Journal articles on the topic 'Tiles Exhibitions History'
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1
Pletneva, Ludmila M., Praskovya E. Bardina, Svetlana V. Berezovskaya, and Alexandra Yu Tsurikova. "THE HISTORY OF THE LOCAL HISTORY EXPOSITION “ALONG THE RIVER OF TIME” IN THE MUSEUM OF SEVERSK." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 248–64. http://dx.doi.org/10.17223/22220836/41/22.
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The Exhibition Hall Museum of Seversk was opened on December 24, 1987 as an exhibition hall. In the first years of its existence, it hosted temporary exhibitions from abroad, central museums of the Soviet Union, as well as exhibitions of local artists and the Children’s Art School. In the early 1990s, the government ceased to financially support traveling exhibitions. The museum faced the problem of how to fill its space. The archaeological excavations conducted by the Tomsk State University and the Seversk Archaeological Inspectorate, which were well known to the Seversk Administration, suggested the idea of creating a Department of Archeology and Ethnography at the museum. This Department was created in 1993. PhD of History P.E. Bardina, E.A. Vasilyev and L.M. Pletneva, came to the Department from the Tomsk State University. From the very beginning, they made it their goal to open a local history exhibition in a few years. In order to create its own collection, the museum needed to undertake archaeological and ethnographic expeditions. It developed a clear plan to excavate already known monuments and, with significant financial support from the Seversk Administration (then known as the City Council of People’s Deputies), brought this plan to life. The museum actively collected ethnographic materials in the surrounding villages. After each year of work, it presented exhibitions. At the same time, the museum developed a Scientific Concept and a Thematic Exposition Plan. In 1997, both documents were approved by the Scientific and Methodological Council of the museum. The Thematic Exposition Plan consisted of three sections: archeology, history of the first Russian settlement on the site of the future city, and ethnography. The exposition as a whole covers the ancient history, the Middle Ages, modern and contemporary times. The archaeological section presents exhibits dating back to the Stone, Bronze, Early Iron, and Middle Ages. The historical section demonstrates documents from archives on the history of the Virgin MaryAlekseevsky Monastery, religious items, photographs of churches from the surrounding villages and priests, a copy of a fragment of the S.U. Remezov’s map. A model of a Russian log cabin with three walls, a front corner and a Russian stove is the central part of the ethnographic exposition. Agricultural and haymaking tools, tools for handicrafts, such as cooperage and blacksmithing, as well as for women's handicrafts, are presented on the outer wall of the log cabin. At a certain distance from the log cabin, there is a hunting hut with tools for hunting, fishing and pine nut harvesting. The exposition is continually updated and supplemented. A particularly large update took place in 2009. In subsequent years, considerable attention was paid to the introduction of innovative technological developments into the exposition. Using the exposition, the museum provides guided tours, classes for schoolchildren and senior kindergarten groups on the basis of museum research and educational programs.
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Barkaszi, Zoltán, Oleksandr Kovalchuk, and Anastasiia Maliuk. "Interpretation of evolution as part of science popularization in natural history museums." GEO&BIO 2021, no. 21 (December 30, 2021): 13–24. http://dx.doi.org/10.15407/gb2104.
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The paper presents a brief review of the scientific and educational role of natural history museums, particular-ly in the field of interpretation of organic evolution. The scientific and social value of collections that are stored at natural history museums are highlighted. The history of interpretation and popularization of basic ideas of the theory of evolution are considered, as well as the perception of evolution by the society and vari-ous categories of museum visitors. Analysed are the main tools of interpretation available in natural history museums as well as basic principles of display of palaeontological specimens, particularly in dioramas as pe-culiar museum tools for interpretation. The main approaches to the interpretation of evolution are considered in the context of selection of interpretation methods and tools and in regard to the specifics of various groups of museum visitors. Minimum professional skills of interpreters who take part in exhibiting and educational ac-tivities of natural history museums are discussed. The possibilities of interpretation of evolution are shown on the example of the palaeontological exhibition of the National Museum of Natural History at the National Academy of Sciences of Ukraine (Kyiv, Ukraine). A brief description of the palaeontological display is given, particularly on the general principles of its structure and on examples of exhibited specimens that demonstrate the evolution of various groups of vertebrates (e.g. fishes and mammals). Dioramas of the palaeontological exhibition are presented, which are especially valuable visual tools of interpretation of evolution in the muse-um. The main issues of further existence and development of natural history museums are discussed in the context of their role as powerful research and educational centres, maintaining a high level of attendance by visitors, and involvement of the public in the activities of these museums in times of high competition of lei-sure offers by various entertaining facilities. The need for the modernization of earlier exhibitions using mod-ern interactive tools and visualization techniques in underlined in order to increase public interest and expand the pool of visitors.
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Senior, David. "Page as alternative space redux: artists’ magazines in the 21 st century." Art Libraries Journal 38, no. 3 (2013): 10–17. http://dx.doi.org/10.1017/s0307472200018630.
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In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.
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Lutz, Barbara. "Von der documenta lernen? Über die kulturelle Dringlichkeit im Ursprung der Ausstellungsreihe und ihre transkulturellen Implikationen für das kuratorische Konzept der documenta 14." Kulturwissenschaftliche Zeitschrift 2, no. 1 (December 20, 2017): 76–87. http://dx.doi.org/10.2478/kwg-2017-0004.
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Abstract With the guiding principle „Learning from Athens“ the 14th edition of documenta took place in 2017 both in the Greek metropolis of Athens and the German city of Kassel. As such, documenta 14 did not appear as a touring exhibition but as two single and at the same time correlated exhibitions in two different countries located in the middle of Europe and on its outskirts. With this curatorial approach, Artistic Director Adam Szymczyk goes counter the basic parameters of the well-established Western exhibition institution, which was founded in 1955 and, since then, is implemented as a periodical exhibition with a one hundred-day duration at its venue in Kassel. Taking a transcultural perspective, this article considers how the curatorial concept of documenta 14 challenges not only the institutional history, structure and status of documenta but also how it resumes and transforms its initial understanding of an ethics of cultural connectivity in times of crisis and traumatic historical ruptures for today. Moreover, it critically scrutinizes, how far the curatorially initiated „terms of invitation“ and „forms of collaboration“ for the exhibition between Kassel and Athens can be acknowledged as a shared cultural practice.
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Tateishi, Momoko. "The Edo-Tokyo Museum Library." Art Libraries Journal 38, no. 2 (2013): 21–25. http://dx.doi.org/10.1017/s0307472200017995.
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The Edo-Tokyo Museum Library is the specialist library of a museum that opened in 1993, and that has a particular focus on the history and culture of Tokyo (known in pre-modern times as Edo). It houses a collection of books, documents, secondary materials and microfilms covering history, performing arts, customs and traditions, architecture, literature and much else. The Library’s holdings are a part of the Museum’s collections; we record them and store them, making them available for public consultation on the understanding that they are objects to be treated with care, preserved for future generations, and may also be used in the museum exhibitions. At the same time, we also make a point of collecting art exhibition catalogues, and we have characteristics of an art library. On the eve of our 20th anniversary our operations are due for a review, but here I will concentrate on giving a brief summary of our activities.
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Martins, Luciana. "Skin, paper, tiles: A cross-cultural history of Kadiwéu art." Journal of Material Culture 23, no. 3 (June 26, 2018): 344–67. http://dx.doi.org/10.1177/1359183518782713.
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This article focuses on the global traffic in images relating to Kadiwéu culture in South America, analysing the extent to which they are entangled in the group’s continuing sense of presence. It begins with Kadiwéu designs as they appeared in the sketchbook of the artist–explorer Guido Boggiani in the late 19th century. It then explores the mapping of Kadiwéu territory and the practices and protocols informing a politics of land rights, cultural property and economic survival, looking in particular at the commissioning of Kadiwéu designs for a housing estate and an associated exhibition in Berlin early in the 21st century. By developing a cross-cultural history of Kadiwéu art that considers the transnational networks across different times and spaces, including the case of a transcultural history of copyright, the article seeks to contribute to the ongoing re-thinking of the colonial visual archive and its afterlife.
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Atkinson, Jeanette, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (July 1, 2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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Hodder, Peter. "Science as theatre: a New Zealand history of performances and exhibitions." Journal of Science Communication 10, no. 02 (May 13, 2011): A01. http://dx.doi.org/10.22323/2.10020201.
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In colonial times in New Zealand the portrayal of science to the public had a sense of theatre, with nineteenth and early twentieth century grand exhibitions of a new nation’s resources and its technological achievements complemented by spectacular public lectures and demonstrations by visitors from overseas and scientific ‘showmen’. However, from 1926 to the mid-1990s there were few public displays of scientific research and its applications, corresponding to an inward-looking science regime presided over by the Government science agency, the Department of Scientific and Industrial Research. The subsequent development of science centres with their emphasis on visitor participation has led to an increase in the audience for science and a revival of theatricality in presentation of exhibitions, demonstration lectures, café scientifiques, and science-related activities.
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Deronne, Emmanuel. "De la « pudeur d’un malade » (La Foire) à la « gouaille » du Printemps des éclopés : Robert Reus, mon père, et ses autobiographies romancées." Dialogues francophones 18, no. 1 (March 1, 2012): 69–89. http://dx.doi.org/10.1515/difra-2015-0025.
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Abstract Some of the published or unpublished works of my father, Voltaire Deronne alias Robert Reus (1909-1988), display a strong autobiographical character. Robert Reus thus adopted several attitudes towards the treatment, modest or immodest, reserved or “exhibitionist,” of important elements in his life (his first marriage in 1943, his wife’s death in 1953, and other deaths in his family between 1945 and 1948). This article describes the writer’s strategies, ranging from silence to exhibitionism. His practices (or his conscious choices) as well as his theoretical aesthetic positions send us back to the writer’s personal history and to the way in which he reconstructs or reinvents it several times, in an opaque manner that suits him and which can be deciphered only by a family member exegete-editor.
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Zhirnova, Lidia S. "Russia as a Significant Other in Latvian Regional Museums: New Mental Borders and Cultural Exclusion." Journal of Frontier Studies 7, no. 2 (May 30, 2022): 61–76. http://dx.doi.org/10.46539/jfs.v7i2.391.
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The collapse of the Soviet Union brought about a massive redefining of borders, formal as well as mental. Latvia was among those countries that needed to reshape their identity, and its elite opted for distancing the country from Russia and the Soviet past. The article studies how this approach is reflected in 32 local history museums around Latvia. Many of their collections were formed in the Soviet times, and now museums have to redescribe them in accordance with the new ideological framework of “two occupations”. The study presents an initial classification of museums according to their scope. The article highlights the underrepresentation of the Russian language in the texts of exhibitions despite a considerable share of the Russian-speaking population. The main connotations with Russia are singled out, the most emotional of them being the narrative of the “Soviet occupation” and deportations, that was excluded from the public discourse in the Soviet times, and now is re-actualized. Three strategies of dealing with the Soviet past within the framework of museums are described: leaving Soviet items without a consistent narrative, pushing this topic to the margins of the exhibition and rewriting the Soviet discourse in complete accordance with the new ideological framework.
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Robin, Libby. "Museums in the Long Now: History in the Geological Age of Humans." Journal of the Philosophy of History 14, no. 3 (November 19, 2020): 359–81. http://dx.doi.org/10.1163/18722636-12341448.
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Abstract History in times of crisis is practical: future action depends on historical framing. Moving beyond “human scales” to include the evolutionary and the geological, and beyond humans to include other species, demands different approaches and new “archives” like ice-cores. This paper considers history in the Long Now, and particularly how museums and big public arts institutions develop new sorts of history through practical story-telling, taking seriously the notion that “the central role of museums [is] both an expression of cultural identity and … a powerful force for human development and education.” The museum has a particular value as “slow media”, deepening news stories in times of rapid change. The new epoch of Earth, the Anthropocene, where humans have become a geological force, poses challenges for exhibitions, but also reshapes museums themselves. Crucial to managing stories, collections and objects in Anthropocene times is the capacity to change course, to remain open to new developments, using performances, events and “pop-up” exhibitions alongside traditional museum offerings. New Museology regards stories as the fundamental unit of museums. Thus, the curation of stories is central work. No longer are museums defined solely by objects: the artistic and the ephemeral are all part of story-telling.
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Stanley, Jo. "WOW – Women on the Waves. P&O’s pioneering women seafarers: Past, present and future online exhibition: www.poheritage.com/the-collection/exhibitions/wow-women-on-the-waves, 8 March 2020, continuing indefinitely." International Journal of Maritime History 32, no. 3 (August 2020): 743–61. http://dx.doi.org/10.1177/0843871420946305.
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This review essay appraises the first online exhibition in the world on gendered maritime labour. The 23-panel exhibition addresses the subject from a UK perspective and deals specifically with P&O’s women seafarers from the company’s earliest times to today. Initially the essay outlines the contents of each panel and its accompanying ‘treasure chests’, making wider points about P&O’s position compared to other UK shipping operators. Then it tackles four key questions. How typical of women’s progress in the maritime world is this representation of P&O women? How productively and fairly does this exhibition represent the subject: a marginalised group’s progression from the periphery to the mainstream? How does this exhibition about a particular marginalised group illuminate the company’s growing understanding of the need to embrace diversity? Fourth, what is not there that should there? The essay concludes that the exhibition is, remarkably, of global value.
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Birkner, Michael J. "Remembrance of Good Times: "Teenage New Jersey": An Exhibition ReviewTeenage New Jersey.Teenage New Jersey [exhibition catalogue]. Kathryn Grover." Winterthur Portfolio 34, no. 2/3 (July 1999): 139–46. http://dx.doi.org/10.1086/496775.
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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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Ragazzi, Rossella, and Giacomo Nerici. "Discourses, practices and performances in Sámi museology at Tromsø University Museum." Nordisk Museologi 27, no. 3 (January 28, 2020): 134–51. http://dx.doi.org/10.5617/nm.7742.
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This article focuses on the set up, reception, and social scientific discursive fields that have informed two exhibitions about Sámi culture curated over time by Tromsø University Museum. They were curated in two different periods in the recent history of the Sami (end of 1990s and 2013–15). In our anthropologicallyinformed analysis we take a second look at the way in which researchers and curators have constructed, performed, and narrated certain aspects of Sámi material and immaterial heritage, in times of change and political awareness. The recent exhibitions have contributed to articulate essential issues concerning ethnic identity and cultural belonging in conversation with or critique towards the previous representation of Sámi ethnography at the museum, especially the renown Sámekulturen curated by Ørnulf Vorren. How did these exhibitions handle the representations in which Sámi people would mirror their history, identity and aesthetics? How did they speak on behalf of the Sámi but also in conversation with the Sámi? How were these presentations interpreted over time in a changing museological practice?
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Kelly, Déirdre. "It’s All in the Reading." Arts 9, no. 1 (February 10, 2020): 19. http://dx.doi.org/10.3390/arts9010019.
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It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this paper examines the presence and role of book works within the context of the art biennale, in particular the Venice Art Biennale of which the 58th iteration (2019) is entitled ‘May You Live In Interesting Times’ and curated by Ralph Rugoff, with an overview of the independent International cultural offerings and the function of the ‘Book Pavilion’. Venetian museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions, recognising the position that the book occupies in the history of the city. This year, the appearance for the first time, of ‘Book Biennale’, opens up a new and interesting dialogue, taking the measure of how the book is being promoted and its particular function for visual communication within the arts in Venice and beyond.
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Castro, Laura. "João Allen: Collecting the World: An Exhibition and Case Study of the First Private Museum in Portugal." Collections: A Journal for Museum and Archives Professionals 16, no. 3 (July 15, 2020): 279–97. http://dx.doi.org/10.1177/1550190620939975.
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João Allen (1781–1848) was a business man who collected antiques, curiosities, natural history, numismatics, archeological pieces, and fine arts. A trip to Italy in 1826–1827 was fundamental to his collection building, to the opening of the first private museum in Portugal, the Allen Museum in Porto (1837), and to the identity of one of Portugal’s most important museums, the Museu Nacional de Soares dos Reis created in 1833 under a different designation. Allen’s Grand Tour of Italy and his eclecticism were the cornerstone of the exhibition that took place in this museum in 2018. This article addresses the way in which the exhibition reflects the museum itself and recalls the formation of collections which are of great importance for the history of European museums due to what they reveal about the political and cultural circumstances of their times. Finally, we point out some possible developments concerning the permanent exhibition of the museum.
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Tatarinova, Evgenia A. "Book Exhibitions during the Great Patriotic War of 1941-1945 (from History of the Russian State Library)." Bibliotekovedenie [Russian Journal of Library Science], no. 5 (September 9, 2009): 110–15. http://dx.doi.org/10.25281/0869-608x-2009-0-5-110-115.
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The problem of preservation of cultural values during wars and local military conflicts is a little studied now. However equally important is the promotion of book heritage and literary culture in times of hostilities. Book exhibition activities of the State Library of the USSR after V.I. Lenin in days of the Great Patriotic War of 1941—1945 is described in the article.
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Weineck, Silke-Maria. "Somatic Archive: Exhibiting Nietzsche." German Politics and Society 18, no. 1 (March 1, 2000): 66–75. http://dx.doi.org/10.3167/104503000782486705.
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This essay concerns one of the strangest exhibits of all time: the display of Friedrich Nietzsche’s live body in Villa Silberblick, a house overlooking Weimar, the “City of European Culture” in 1999. Since Weimar’s self-representation is organized almost entirely around the glory of a handful of long-dead men and the public spaces devoted to them, the town might as well have declared itself “City of Museum Culture.” Indeed, its culture has been strange at times, and its contradictions are not all that badly summed up in the double meaning of Silberblick, which can mean both silver view and cross-eyed vision. In the story of Nietzsche’s final years we will encounter both the silvering and the squinting.
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Barić, Mislav. "Earthquake and the pandemic on top of old problems – work of the Croatian History Museum after the Zagreb earthquake of March 2020 and during the Covid-19 pandemic." Libellarium: časopis za istraživanja u području informacijskih i srodnih znanosti 13, no. 1 (August 26, 2022): 143–58. http://dx.doi.org/10.15291/libellarium.3472.
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Purpose. The aim of the paper is to present the work the Croatian History Museum (CHM) has done to preserve cultural heritage and the use of its digital strategy to present that work. This was applied in the CHM’s plan as the digital editorial board was formed to oversee and curate the Museum’s presence on the social media and the internet. Approach/methodology. The paper showcases the increase of online visitors and users that consume cultural heritage on online platforms through the examples of virtual exhibitions, social media posts and gathered data. The maintenance of a specifically targeted virtual identity of a museum helped in this regard, which is evident in the increase of online visitors. Data was gathered and interpreted by using Google Analytics and Instagram analytical data by the author throughout 2020, and the data suggest that digital museums have a lot of potential, in particular with modern online users. Findings. The data presented in the paper shows that the online visitors were interested in the work of the Museum and that the promotion thorough social media generated online visitors as much as a real-life exhibition. It shows the interest in digital museums and the promotion of museum work online. Research limitations. The author recognizes that the data presented in the paper is gathered only from one source as the author could not access data from other similar institutions which would have been used for comparison. Originality/value. Through empirical examples, the paper showcases how useful a virtual museum can be in raising interest in cultural heritage. This is especially important in times when people cannot attend large social gatherings. Also, the paper describes the events and the work guidelines given at times of crisis such as earthquakes, which the author witnessed himself and participated in.
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Rickertt, Jeff. "Taking It from the Streets: The Politics of Collecting, Writing and Exhibiting History from Below." Queensland Review 14, no. 01 (January 2007): 115–21. http://dx.doi.org/10.1017/s1321816600006267.
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Writing in Griffith Review 13 about ‘being political now’, Mark Bahnisch described the Museum of Brisbane's Taking to the Streets exhibition as a ‘monument to the symbolism of the '60s’. On display, he wrote, were causes and experiences that ‘symbolise a generation’. It's an interesting observation, especially in an essay concerned with debunking generational stereotypes. For it seems Bahnisch himself may have fallen for, well, a generational stereotype. Aside from apparently missing the 75 per cent of the exhibition that didn't deal with the 1960s, he also seems to have failed to notice that the people represented in the interviews, the written accounts, the grainy images, the shaky film footage and the lists of arrests were not all of one generation. Ranging from punks to pensioners, students to seafarers, communists to Christians, they were in fact an amazingly motley bunch of citizens who shared a history only because they shared a desire for a better society and a belief that protest was a legitimate and worthwhile political activity. And, despite the mythology, the issues they mobilised around — war, racism, the nuclear industry, sexism, workers' rights, civil liberties — had been around as causes well before 1965. Even that icon of late 1960s radicalism — the peace symbol — came from earlier times, as Ted D'Urso so carefully explained in his exhibition interview.
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Vagapova, Farida Ravilevna, and Svetlana Anatolievna Frolova. "Museum of the History of Kazan University and the Kazan University Nikolay Lobachevskii Scientific Library Experience in Cooperation in 2017–2019 Years." Russian Digital Libraries Journal 23, no. 5 (August 23, 2020): 890–904. http://dx.doi.org/10.26907/1562-5419-2020-23-5-890-904.
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The Museum is located in the heart of the main building of KFU. This room has changed its purpose many times: after the October revolution it was used as a gym, in wartime it was a hostel for evacuated employees of the Academy of Sciences of the USSR, later it served as a reading room of the Scientific library. Lobachevsky. The opening of the Museum was dedicated to the 175th anniversary of Kazan state University in 1979. The Museum is dedicated to the two-century history of the emergence, formation and development of Kazan University – from Imperial to Federal. The main section of the exhibition tells about scientific schools, outstanding researchers and discoveries that brought the Kazan University and its scientists worldwide fame. Much attention is paid to the famous students and graduates of the University: statesmen, scientists, culture, literature and art, sports. Among them, S. T. Aksakov, N. And. Lobachevsky, I. M. Simonov, A. M. Butlerov, L. N. Tolstoy, V. I. Ulyanov-Lenin, E. K. Zavoisky, A. E. Arbuzov, and others. The exhibition shows the role of advanced scientists and democratically minded Kazan students in the social and political life of Russia XIX-early XX centuries.in each section of the exhibition you can see the relics of the past and the present, which witnessed many events in the history of the University and the country. In addition to the main exhibition, the Museum includes a memorial complex: the Imperial hall and lecture hall of the faculty of law with the interior of the late XIX – early XX centuries, where as a students listened to lectures L. Tolstoy, V. Ulyanov and others.The report is devoted to the areas of cooperation between the Museum of History of Kazan University and the KFU Nikolay Lobachevsky Scientific Library in 2017-2019 years such as exhibition, cultural and educational activities to preserve and promote the university’s heritage.
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Caton, Hiram. "A Farewell to Alms: A Brief Economic History of the WorldGregory Clark (2007). Princeton: Princeton University Press, 418 pp., US$29.95, ISBN 978 0 691 12135 2." Twin Research and Human Genetics 11, no. 2 (April 1, 2008): 243–45. http://dx.doi.org/10.1375/twin.11.2.243.
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AbstractEconomics arranges its topics as Big, Medium, and Small. Mr Big is the Industrial Revolution: How did it happen, and when? Whence did it spread, and at what rate? What were the costs and benefits? The literature is vast and the answers are numerous. But it organizes around a fundamental phenomenon: from about 1800, economic growth began an upward climb that in fifty years captured the world's purse and that in another half century had increased the wealth of industrial nations many times. Intoxication with this achievement is expressed in museums of science and industry and on websites featuring the Paris Exhibition of 1889 and the Chicago Exhibition of 1893.
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Sołtan, Andrzej. "PROFESSOR JANUSZ DURKO (1915–2017)." Muzealnictwo 59 (January 8, 2018): 54–58. http://dx.doi.org/10.5604/01.3001.0012.0593.
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Janusz Durko, Prof. Dr with habilitation, was a historian, an archivist, and a distinguished museologist. Born in Warsaw, he graduated from Warsaw University, history faculty (1938); then spent a whole WWII here. After the liberation from German occupation, he worked in the Capital City Reconstruction Office (Biuro Odbudowy Stolicy), then in the Institute of National Remembrance (Instytut Pamięci Narodowej) founded to conduct research on contemporary history. His doctorate degree he obtained in 1948, habilitation in 1955, professorship in 1964. In 1951, he was appointed to the post of a director of the Main Historical Museum, which two years later was changed into the Historical Museum of Warsaw. The permanent exhibition he opened in 1955 was the first, exhaustive and complete, attempt to give the synthetic presentation of Warsaw past; the museum itself – as an institution of the greatest importance in the field of historical museums in Poland at the time – was inspiring a development of historical exhibitions also in museums of other countries. This helped Janusz Durko to establish his highly regarded professional position: he had been invited to be a member of many committees, councils (including museum ones) and associations, as well as editorial boards of magazines, inter alia, “Museology”. In the years 1951–2003, when Janusz Durko was the head of the Historical Museum of Warsaw, it was one of the main institutions for research on Warsaw history, the venue of numerous conferences, sessions and temporary exhibitions. It was maintaining good relations with many other countries, creating intensely its own collection, and offering an attractive educational programme. The number of its branches was steadily growing. Among Professor’s publications (ca. 140) of various kind there is one of an undoubtedly monumental character: eight volumes of the Bibliografia Warszawy (1958–2006) edited by him, where he registered everything, or nearly everything, that was being published on Warsaw in the years 1795–1970. In recognition of Professor’s achievements he had been awarded a number of times with, inter alia: the Minister of Culture and Arts Award of 1st degree for protection of cultural heritage, the Award of Capital City of Warsaw (twice), title of “Homo Varsoviensis”, the Order of Polonia Restituta First Class – the Grand Cross with Star, the Gold Medal for Merit to Culture “Gloria Artis”. After getting retired in 2003, Professor Durko still maintained close relation with museum by being a member of the Museum Council (2004–2008). In 2015, the institution he had been running for 52 years had an honour of hosting him for the last time during the celebration of his 100th birthday. He died a year after and was buried in the Powązki Military Cemetery.
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Stomberg, John R. "Ben Shahn's New York: The Photography of Modern Times: An Exhibition ReviewBen Shahn's New York: The Photography of Modern Times.Ben Shahn's New York: The Photography of Modern Times [exhibition catalogue]. Deborah Martin Kao , Laura Katzman , Jenna Webster." Winterthur Portfolio 35, no. 2/3 (July 2000): 189–203. http://dx.doi.org/10.1086/496824.
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Bhavsar, Vikram. "Personalized Event Recommendation System." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 30, 2021): 5165–68. http://dx.doi.org/10.22214/ijraset.2021.36128.
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Many times, we receive a large number of notifications about various events, exhibitions, and meetups happening all around us that are irrelevant to us because we simply are not interested in them. Various people have their importance of things that they are interested in and be notified of all these events and from them searching for something that might interest them will take a lot of time and sometimes does not provide any meaningful information. In today’s world, there is no such existing facility that notifies us about the various events that are tailored to our interest strictly based on our web browsing history. Thus, we aim to create a Personalized Event Recommendation System that recommends the events that are sorted according to the user based on his/her interests using their browser history.
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Sibylová, Michaela. "Aristocratic libraries in Slovakia – status, research, history." Z Badań nad Książką i Księgozbiorami Historycznymi 15, no. 3 (September 30, 2021): 427–41. http://dx.doi.org/10.33077/uw.25448730.zbkh.2021.671.
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The author has divided her article into two parts. The first part describes the status and research of aristocratic libraries in Slovakia. For a certain period of time, these libraries occupied an underappreciated place in the history of book culture in Slovakia. The socialist ideology of the ruling regime allowed their collections (with a few exceptions) to be merged with those of public libraries and archives. The author describes the events that affected these libraries during and particularly after the end of World War II and which had an adverse impact on the current disarrayed state and level of research. Over the past decades, there has been increased interest in the history of aristocratic libraries, as evidenced by multiple scientific conferences, exhibitions and publications. The second part of the article is devoted to a brief history of the best-known aristocratic libraries that were founded and operated in the territory of today’s Slovakia. From the times of humanism, there are the book collections of the Thurzó family and the Zay family, leading Austro-Hungarian noble families and the library of the bishop of Nitra, Zakariás Mossóczy. An example of a Baroque library is the Pálffy Library at Červený Kameň Castle. The Enlightenment period is represented by the Andrássy family libraries in the Betliar manor and the Apponyi family in Oponice.
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Suslova, Natalia. "THE EXHIBITION “REVOLUTIONARY SPAIN FIGHTING AGAINST FASCISM” AS A PRODUCT OF SOCIALIST REAL-IST CULTURE." Latin-American Historical Almanac 32, no. 1 (April 12, 2021): 195–207. http://dx.doi.org/10.32608/2305-8773-2021-32-1-195-207.
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The author explores the exhibition "Revolutionary Spain Fighting against Fascism" (1936–1939, Museum of the History of Religion, Leningrad), focusing on the approaches and methods used for construct-ing and representation of the images of "great family" (hero, mother, fa-ther) and enemy, who opposed them. These archetypes were widely re-produced in Soviet culture, most particularly in the novels and stories created in the genre of socialist realism. The museum narrative was a kind of political parable, in which "Revolutionary Spain" (the hero) struggled against the "church and fascism" (the enemy). The role of the stern, but loving and caring father-mentor belonged to Stalin, whose portraits appeared several times at the exhibition. Homeland was the mother, for whose freedom the Republicans (sons and daughters) fought. Not all the Republicans, but only Communists were the ones, who gained the victory in this war.
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Tyszkiewicz, Adam. "MANAGING THE COLLECTIONS OF THE MEDICAL UNIVERSITY OF WARSAW VERSUS THE EXPERIENCE OF THE HUMBOLDT UNIVERSITY AND THE UNIVERSITY OF VIENNA." Muzealnictwo 60 (July 24, 2019): 163–73. http://dx.doi.org/10.5604/01.3001.0013.3012.
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The Medical History Museum founded in 2011 within the structure of the Medical University of Warsaw (WUM), following the solutions introduced at the Humboldt University in Berlin and the University of Vienna, is planning to shortly introduce coordination of protection and display of the historic tangible heritage of the school. In both Berlin and Vienna in the early 21st century the project of university collection inventory was launched. Just over several years it yielded a large-scale digitizing process, foundation of theme websites, publications, and organization of temporary exhibitions promoting the historic university collections. The Association of University Museums established in Poland in 2014 has for several years been drawing inspiration from the German and Austrian models. The WUM Medical History Museum, resorting to the experience of the Berlin and Vienna universities, has applied numerous ideas for the integration of the historic collections, their identification, and recreation. Following the history of medical collections in Warsaw from the 1st half of the 19th century up to contemporary times, the Author analyses the model for this museum strategy, while also presenting examples of dangers resulting from the mismanagement of university historic heritage.
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Schauble, Michaela. "Living history? Reenacting the past and promoting “tradition” in the Dalmatian hinterland." Nationalities Papers 47, no. 2 (November 23, 2018): 198–216. http://dx.doi.org/10.1080/00905992.2017.1345881.
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In August 2015 the municipality of Sinj, located in the Dalmatian hinterland, celebrated the 300-year anniversary of a historic victory against the troops of the Ottoman Empire, one that is legendarily attributed to the divine intervention of the Virgin Mary. The Sinj Tourist Board launched an unprecedented campaign in organizing and advertising the various events - ranging from historical re-enactments, film and music productions, folkloristic performances, sports events, exhibitions, and fashion shows, to religious processions and conferences. Using a variety of media formats, these efforts were aimed at creating a new national epic, expanding the meaning of the miraculous battle of 1715 from a local narrative to a nation-wide symbol, representing Croatia in a European and global context. This article focuses on various theatrical re-enactments of the historic battle and the alleged Marian apparition, assessing the role of nostalgia and authenticity in contemporary living history performances. While one of the underlying motifs in the case of Sinj is to enhance the region’s attraction as a tourist destination, the article also theorizes the re-enactment’s epistemological and political claims by proposing that these interactive engagements with history take an active stance in promoting and/or re-inventing heroic olden times to advance socio-political conditions in the present (Gegenwartsbewaltigung).
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CLAPSON, MARK. "The new suburban history, New Urbanism and the spaces in-between." Urban History 43, no. 2 (February 19, 2016): 336–41. http://dx.doi.org/10.1017/s0963926816000067.
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What a word we live in. The existential reality of being ‘suburban’–an unpopular adjective at the best of times – has been subject to some astounding criticisms recently. People who choose to live in a suburban home are still deemed to be contemptible by a self-consciously urbane commentariat who could never live somewhere so vacuous. According to one newspaper journalist, the religious fascists who attacked Paris in November 2015 were at heart suburban, exhibiting contempt for the diversity and heterogeneity of the sophisticated metropolis because it upset their reactionary world view. The transatlantic celebrity-historian Simon Schama, appearing on BBC Television's Question Time in October 2015, denounced a critic of unfettered refugee migration to Europe for turning away his ‘suburban face’ to human tragedy. Can a suburbanite possibly find the wherewithal to bounce back from such criticism? Sadly, there is no great volume of historical literature to give them much inspiration, and more recent scholarship offers little that is truly revisionist.
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Monteiro, Jesus Alexandre Tavares, and Danilo Ferreira Soares. "Each toada represents a missing: a brief history about the use of caipira music in the study of human and social sciences in new high school." Revista Tempos e Espaços em Educação 15, no. 34 (December 14, 2022): e17862. http://dx.doi.org/10.20952/revtee.v15i34.17862.
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This article aims to present a brief history of country music, through qualitative bibliographic research and exhibitions of musical excerpts to offer teachers and other interested parties a path of educational intervention. Music associated with education promotes dynamism in the learning and teaching process. Specifically, country music contextualizes the social relationships of students in rural regions and also in large urban centers. From the Brazilian colonial period, in the mid-16th century to the present day, this musical style adapts and characterizes the historical and chronological times through which it passes. Each country song represents a historical context permeated with culture and sensibility. It is an investigation that explains the didactic and educational potential of the use of country music in the study of human and social sciences within the new high school.
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Jacknis, Ira. "‘America Is Our Field’: Anthropological Regionalism at the American Museum of Natural History, 1895–1945." Museum and Society 13, no. 1 (January 1, 2015): 52–71. http://dx.doi.org/10.29311/mas.v13i1.317.
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This article outlines the regional interests and emphases in anthropological collection, research, and display at the American Museum of Natural History, during the first half of the twentieth century. While all parts of the world were eventually represented in the museum’s collections, they came from radically different sources at different times, and for different reasons. Despite his identity as an Americanist, Franz Boas demonstrated a much more ambitious interest in world-wide collecting, especially in East Asia. During the post-Boasian years, after 1905, the Anthropology Department largely continued an Americanist emphasis, but increasingly the museum’s administration encouraged extensive collecting and exhibition for the Old World cultures. For the most part, these collections and exhibits diverged from anthropological concerns, expressing imperialist messages, biological documentation, or artistic display. In thus constituting the ‘stuff’ of an anthropology museum, one can trace the transvaluation of objects, the importance of networks, institutional competition, and the role of disciplinary definitions.
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Rusevych, Tetiana, and Hanna Zavadska. "MEDIA ART IN MODERN SYNTHESIS OF ARTS IN ARCHITECTURE." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 26–32. http://dx.doi.org/10.32347/2519-8661.2021.22-23.26-32.
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The article substantiates the problem of synthesis of media art in the modern synthesis of arts in architecture, provides a definition of the term " Media Art" as a higher form of artistic development. Attention is paid to the analysis of recent research and publications devoted to the study of the artistic component of interactive design in the synthesis of the arts of architectural space, the influence of media technologies on the formation of the architectural image of art centers, describing trends in media technology in architecture. The purpose of the article is to consider the forms of media art, their role in the synthesis of arts in architecture. The article emphasizes the objects created and embodied in Ukraine, describes the synthesis of arts from the angle of influence of media art on human perception and outlines the prospects for development. The history of the synthesis of arts in architecture from ancient times, the development of the synthesis of arts in the Art Nouveau style, the preconditions for the emergence of media art are briefly described. The synthesis of media art and architecture, interaction with other arts, namely painting, sculpture, music and others is considered on the example of the multimedia center Atelier des Lumières – "Workshop of the World" in Paris, which specializes in digital art exhibitions; Ukraine WOW exhibition in Kyiv, which is equipped with various forms of media art; media facades in Kyiv; media cube on the facade of Chicago Central House, which is the first media sculpture in Europe. The definition of "media facades" is also given and the influence of media technologies on the emotional and psychological state of a person is considered. Examples of interaction of various forms of media art with architecture are given. The conclusions determine the role of media art in architecture, the impact of media technology on human psychology, outline the prospects for the development of media art in the modern synthesis of arts in architecture.
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Septian Fatianda, Nuraini A. Manan, and Muhammad Yunus Ahmad. "PEKAN KEBUDAYAAN ACEH DALAM PERSPEKTIF HISTORIS." Indonesian Journal of Islamic History and Culture 1, no. 1 (July 1, 2020): 63–79. http://dx.doi.org/10.22373/ijihc.v1i1.505.
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This article is entitled Pekan Kebudayaan Aceh (Aceh Cultural Week) in Historical Perspective. Aceh Cultural Week or PKA is a cultural event displaying cultural richness through cultural attractions, artistic performances, exhibitions and cultural seminars. The purpose of this research is to find out the early history of PKA implementation and its development, impact, shifting in the initial PKA values and objectives, as well as criticism and input on the implementation of PKA. This study uses the historical method through heuristic steps, interviews, source criticism, interpretation, and historiography or history writing. The results of this study explain that the Aceh Cultural Week has been implemented for seven times where firstly held was in 1958 and continued until the latest (seventh) PKA in 2018. This PKA is aimed to develop and preserve Aceh's historical, traditional and cultural values and as a means of unifying various ethnic groups in Aceh. In addition, PKA has provided substantial results for the preservation of Aceh's culture. Furthermore, this research also explains that the society highly appreciates the implementation of PKA despite some points that need to be evaluated in order to achieve the noble ideals of PKA itself.
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Chang, Xiao, Kai Wang, Yuting Wang, Houmian Tu, Guiping Gong, and Haifeng Zhang. "Medication Literacy in Chinese Patients with Stroke and Associated Factors: A Cross-Sectional Study." International Journal of Environmental Research and Public Health 20, no. 1 (December 29, 2022): 620. http://dx.doi.org/10.3390/ijerph20010620.
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In China, stroke is characterized by high incidence, recurrence, disability, economic burden, and mortality. Regular and effective medication therapy can reduce stroke recurrence. High medication literacy is vital for the success of tertiary prevention measures aimed at preventing recurrence and minimizing disability. A cross-sectional survey using a medication literacy questionnaire was conducted between January and May 2022 on 307 inpatients of a Class III Grade A hospital in Hefei, Anhui Province, China. The demographic and clinical data of the patients were obtained from medical records. The health literacy of the patients was moderate, with 36.8% exhibiting adequate medication literacy. Univariate analysis identified significant differences in the medication literacy of the patients, depending on education level, annual income, family history of stroke, number of health problems, age, daily medication times, and brain surgery history. Multiple regression analysis revealed that education level, annual income, family history of stroke, and number of health problems significantly influenced medication literacy. In patients with stroke who are older and have a low education level, more health problems, no history of surgery, or no family history of stroke or medication guidance, medication knowledge and attitude can be improved to enhance medication safety and guarantee tertiary-level prevention of stroke.
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Guze, Justyna. "CATALOGUES OF ENGRAVINGS – ITALIAN ONES FROM THE NATIONAL MUSEUM IN WROCŁAW AND FRENCH ONES FROM THE NATIONAL MUSEUM IN SZCZECIN." Muzealnictwo 59 (June 26, 2018): 93–97. http://dx.doi.org/10.5604/01.3001.0012.1437.
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At the turn of 2017 and 2018, with the date 2017 printed in the colophon, two catalogues of engravings’ collections were published: old Italian prints from the collection of the National Museum in Wrocław, and French prints from the National Museum in Szczecin. The collection of Wrocław contains groups of artworks by the best Italian engravers from the Renaissance to the 18th century, and a small representation of the 19th century. An introduction to the catalogue gives the history, the scope and the contents of the collection as well as the brief history of the engraving art on the Apennine Peninsula. The catalogue itself is glossed, giving references to the latest research, preceded by biographical notes of encyclopaedic character. This well illustrated and thoroughly edited catalogue, organised in a user-friendly alphabetical order, is a compendium useful not only for art historians. The catalogue published by the National Museum in Szczecin has the same title as the exhibition of French engravings from its collection. It is a combination of both the exhibition and the collection catalogue. Hence its specific layout corresponding rather with the narration of an exhibition than a catalogue’s criteria. Both the encyclopaedic profiles of artists and the following glosses are accompanied by selected bibliography; its full version together with extensive academic references can be found at the end of the volume. The collection of over 600 prints has been divided not in alphabetical or chronological order but in accordance with an academic hierarchy of subjects. Engravings for art reproduction purposes prevail in Szczecin collection although original works of famous artists are also included. The publication of both catalogues allows us to learn more about the engravings in Polish public collections, i.e. the ones of national museum in Szczecin and Wrocław. It also gives the history of Polish collections after 1945, affected by the previous losses of the World War II. Undoubtedly, the sign of the times and the presence of Poland in the united Europe is the publication of the Italian engravings’ collection from Wrocław, which was kept before in the Academy of Arts in Berlin. Great care has been taken to prepare both catalogues in terms of their typography, although the illustrations in the French engravings’ catalogue would be of more benefit if were somewhat larger.
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Vidal, Diana, and José Cláudio Sooma Silva. "Interpreters of the past and of the present: the art of historians of education and archivists." History of Education in Latin America - HistELA 3 (May 19, 2020): e20951. http://dx.doi.org/10.21680/2596-0113.2020v3n0id20951.
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Interpreting former times is not the sole province of historians. It is a constitutive act of the arts performed by writers, exhibition curators, docufilm directors, film writers and scenographers, re-enactors. But not only, it is also an element of the practice of historians of education and archivists, of people who throughout their lives collect records, of the exercise of patrimonial education on the part of teachers and of the organizers of school museums. Framing the discussion on the craft of historians of education and archivists, we structured the article into two parts. The first part focuses on the historiographical narrative in education, taking an example from the Brazilian history of education. The second part deals with some of the dimensions present in the acts of archiving, focusing on particularly the materiality of the documents.
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Jancovich, Mark. "Beyond the slasher film: History, seriousness and the problem of the children’s audience in the critical reception of big-budget horror in the late 1970s and early 1980s." Horror Studies 13, no. 2 (October 1, 2022): 161–76. http://dx.doi.org/10.1386/host_00052_1.
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An analysis of the horror films of late 1970s and early 1980s argues that although this period is usually understood as one that was dominated by the slasher film, it was actually one defined by a wave of big-budget horror films. Furthermore, through an analysis of the reception of these films in mainstream publications such as the New York Times, the article not only explores features and trends that these films were understood as exhibiting but also the broader discourses through which films were either championed or condemned by reviewers.
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WEIWEI (China), Ai, and Augusto SARMENTO-PANTOJA (UFPA). "AI WEIWEI: RESISTÊNCIA DAS ARTE E O MATERIAL CULTURAL." Margens 16, no. 27 (December 23, 2022): 307. http://dx.doi.org/10.18542/rmi.v16i27.13625.
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The photo essay I present below was carried out in 2021 at the exhibition “Rapture”, by the Chinese activist and artist Ai Weiwei, held at Cordoaria Nacional, in Lisbon. Living in Portugal, this was the artist's first and largest exhibition with 85 pieces produced in various formats, materials and sizes, including cork, straw, paper, marble, clay, cloth, metal, ceramics and tiles. His versatility turns everything into art and activism, as human rights are a constant in his work, which seeks to reveal a particular way of questioning the world. Whether in the face of tragedies, war, political persecution, the environmental crisis, censorship, the pandemic, the refugee crisis or his own fight for freedom, when the Chinese government kept him imprisoned for 81 days in 2011, due to his intense criticism mainly of the disrespect for human rights. I reflect on the materials used by Weiwei as part of his culture and how this same process can be thought of in Amazonian art.
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Shandler, Jeffrey. "Transformations of the Ketubbah; or, the Gallery of Broken Marriages." IMAGES 4, no. 1 (2010): 25–45. http://dx.doi.org/10.1163/187180010x547620.
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AbstractKetubbot (Jewish marriage contracts) exemplify the dynamics of ritual objects in Jewish life from ancient times to the present. Though often characterized in modern publications and museum exhibitions as demonstrating the continuity of traditional practice, their history is characterized less by endurance than by transformation, as a shifting series of purposes are assigned to the ketubbah: legal document, ritual object, collectible, artifact, domestic artwork. Each of these purposes entails its own contestations of the ketubbah’s significance, thereby challenging claims that these objects betoken cultural (and, by implication, demographic) continuity. The contemporary design of ketubbot offer an unprecedented array of aesthetic possibilities, and the practices surrounding their creation and disposition following the wedding (including their fate in cases of divorce) sometimes challenge rabbinic authority, familiar customs, and the conventions of Jewish public culture. These most recent developments in the long trajectory of ketubbot reveal how disjuncture and contestation figure as animating forces in Jewish life.
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Brennan. "The Great White Way and the Way of All Flesh: Metropolitan Film Culture and the Business of Film Exhibition in Times Square, 1929–1941." Film History 27, no. 2 (2015): 1. http://dx.doi.org/10.2979/filmhistory.27.2.1.
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Shevyrin, Sergei A. "The history of the Memorial Museum Perm–36: the experience of historiographical comprehension and museumification." Historia provinciae – the journal of regional history 5, no. 4 (2021): 1325–68. http://dx.doi.org/10.23859/2587-8344-2021-5-4-7.
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The article studies the history of a small timber-harvesting colony that was created in the times of the GULAG labor camps, outlived the period of being a political colony, and was transformed into a museum, the Museum of the History of Political Repression Perm–36, in the 1990s. Based on the analysis of publications of the 1990s–2000s, an attempt was made to recreate the history of comprehension of the era of political repression using the example of a certain museum. From the active study of the topic in the early 1990s and establishment of a public museum with support from the Perm Oblast administration, Perm–36 moved on to undergo severe criticism from the local and federal press, deprivation of financing and administrative support and, finally, rather rough dismissal of the museum administration and appointment of top managers from the Ministry of Culture. The public museum had a powerful creative and scientific potential that allowed it to develop, implement new forms of work, and attract the international museum and human rights community, but, unfortunately, the State Memorial Museum of the History of Political Repression Perm–36 has become an ordinary regional museum in fact. In the first years of being a state museum (2015–16), the administration of Perm-36 tried to revise the directions of work of the public museum. This was expressed in its attempts to justify the authorities and the cruel laws of the time when the colony existed and to find some incriminating evidence against its political prisoners. New exhibitions of the museum (e.g. “Broken by windfalls”) highlighted the state’s need for the prisoners’ work, in particular in harvesting timber needed for the reconstruction of war-ravaged cities, the successes in mechanization of camp production, and so on. The public outcry forced the leadership of the museum to adjust its course. Now, according to the development concept adopted in 2019, the activities of the reserve museum are aimed at preserving the memory of victims of political repression in order to prevent such tragedies in the future. The state museum Perm–36 continues to open new exhibitions and expositions that tell the story of the colony through the stories of people from the GULAG camps, dissidents, and human rights activists. However, the activities of the state memorial museum, which is deprived of public initiative and creative potential of the first directors, cannot yet rise to the level of international recognition and significance that its predecessor, the public museum, used to have.
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Culbertson, Tom. "The Golden Age of American Political Cartoons." Journal of the Gilded Age and Progressive Era 7, no. 3 (July 2008): 277–95. http://dx.doi.org/10.1017/s1537781400000724.
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[Note: What follows is a selection from a recent exhibition on Gilded Age political cartooning at the Rutherford B. Hayes Presidential Center in Fremont, Ohio, a sponsoring institution of Shgape and this journal from their inception. As the essay explains, the Hayes Center's first-rate research library includes many sources for scholarship on this craft, which thrived during the late 1800s. In this illustrated essay, Hayes Center director Tom Culbertson, an avid scholar of political cartooning, provides background information on major personalities of Gilded Age political cartooning, their publications, politics, mindset, and techniques. Appearing in weekly magazines, frequently filling a full page and printed in color, drawn in copious detail and finely engraved, Gilded Age cartoons represented a lavish, at times gaudy form of political expression to which this six-by-nine inch, black-and-white journal cannot do justice. Teachers and scholars routinely use such cartoons to illustrate other points without much thought to the circumstances of their drawing and printing. Superficially familiar, these cartoons take on new life when seen in their original form and setting.]
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Balyunov, I. V. "Archaeological Collections of the Medieval Hillfort Isker from the Funds of the Tobolsk Provincial Museum." Archaeology and Ethnography 18, no. 3 (2019): 24–34. http://dx.doi.org/10.25205/1818-7919-2019-18-3-24-34.
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Purpose. The hillfort of Isker is a unique medieval site in the history and archaeology of Siberia, which used to be the center of a large political association, the Siberian Khanate. The purpose of the article is to describe the history of its archaeological collections stored in the funds of the Tobolsk provincial museum. At the same time, we aim at showing how these materials were used in the exposition, research and educational activities of the museum in the late 19th – early 20th century. Results. At the stage of the museum being founded, few artifacts from the hillfort of Isker were stored in its funds. At that time, the famous Tobolsk artist M. S. Znamensky, who also worked at the museum, contributed to the replenishment of its funds. He was the author of the book “Isker”, which was published in 1891. Due to unclear circumstances, only a small part of the archaeological collection devoted to this hillfort and belonging to M. S. Znamensky remained in Tobolsk. In subsequent years, the museum regularly replenished its funds with the artifacts discovered on the territory of the hillfort. If we look at the list of the donators, we can see that active collectors of finds were the museum staff. According to the data available, the number of items obtained from the hillfort of Isker at those times exceeded the number of all other materials of the archaeological department. The artifacts were constantly shown to the public in the exhibition halls and occupied an important place in the exposition display. The continuation of this activity was connected with the first excavations on the site, which were conducted by the museum conservator V. N. Pignatti in 1915. In addition, V. N. Pignatti worked with the materials stored in the collections and described them. He published the results of his research in “Isker (Kuchumovo gorodishche)” and “The Catalogue of Finds on Isker Belonging to the Tobolsk Provincial Museum”. A little later, they organized an impressive showcase in the exhibition halls which showed a complete collection of the finds from the hillfort of Isker. The collection included about 1400 items. Thus, V. N. Pignatti summarized all historical and archaeological materials available at those times and presented them to the public and researchers, both readers of his works and visitors to the museum. Conclusion. In the late 19th – early 20th century, the museum was the central institution which collected and popularized the medieval hillfort of Isker as an important archaeological site. During those times, an impressive collection was gathered, which was analyzed, described and put into scientific circulation. During a long period, researchers learnt about the events and processes from the history of the Siberian Khanate based on the notes by M. S. Znamensky and V. N. Pignatti. As a result of our study, a fairly detailed history of forming the collection of the Isker at the Tobolsk provincial museum is presented, and the circle of persons involved in its creation is specified.
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Richardson, Elsa. "Lentils Beyond the Veil." Aries 22, no. 1 (November 22, 2021): 136–54. http://dx.doi.org/10.1163/15700593-02201007.
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Abstract On 15 July 1908 The Times advertised a talk on ‘personal experiences in spirit-photography and the scientific aspect of spiritualism’, due to take place that night at the Eustace Miles Restaurant. Attendees could look forward to not only ‘exhibitions of spirit writing’, but also to enjoying a ‘flesh-free’ meal afterwards. This entertainment speaks to confluence of spiritualist belief and vegetarian ideals that was played out elsewhere in societies, private seances and public demonstrations. Beyond a shared commitment to progressive causes, they held in common a belief in the purity of vegetable foods and the corrupting nature of flesh. Mediums were encouraged to avoid meat and disputes over the proper diet for believers raged through the movement’s periodicals. This article examines how the language of dietetics and the science of nutrition functioned in the séance, and what this reveals of the tricky negotiation of immateriality and corporality in spiritualist discourse.
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Liudmyla, Makiichuk. "GREENING OF LVIV: A REVIEW THROUGH HISTORY." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 1 (June 15, 2021): 91–99. http://dx.doi.org/10.23939/sa2021.01.081.
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The article highlights and analyzes the main periods of development of urban green areas of Lviv from the founding of the princely city to the present day. Methods of historical analysis and analysis of the scientific literature were used in the study to find the relationship between historical conditions and periods of development of green areas. Statistical analysis was also used to study statistics on green space, city area and population. Several main periods were identified during the study. The first period - the twelfth century. until 1777 – a period of rapid development of the "city in the walls" and changes in the surrounding lands. The first attempts at organized landscaping in the courtyards of monasteries and nearby cemeteries took place at this time. In the following period from 1777. by 1948, the decision to dismantle the walls and create the first planned landscaping of the city was made. Also, large parks near the estates of noble families were built. Since 1948 after 1917 the ecological situation in the city has deteriorated due to the active development of technology and industry, and the construction of residential areas with gardens has revived. Holding a National Exhibition in the 90s of the XIX century. was the impetus for the creation of new green areas. In the period of 1918 until 1939 the pace of landscaping of the city decreased, landscaping was organized mainly in the central part. At this time, Drexler's idea of expanding Lviv was realized, and the idea of forming a structure of landscaping in the form of three concentric circles is still relevant. From 1939 to 1980, the city's landscaping was actively and gradually developed, new parks were created, and suburban green areas for recreation were developed. The most modern stage – from gaining Independence to the present day – is the period when green areas need planned improvement and protection. The study confirmed the view that green areas are closely linked to historical events, such as wars or the active development of certain areas of the economy. Also, only quantitative indicators of green areas do not fully inform about the filling of the city with green spaces at different times, so it is necessary to take into account the qualitative characteristics.
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Witz, Leslie, and Helena Pohlandt-Mccormick. "Commemoration | Centenary: Memorials and the Making and Unmaking of Settler History." Kronos 47, no. 1 (December 31, 2021): 1–18. http://dx.doi.org/10.17159/2309-9585/2021/v47a10.
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This discussion originally took place as part of the Sounding the Land exhibition curated by Simon Gush, Helena Pohlandt-McCormick, Craig Paterson and Gary Minkley at the virtual National Arts Festival that ran from 25 June 5 July 2020. Sounding the Land (https://soundingtheland.co.za/) intended to use the bicentennial of the so called 1820 settlers' arrival as a critical platform from which to discuss the legacies of the settler colonial project, the ways in which it is commemorated, and to reassess the historical understandings of the 1820 settler moment in South African history. In the following discussion, which took place via Zoom Video Communication and was originally recorded on 2 June 2020, between Leslie Witz in Cape Town (6 pm South African time) and Helena Pohlandt-McCormick in San Francisco (9 am Pacific time) they talk about the cyclical and accumulative power of anniversary and commemoration, the ways they set in place temporal certainties that align past, present and future, and how configurations of memorial space through visual technologies are authoritative mechanisms in establishing the time and times of history. They discuss strategies of resisting such memorial power and whether the simple inversion of historical figures and events may inadvertently serve to reinforce anniversary histories of founding. By linking the contemporary moments of the interview the COVID-19 pandemic, the postponement of settler commemorations, the virtual National Festival, and the killing of George Floyd in Minneapolis they consider dystopian futures as inaugurating the possibilities of disruptive memorial time that constantly exposes the fractures of racial violence and colonial dispossession rather than masking it through either the commemoration or the inversion of the anniversary.
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Ahmed, Abdelkader T., Fatma El Gohary, Vasileios A. Tzanakakis, and Andreas N. Angelakis. "Egyptian and Greek Water Cultures and Hydro-Technologies in Ancient Times." Sustainability 12, no. 22 (November 23, 2020): 9760. http://dx.doi.org/10.3390/su12229760.
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Egyptian and Greek ancient civilizations prevailed in eastern Mediterranean since prehistoric times. The Egyptian civilization is thought to have been begun in about 3150 BC until 31 BC. For the ancient Greek civilization, it started in the period of Minoan (ca. 3200 BC) up to the ending of the Hellenistic era. There are various parallels and dissimilarities between both civilizations. They co-existed during a certain timeframe (from ca. 2000 to ca. 146 BC); however, they were in two different geographic areas. Both civilizations were massive traders, subsequently, they deeply influenced the regional civilizations which have developed in that region. Various scientific and technological principles were established by both civilizations through their long histories. Water management was one of these major technologies. Accordingly, they have significantly influenced the ancient world’s hydro-technologies. In this review, a comparison of water culture issues and hydro-structures was adopted through the extended history of the ancient Egyptians and Greeks. The specific objectives of the work are to study the parallel historical cultures and hydro-technologies, assessing similarities and differences, and to analyze their progress since primitive times. The tools adopted for the research include visits to historical aeras and museums, comments, consultations, correlation and exhibitions available in the cyberspace. Review results herein showed that dams and canals were constructed in ancient Egypt to manage the flood of the Nile river and develop irrigation systems from ca. 6000 BC. In the second millennium BC, Minoans managed the flow of the streams via two dams, to protect arable land from destruction after intense rainfall and to irrigate their farms. Additional results showed that ancient Egyptians and Greeks invented many devices for lifting water for plant irrigation such as the shadouf, sakia and tympanum and pumps, of which some were already in use in Mesopotamia for irrigating small plots. The ancient Egyptians were the first who discovered the principle and the basis of coagulation (after ca. 1500 BC). They used the alum for accelerating the settlement of the particles. Additionally, the ancient Greeks developed several advanced water treatment technologies since the prehistoric times. To sum up, the study captured many similarities between two civilizations in water technologies. In addition, it confirmed the sustainability and durability of several of those hydro-technologies since they are still in use up to now in many places.
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Bordeleau, Anne. "‘The Professor’s Dream’: Cockerell’s Hypnerotomachia Architectura?" Architectural History 52 (2009): 117–45. http://dx.doi.org/10.1017/s0066622x00004160.
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In 1849, after teaching architectural history at the Royal Academy in London for just under a decade, the architect Charles Robert Cockerell (1788-1863) exhibited ‘The Professor’s Dream’, a graphic synopsis of the history of architecture (Fig. 1). Produced in an era dominated by historicism, the drawing operates between the two poles of historical relativism, negotiating the line between accumulation and rationalization. Some nineteenth-century architects, indiscriminately collecting, understood each style to have emerged from the particular conditions of their times, considering them distinct and yet equally valid. Other architects, critically ordering, privileged one style over another, variously justifying themselves on religious, technical, moral or structural imperatives. Cockerell’s ‘Dream’ is ambiguously positioned as a place of showing and a means of knowing, speaking both of an homage to the past and a vision of progress, apparently flattening a thousand years of history but inherently offering the depth of historical experience. David Watkin, Peter Kohane and, more recently, in the context of an exhibition at the Royal Academy, Nick Savage, have interrogated the drawing, the first two paralleling it with Francesco Colonna’s Hypnerotomachia Poliphili (1499), the latter framing it within a tradition of systematic charting of history, and suggesting a possible link to geological charts. While all these interpretations certainly stand, it is essential to recast them within a larger discussion of Cockerell’s understanding of history. Substantiating the different readings of the drawing — against Cockerell’s earlier drawings and surveys, within his architectural theory as expounded in his Royal Academy lectures, and in the larger perspective of the interests he cultivated since the 1820s — this essay brings to the fore the tension between ordering and experiencing, revealing how the architect was interested in the latent interstices between history and time.