some examples of educational projects and activities carried out with local schools and communities by the "Mauro Laeng" Museum of school and education at the University of Roma Tre, and by the "Paolo & Ornella Ricca" Museum of school history at the University of Macerata. The final aim is to provide a methodological approach, project ideas, and operational tools for inspiring schoolteachers and professors, university researchers and museum educators.
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Axelsson, Bodil, Fiona R. Cameron, Katherine Hauptman, and Sheenagh Pietrobruno. "Introduction." In Museum Digitisations and Emerging Curatorial Agencies Online, 1–14. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_1.
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AbstractCuratorial agency is situated in the introduction via an elaboration of the intersection between the mission of public museums to care for collections and their increased reliance on digital capitalism’s social, technical and material infrastructures for the circulation of digitisations, narratives and new research findings. We explain how this book approaches curatorial agency in four individually authored chapters, each taking its own approach to museum knowledge and curatorial agency in regard to the junction of humanistic interpretations and new materialist and posthuman frameworks. Moreover, we explain how each chapter acts as a case study that tracks objects from the Swedish History Museum’s Viking Age collection to distinct technological spheres: Swedish discussion forums, YouTube, Pinterest and the vast infrastructures and destructive processes of Technospheric curation.
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Brunelli, Marta. "Il museo della scuola come luogo di sperimentazione di percorsi di Public History: il caso del Museo della Scuola «Paolo e Ornella Ricca» dell’Università di Macerata." In Studi e saggi, 169–83. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-5518-009-2.17.
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Public historians have definitively recognized the crucial role that museums – on par with libraries, archives, schools as well as media, cultural and tourism industry, and «all other sectors where the knowledge of the past is required to work with different audiences» (AIPH, The Italian Public History Manifesto, 2018) – can play for the development of Public History practices. In this scenario, historians of education do well know the potential that is locked up inside the historical-educational museums too. A potential that, especially in university museums, can improve academic teaching quality, promote innovative research and, finally, foster cultural and social empowerment of communities.
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Diprose, Graham, Christina Hemsley, and James Hemsley. "Canals, Cities, Museums, Libraries & Photography: a Reconnaissance Study of Regent’s Canal, London." In Proceedings e report, 173–80. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.41.
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City waterways are a valuable part of our cultural heritage. Over the years the usage has changed from business to pleasure. Regent’s Canal, cutting across north central London since 1820, has a rich social and industrial history. Much of this history has been and is being captured via photographs. Many of these are being lost due to limited museum resources and disparate collections. This paper reports on phase one of a fifteen-month exploratory research project. The research aims to explore ways of aiding image capture, selection, storage and retrieval. We hope to link with researchers elsewhere, especially in Italy.
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Tepora, Tuomas. "The Image of Marshal Mannerheim, Moral Panic, and the Refashioning of the Nation in the 1990s." In Palgrave Studies in the History of Experience, 349–72. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69882-9_14.
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AbstractThis chapter shows how the social and political changes in Finnish society in the early 1990s were reflected in the images of C. G. E. Mannerheim (1867–1951), the Marshal of Finland. By looking at the debate concerning the construction of the Museum of Contemporary Art right next to the Mannerheim equestrian statue in Helsinki, Tepora analyzes the public dispute as a moral panic that sprang from the 1990s recession, the collapse of the Soviet Union, and joining the European Union. Arguing for the study of nontotalitarian personality cults, Tepora shows how the opposing sides in the debate either rose to defend the conservative Mannerheim image as an unchanging emotional figure or recoded the figure to reflect their liberal and cosmopolitan perspectives.
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Küver, Jan. "The Politics of Shared Heritage: Contested Histories and Participatory Memory Work in the Post-Colonial Urban Landscape." In 50 Years World Heritage Convention: Shared Responsibility – Conflict & Reconciliation, 139–50. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05660-4_11.
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AbstractShared heritage is a concept that serves to address cultural ties between countries or people that emanate from colonial history, including conflicts and contestations as well as connections and commonalities. This contribution evaluates the potential of shared heritage to work as a tool for a transformative heritage management practice through exploring the post-colonial heritage landscape of Iringa, Tanzania. The historical dynamics of colonialism have left various tangible and intangible traces throughout Iringa Town and Region. Combining ethnographic and historical methods, this paper examines historical narratives of different social groups, representations of these trajectories in the regional museum, and community responses to buildings and sites of colonial origin in the cityscape. In line with UNESCO’s Historic Urban Landscape (HUL) approach, observed applied conservation activities are discussed in the light of local development processes. I argue that shared heritage can serve as a viable concept to grapple with the colonial legacy vested in the HUL while at the same time using the discursive energy provided by these conflicts to support the cultural, social, and economic development of communities.
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Sulastriningsih and Djoko Suryo. "The Potential of Sadurengas Museum in Paser District as a Source of Learning Local History." In Proceedings of the Annual Conference on Research, Educational Implementation, Social Studies and History (AREISSH 2021), 198–207. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-17-6_22.
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Greenberg, Michael. "Remnants of the Industrial Revolution: America’s Historic Grand Concourses as Heritage Attractions." In Environmental & Social Justice Challenges Near America’s Most Popular Museums, Parks, Zoos & Other Heritage Attractions, 61–81. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-08183-5_4.
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Muhammad Ricky, H., Zulkarnain, Ajat Sudrajat, Saefur Rochmat, and Dyah Kumalasari. "Not Just Visiting: Using the Sumatra Money Museum as a Source of Learning History for Students of SMA Negeri 6 Medan." In Proceedings of the Annual Conference on Research, Educational Implementation, Social Studies and History (AREISSH 2021), 119–31. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-17-6_14.
Full textConference papers on the topic "Social history Museums"
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Potyrala, Katarzyna, Karolina Czerwiec, and Renata Stasko. "NATURAL HISTORY MUSEUMS AS A SPACE OF SCIENCE EDUCATION IN THE KNOWLEDGE-BASED SOCIETY." In Proceedings of the 2nd International Baltic Symposium on Science and Technology Education (BalticSTE2017). Scientia Socialis Ltd., 2017. http://dx.doi.org/10.33225/balticste/2017.99.
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The museum activity is more and more often aimed at integration with local communities, organization of scientific debates and intercultural dialogue, expansion of social network and framework for communication and mediation of scientific issues. Museums generate learning potential and create a social culture. The aim of the research was to diagnose the viability of natural history museums as the spaces of open training and increasing social participation in education for balanced development. Furthermore, it examined the possibility to create a strong interaction between schools at all levels and institutions of informal education, exchange of experience in the field of educational projects and the development of cooperation principles to strengthen the university-school-natural history museum relations. In the research conducted in the years 2016-2017 participated 110 students of teaching specialization in various fields of studies. The results of the research are connected with students’ attitudes towards new role of museums as institutions popularizing knowledge and sharing knowledge. The outcomes enable the diagnosis in terms of preparing young people to pursue participatory activities for the local community and may be the starting point for the development of proposals of educational solutions increasing students’ awareness in the field of natural history museums’ educational potential. Keywords: knowledge-based society, natural history museum, science education.
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Malecka, Anna. "THE IDEA OF DECONSTRUCTION AND CONTEMPORARY HISTORY MUSEUMS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/6.3/s15.038.
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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.
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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
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Lopez-Nores, Martin, Yolanda Blanco-Fernandez, Alberto Gil-Solla, Manuel Ramos-Cabrer, Jorge Garcia-Duque, and Jose Juan Pazos-Arias. "Leveraging Short-Lived Social Networks in Museums to Engage People in History Learning." In 2013 8th International Workshop on Semantic and Social Media Adaptation and Personalization (SMAP). IEEE, 2013. http://dx.doi.org/10.1109/smap.2013.14.
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Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum." In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.
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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
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Ramírez Rivera, Jessica Beatriz. "Prácticas Feministas en Museos y sus Redes Sociales en México: una respuesta ante la pandemia. Feminist Practices in Museums and their Social Networks in Mexico: a response to the pandemic." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12631.
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El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la postura de los museos mexicanos a este respecto es reservada, existe una apertura a prácticas con perspectiva de género, desde sus investigaciones, oferta cultural y exposiciones temporales. Con las medidas de confinamiento derivadas del COVID-19, quedó claro que las estrategias de los museos para continuar sus actividades, se centraron y volcaron en las Redes Sociales y sus páginas web. Asimismo, se lograron continuar no solo con las prácticas con perspectiva de género que incipientemente se realizaban en estos espacios, si no que se incrementaron los contenidos de corte feminista y de acción política cultural.Entre los ejemplos más notables estuvieron la apertura de nuevos espacios virtuales como lo hizo el Museo Universitario de Arte Contemporáneo, con su Instagram Brillantinas MUAC, en donde se publican diversos materiales feministas desde la cultura y se ínsita al diálogo y la profundización de varios temas con perspectiva de género.Por otro lado, la actividad digital y cultural a raíz de la Conmemoración del Día Internacional para la Eliminación de las Violencias contra las Mujeres, fue adoptada por una gran cantidad de museos desde privados hasta estatales, ya sea con una mención al tema o una actividad o serie de actividades al respecto. Fue un ejercicio que trascendió a los 10 días de activismo y que obtuvo una interesante respuesta tanto negativa como positiva dentro de los públicos.Finalmente, uno de los ejercicios más interesantes que se lograron a pesar de las dificultades por la situación sanitaria, fue la iniciativa “Laboratoria: Mujeres en el Museo” lanzada por el Observatorio Raquel Padilla del Instituto Nacional de Antropología e Historia, que por medio de diversas herramientas digitales, se pudo llevar a cabo un ejercicio feminista y de soberanía digital en la elaboración de prototipos con perspectiva de género y para la prevención de las violencias contra las mujeres.-------- The objective of this communication is to present some feminist practices that have made use of technologies in museums in Mexico, as well as to reflect on digital sovereignty, the cultural rights that are exercised in social networks and if they are registered in the "Feminist internet" from museums.In recent years, feminist movements in Mexico have taken on political relevance, in public spheres and social intervention. Many of them have been judged negatively for making use of cultural property, which has triggered polarized opinions.Although the position of Mexican museums in this regard is reserved, there is an openness to practices with a gender perspective, from their research, cultural offerings and temporary exhibitions. With the confinement measures derived from COVID-19, it was clear that the museums' strategies to continue their activities were focused and turned over to Social Networks and their web pages. Likewise, it was possible to continue not only with the practices with a gender perspective that were incipiently carried out in these spaces, but also the contents of a feminist nature and of cultural political action were increased.Among the most notable examples were the opening of new virtual spaces such as the University Museum of Contemporary Art, with its Instagram Brillantinas MUAC, where various feminist materials from culture are published and the dialogue and the deepening of various issues are encouraged. gender perspective.On the other hand, the digital and cultural activity as a result of the Commemoration of the International Day for the Elimination of Violence against Women, was adopted by a large number of museums from private to state, either with a mention of the subject or an activity or series of activities in this regard. It was an exercise that transcended 10 days of activism and that obtained an interesting negative and positive response from the public.Finally, one of the most interesting exercises that were achieved despite the difficulties due to the health situation, was the initiative "Laboratory: Women in the Museum" launched by the Raquel Padilla Observatory of the National Institute of Anthropology and History, which through various digital tools, it was possible to carry out a feminist exercise and digital sovereignty in the development of prototypes with a gender perspective and for the prevention of violence against women.
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Dimitrova, Svetoslava, and Sonya Spasova. "REGIONAL LIBRARIES AND REGIONAL HISTORY MUSEUMS IN BULGARIA IN THE CONDITIONS OF LOCKDOWN: SOCIAL NETWORK CASE STUDY." In 13th International Conference on Education and New Learning Technologies. IATED, 2021. http://dx.doi.org/10.21125/edulearn.2021.1169.
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Shelegina, Olga N. "MODERN TREND IN THE DEVELOPMENT OF MUSEUMS AND MUSEOLOGY: Materials of the IV All-Russian (with International Participation) Scientific Conference." In MODERN TREND IN THE DEVELOPMENT OF MUSEUMS AND MUSEOLOGY, edited by Galina M. Zaporozhchenko. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1115-7.
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The collection of materials of the IV all-Russian scientific and practical conference «Modern trends in museums and museology» presents reports of employees of Russian research institutes, leading museums of the Russian Federation and the Republic of Belarus, the Republic of Kazakhstan, teachers of higher educational institutions, representatives of cultural institutions. They reflect a wide range of topical issues related to the development of the theory and practice of Museum business in modern conditions at the international, national and regional levels. Important attention is paid to socio-cultural practices for the development of historical and cultural heritage, digitalization of the Museum sphere and its adaptation to the conditions of the pandemic. The publication will be interesting for specialists in the field of history of science and culture, heritage management, Museum studies and cultural studies, teachers of universities, employees of museums and libraries, local historians.
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Vitanova, Emiliya. "THE OLYMPIC FLAME THROUGH BULGARIA – 1936." In INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/142.
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ABSTRACT The topic of this report is related to introducing information about the Olympic flame’s passing through Bulgaria in 1936. Our country takes a significant place in the development of the international Olympic movement. Since it participated in the first modern Olympic Games, our country has persisted in establishing the Olympic values in society through the gymnastics movement, the Bulgarian Olympic Committee activities, and other prominent sports people’s activities. An important feature related to Bulgarian sport’s involvement in the Olympic idea and the Olympic movement was our active participation in organizing the first carrying of the Olympic flame. This study aims to reveal new information on the topic. The research encompasses several major areas for collecting information – foreign literary sources research (13 sources); a survey of all publications by Bulgarian researchers-historians in the field of sport and the Olympic movement in Bulgaria (11 sources); a review of all preserved Bulgarian periodicals since 1936 (74 articles found), review of the „Olympia Zeitung“since 1936 (8 articles found) and review of Greek newspapers since 1936 (4 articles found). Methodologically, all the information found in scientific or popular publications was systematized by using content analysis, comparative analysis, and critical analysis. The keywords used to search for information on the topic were: Olympic Flame, Olympic Flame Torch, Olympic Games 1936, and Olympic symbols. For the aim of the research we used data retrieved from Journal of Olympic History, Journal of the History of Sport, International Olympic Academy, Olympic Review, www.academia.edu, as well as books and publications pre-served in the historical archive of National Sports Academy “Vassil Levski”, the Central National Archive, the Regional archives, and the regional history museums in the towns where the Olympic flame went through. In the unfavorable material and economic conditions in the 1930s our country created an excellent organization and turned this event into one of the most important social-cultural phenomena, which influenced the new perception about the role and significance of the Olympic Games and amateur sport.
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Orozco Varela, Luis Pablo, Mariana Blanco Ortiz, Gustavo Campos Fonseca, María Cubillo González, and Javier Nuñez Marín. "El Museo Dialoga: el museo y la sociedad en comunicación crítica." In Congreso CIMED - II Congreso Internacional de Museos y Estrategias Digitales. Valencia: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/cimed22.2022.15643.
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El Museo Dialoga: el museo y la sociedad en comunicación crítica. Autores: MSc. Luis Pablo Orozco Varela[1] Sra. Mariana Blanco Ortiz[2] Sr. Gustavo Campos Fonseca[3] Sra. María Cubillo González[4] Sr. Javier Nuñez Marín[5]. Resumen La ponencia consiste en compartir y analizar en profundidad el quehacer comunicativo del Museo de Cultura Popular de la Escuela de Historia de la Universidad Nacional de Costa Rica, específicamente a partir de la iniciativa de diálogo virtual denominada “#elmuseodialoga”, la cual ha potencializado la presencia del museo en las redes sociales académicas y ha contribuido a potenciar enlaces dialógicos con académicos, dentro y fuera de la universidad, así como con actores de la sociedad civil en su conjunto. Esta iniciativa surgió ante el desafío presentado por la pandemia COVID 19 con el fin de potencializar acciones de extensión y difusión de carácter virtual por medio del uso de las redes sociales con las que cuenta el museo, por ejemplo, el canal de youtube, Facebook, Instagram, Twitter y linkedin. Para ello, académicos que laboran en el museo y estudiantes de la Escuela de Historia, han aunado esfuerzos en pro de generar una alternativa de comunicación acorde a los nuevos desafíos de la virtualidad. En ese sentido, se ha potenciado a lo largo de poco más de un año, cuarenta ediciones de diálogo virtual, contando con invitados tanto nacionales, como internacionales, esto último dentro de la modalidad #elmuseodialogainternacional. El espacio de diálogo cuenta con tres ejes trasversales que permiten cubrir un amplio espectro de posibilidades temáticas: a) Cultura popular, historia, arte y patrimonio, b) difusión del quehacer académico y c) temas de actualidad nacional e internacional. En el primer eje abordamos todo lo relativo a patrimonio cultural, materia e inmaterial, tradiciones, cultores populares, arte costarricense, entre otros. A partir del segundo eje, trabajamos en difundir el aporte de investigaciones de académicos tanto de la UNA como de otras universidades nacionales e internacional, con el fin de divulgar a públicos más amplios la contribución del conocimiento producido por las universidades a la sociedad en su conjunto. En el caso del tercer eje, reforzamos la relación pasado-presente, generando espacios de lectura de la realidad nacional e internacional, abriendo también horizontes de prospectiva. Palabras claves: Comunicación, Pedagogía, Cultura contemporánea, Patrimonio Cultural, Historia. The Museum Dialogues: the museum and society in critical communication. Resume The presentation consists of sharing and analyzing in depth the communicative work of the Museum of Popular Culture of the School of History of the National University of Costa Rica, specifically from the virtual dialogue initiative called "#elmuseodialoga", which has potentiated the presence of the museum in academic social networks and has contributed to fostering dialogic links with academics, inside and outside the university, as well as with actors from civil society as a whole. This initiative arose in order to enhance virtual extension and dissemination actions through the use of social networks that the museum has, for example, the YouTube channel, Facebook, Instagram, Twitter and LinkedIn. To this end, academics who work at the museum and students from the School of History have joined forces to generate a communication alternative in line with the new challenges of virtuality. In this sense, forty editions of virtual dialogue have been promoted over the course of just over a year, with both national and international guests, the latter within the #elmuseodialogainternacional modality. The dialogue space has three transversal axes that allow covering a wide spectrum of thematic possibilities: a) Popular culture, history, art and heritage, b) dissemination of academic work and c) current national and international issues. In the first axis we address everything related to cultural heritage, material and immaterial, traditions, popular cultists, Costa Rican art, among others. From the second axis, we work on disseminating the contribution of academic research from both the UNA and other national and international universities, in order to disclose to wider audiences, the contribution of the knowledge produced by universities to society as a whole. In the case of the third axis, we reinforce the past-present relationship, generating spaces for reading the national and international reality, also opening prospective horizons. Keywords: Communication, Pedagogy, Contemporary Culture, Cultural Heritage, History. [1] Académico Museo de Cultura Popular, Escuela de Historia, UNA. [2] Estudiante Escuela de Historia, UNA. [3] Estudiante Escuela de Historia, UNA. [4] Estudiante Escuela de Historia, UNA. [5] Estudiante Escuela de Historia, UNA.
Reports on the topic "Social history Museums"
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Кучерган, Єлизавета Валеріївна, and Надія Олександрівна Вєнцева. Historical educational experience of the beginning the twentieth century in the practice of the modern higher school of Ukraine. [б.в.], 2018. http://dx.doi.org/10.31812/0564/2139.
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The author of the study analyzes and determines the features of the introduction of new forms of education in the highest historical pedagogical institutions of Ukraine in the early twentieth century. In particular: colloquiums, excursions, rehearsals, the organization of scientific sections of students and societies. Colloquiums were held to discuss the creative work of students. Proseminars prepared students for participation in seminars. Excursions prepared students for scientific work and taught them to collect information about historical monuments. Interviews and rehearsals took an important place in the revitalization of academic activity of students in universities. During the interviews, students learned to express their thoughts freely. Rehearsals were used as a means of monitoring the progress of students. An important component of the preparation of the future teacher of history was the organization of scientific student sections and societies. The main forms of their work were: the discussion of scientific reports, the publication of periodicals, the creation of libraries, museums, etc. The most talented students took part in scientific sections and societies. Thus, higher education institutions created prerequisites for the education of gifted young people. The publication also reveals the specifics of the practical training of students. The practical component included not only pedagogical, but also museum practice. In addition, pedagogical institutions of higher education conducted educational excursions, literary and musical evenings, organized social, sanitary and charitable activities. The author of the publication not only explores the features of various forms of education, but also the possibility of using them in the practice of the modern higher pedagogical institution in Ukraine.
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Hall, Mark, and Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.
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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.
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Brophy, Kenny, and Alison Sheridan, eds. Neolithic Scotland: ScARF Panel Report. Society of Antiquaries of Scotland, June 2012. http://dx.doi.org/10.9750/scarf.06.2012.196.
Full textAbstract:
The main recommendations of the Panel report can be summarised as follows: The Overall Picture: more needs to be understood about the process of acculturation of indigenous communities; about the Atlantic, Breton strand of Neolithisation; about the ‘how and why’ of the spread of Grooved Ware use and its associated practices and traditions; and about reactions to Continental Beaker novelties which appeared from the 25th century. The Detailed Picture: Our understanding of developments in different parts of Scotland is very uneven, with Shetland and the north-west mainland being in particular need of targeted research. Also, here and elsewhere in Scotland, the chronology of developments needs to be clarified, especially as regards developments in the Hebrides. Lifeways and Lifestyles: Research needs to be directed towards filling the substantial gaps in our understanding of: i) subsistence strategies; ii) landscape use (including issues of population size and distribution); iii) environmental change and its consequences – and in particular issues of sea level rise, peat formation and woodland regeneration; and iv) the nature and organisation of the places where people lived; and to track changes over time in all of these. Material Culture and Use of Resources: In addition to fine-tuning our characterisation of material culture and resource use (and its changes over the course of the Neolithic), we need to apply a wider range of analytical approaches in order to discover more about manufacture and use.Some basic questions still need to be addressed (e.g. the chronology of felsite use in Shetland; what kind of pottery was in use, c 3000–2500, in areas where Grooved Ware was not used, etc.) and are outlined in the relevant section of the document. Our knowledge of organic artefacts is very limited, so research in waterlogged contexts is desirable. Identity, Society, Belief Systems: Basic questions about the organisation of society need to be addressed: are we dealing with communities that started out as egalitarian, but (in some regions) became socially differentiated? Can we identify acculturated indigenous people? How much mobility, and what kind of mobility, was there at different times during the Neolithic? And our chronology of certain monument types and key sites (including the Ring of Brodgar, despite its recent excavation) requires to be clarified, especially since we now know that certain types of monument (including Clava cairns) were not built during the Neolithic. The way in which certain types of site (e.g. large palisaded enclosures) were used remains to be clarified. Research and methodological issues: There is still much ignorance of the results of past and current research, so more effective means of dissemination are required. Basic inventory information (e.g. the Scottish Human Remains Database) needs to be compiled, and Canmore and museum database information needs to be updated and expanded – and, where not already available online, placed online, preferably with a Scottish Neolithic e-hub that directs the enquirer to all the available sources of information. The Historic Scotland on-line radiocarbon date inventory needs to be resurrected and kept up to date. Under-used resources, including the rich aerial photography archive in the NMRS, need to have their potential fully exploited. Multi-disciplinary, collaborative research (and the application of GIS modelling to spatial data in order to process the results) is vital if we are to escape from the current ‘silo’ approach and address key research questions from a range of perspectives; and awareness of relevant research outside Scotland is essential if we are to avoid reinventing the wheel. Our perspective needs to encompass multi-scale approaches, so that ScARF Neolithic Panel Report iv developments within Scotland can be understood at a local, regional and wider level. Most importantly, the right questions need to be framed, and the right research strategies need to be developed, in order to extract the maximum amount of information about the Scottish Neolithic.