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Juříčková, Miluše. "Two Art Exhibitions as Dialogic Events in the History of Czech-Norwegian Cultural Relations." AUC PHILOLOGICA 2021, no. 1 (2021): 121–27. http://dx.doi.org/10.14712/24646830.2021.16.
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The article analyses two art exhibitions in the context of Czech-Norwegian relations, presenting both the Czechoslovak book exhibition in Oslo (1937) and the Norwegian painting and applied art exhibition in Prague (1938) as important parts in a bilateral cultural dialogue. The promising initial communication in form of a mutual information exchange was soon disrupted by the beginning of World War II and post-war politics.
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Muñoz, Pedro Felipe, and Stefan Rinke. "Latin America in the global exchange of the German Hygiene Museum in Dresden (1919-1930)." Revista Tempo e Argumento 14, no. 35 (2022): e0104. http://dx.doi.org/10.5965/2175180314352022e0104.
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In 1912, Karl Lingner created the German Hygiene Museum Dresden profiting from the Dresden International Hygiene Exhibition 1911. Lingner aimed to build a permanent building for the museum, but due to the Great War and post-war economic crisis in Germany, the permanent building was not opened until 1930. In the Weimar Republic, the museum circulated internationally through traveling exhibitions and the sale and donation of collections and exhibits. This circulation comprised a global exchange promoting health education that included Latin America. In keeping with German foreign cultural policy of the period, the German Hygiene Museum played an active role in the transatlantic cultural relations and the German-Latin American exchange, functioning as "a cultural propaganda institute". In this article, we explore the transnational circulation of objects and collections between Dresden and Latin America which was also associated with international efforts to promote public health. Keywords: Public Health; Health Education; Cultural Propaganda; German-Latin American Relations; Transnational and Global History.
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Falcucci, Beatrice. "European museology and colonial concord: Italy at the 1934 Expo du Sahara in Paris." Modern Italy 27, no. 3 (2022): 239–58. http://dx.doi.org/10.1017/mit.2022.24.
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AbstractThis article assesses Italy's participation in the Expo du Sahara in Paris in 1934, placing it within the framework of European colonial culture, exhibitions, and international relations during the 1930s. Hitherto, the Expo du Sahara has been largely ignored by historiography, but it offers important insights into Italo-French relations in the years immediately preceding Italy's invasion of Ethiopia, as well as the ways in which Fascist Italy sought national and international legitimacy through the medium of exhibitions. The Paris exhibition, staged by the European powers after years of clashes, was also a physical representation of the so-called ‘colonial concord’ and ‘peaceful’ partition of North Africa, processes in which Italy's role was fundamental.
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Počs, Kārlis. "A VIEW ON THE HISTORY OF LATVIAN-FRENCH CULTURAL RELATIONS BEFORE WORLD WAR II." Via Latgalica, no. 1 (December 31, 2008): 75. http://dx.doi.org/10.17770/latg2008.1.1598.
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Because of the geographic location of the Latvian and the French nations and of different trends in the development of their histories contacts between them were established relatively late. This in turn slowed down the development of their cultural relations. In this development, we can distinguish two stages: before the formation of the Latvian state (from the second half of the 19th century until 1918), and during the Latvian state until the Soviet occupation (1920–1940). The objective of this paper is to determine the place and the role of the Latvian-French cultural relations in the development of the Latvian culture before World War II. For this purpose, archive materials, memoirs, reference materials and available studies were used. For the main part of the research, the retrospective and historico-genetic methods were mostly used. The descriptive method was mainly used for sorting the material before the main analysis. The analysis of the material revealed that the first contacts of the Latvians with French culture were recorded in the second half of the 19th century via fine arts and French literature translated into Latvian. By the end of the century, these relations became more intense, only to decrease again a little in the beginning of the 20th century, especially in the field of translations of the French belles-lettres. The events of 1905 strengthened Latvian political emigration to France. The emigrants became acquainted with French culture directly, and part of them added French culture to their previous knowledge. The outcome of World War I and the revolution in Russia then shaped the ground for the formation of the Latvian state. This dramatically changed the nature and the intensity of the Latvian-French cultural relations. To the early trends in the cooperation, the sphere of education was added, with French schools in Latvia and Latvian students in France. In the sphere of culture, relations in theater, music and arts were established. It should be noted that also an official introduction of the French into Latvian art began at that time. As a matter of fact, such an introduction had already been started by Karlis Huns, Voldemars Matvejs, and Vilhelms Purvitis, who successfully participated in the Paris art exhibitions before the formation of the Latvian state. In the period of the Latvian state, artists would arrange their personal exhibitions in France, and general shows supported by the state would be arranged. The most notable of them were the following: - In 1928, the Latvian Ministry of Education supported the participation of all Latvian artists’ unions in the exhibition dedicated to the 10th anniversary of the state. General shows were organized in Warsaw, Budapest, Copenhagen, Paris, London, etc. (Jaunākās Ziņas, 1928: Nr. 262, 266); - in the summer of 1935, an exhibition of folk art from the Baltic states, including textiles, clothes, paintings, sculptures, and ceramics was opened in Paris; - the largest exhibition of Latvian artists in Paris took place from January 27 to February 28, 1939, with presidents of both states being in charge of its organization. It can be concluded that the Latvian-French cultural relations were an important factor in the development of Latvian culture, especially in the spheres of fine arts and literature until the Soviet occupation.
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Lorenc, Magdalena. "„Obok. Polska – Niemcy. 1000 lat historii w sztuce” jako przykład wystawy politycznej." Przegląd Politologiczny, no. 2 (June 19, 2018): 163–76. http://dx.doi.org/10.14746/pp.2013.18.2.14.
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The objective of the paper is to analyze and assess the institutional conditions of the exhibition entitled Side by Side. Poland – Germany. 1000 years of Art and History, organized in Martin-Gropius-Bau in Berlin between September 23, 2011 and January 9, 2012. In terms of the number of works of art presented this undertaking was unprecedented in the history of Polish- German relations. The exhibition, and the catalogue that accompanied it, were a part of the Cultural Program of the Polish Presidency in the EU Council in 2011, becoming an exemplification of the issue of the politicization of exhibition discourse, where works of art are utilized for political purposes. The theoretical inspiration for considering this topic was provided by Peter Vergo’s concept presented in his text The reticent object of 1987. In Vergo’s opinion, exhibitions are a cultural fact which is relatively rarely investigated in terms of the means, efforts, conditions and reasons that are necessary for their execution. And yet these institutional conditions, including their financing, the procedures for selecting the entities in charge of the project, the mechanisms for appoint the program board and honorary patronage have a considerable influence on the nature of the exhibition. Concentrating on institutional contexts serves the purpose of answering the question of how the realms of politics and art exhibitions permeate one another. The decisions made by the authorities to become involved in certain exhibition projects constitute the instruments for creating and executing selected public policies, primarily cultural policy. It is therefore impossible to assess the success of a given initiative without considering the political objectives set and achieved by the organizers of the exhibition Side by Side.
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Ainutdinov, A. S. "Sverdlovsk Artists at Post-War Art Exhibitions, 1946–1952." Art & Culture Studies, no. 1 (February 2022): 164–95. http://dx.doi.org/10.51678/2226-0072-2022-1-164-195.
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The article is devoted to studying various aspects of the exhibition process in the post-war Sverdlovsk. For the first time in the Ural art history, the art exhibitions that were held after the Great Patriotic War and had works by Sverdlovsk visual artists on display, are named, described, systematized, and classified in one research. The new data sources used in the research uncover the reasons behind the low levels of participation of Sverdlovsk painters, sculptors, and graphic artists in the All-Soviet and national exhibitions in 1946–1952. When performing the research task, the author achieves the main goal: generating new knowledge about the history of Sverdlovsk visual arts of the post-war period and gaining additional factual information on the Soviet art history of the 1940–1950s through the analysis of various sources. Of significant interest to art studies is a wider perspective on the creative activity of Sverdlovsk painters, sculptors, graphic and other artists analyzed against the background of the general organizational objectives of the Sverdlovsk branch of the Artists’ Union of the USSR and the socio-cultural life of the period, which determined the nature of relations between the authorities and the intelligentsia, and artistic connections between different regions of the USSR.
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Хертек, А. С. "Tuva and Mongolia: cooperation in the fine arts." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 116–25. http://dx.doi.org/10.46748/arteuras.2021.03.010.
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Статья посвящена культурным связям между Республикой Тыва и Монголией в связи со 100-летием российско-монгольских дипломатических отношений. Автор приводит обзор ряда фактов из истории тувинского и монгольского изобразительного искусства, совместных выставочных проектов. Так, ключевыми событиями, повлиявшими на творчество мастеров, стали первая крупная выставка тувинских художников и Нади Рушевой в Монгольской Народной Республике в 1984 году, другие выставки в Монголии, Москве и Туве, групповые обменные поездки монгольских и тувинских художников в XX–XXI веках. Важными для сотрудничества стали выставки 2017 года: рисунков Нади Рушевой в Улан-Баторе и восковых фигур «Хаан хаанов» из Музея Чингисхана (Улан-Батор) в Национальном музее имени Алдан-Маадыр Республики Тыва. The article is devoted to the issue of cultural ties between the Republic of Tyva (or Tuva) and Mongolia in view of the 100th anniversary of the Russian-Mongolian diplomatic relations. The author gives an overview of a number of facts from the history of Tuvan and Mongolian fine art, joint exhibition projects. Thus, the key events that influenced the work of the masters were the first large exhibition of Tuvan artists and Nadya Rusheva in the Mongolian People's Republic in 1984, other exhibitions in Mongolia, Moscow and Tuva, group exchange trips of Mongolian and Tuvan artists in the 20th and 21st centuries. Exhibitions of 2017 became important for the development of Tuvan-Mongolian cultural relations: drawings by Nadya Rusheva in Ulaanbaatar and wax figures “Khaan Khaans” from the Genghis Khan Museum (Ulaanbaatar) in the National Museum named after Aldan-Maadyr of the Republic of Tyva.
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Petranský, Ivan A. "Miesto histórie vo vývoji kultúrnych vzťahov medzi Československom a Talianskom v rokoch 1948 – 1989." Kultúrne dejiny 15, no. 1 (2024): 37–58. http://dx.doi.org/10.54937/kd.2024.15.1.37-58.
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The topic of the article is the place of history in the development of cultural relations between Czechoslovakia and Italy between 1948 and 1989. Cultural relations are an inseparable part of bilateral relations between countries, and this is true in the case of the complicated relations between Czechoslovakia and Italy in the period from the rise of the communist regime in Czechoslovakia in 1948 to its demise in 1989. History, in its various forms, also had an indispensable place in these relations. This was due to the general fact that the regime in Czechoslovakia used historical themes and adapted their content as part of its promotional action not only for its own population but also in international relations. It was also due to the specific features of the historical development of the two countries and a number of common features. This paper deals with the wide range of traces that the question of history has left in Czechoslovak-Italian relations. First, it concerns the question of historical scientific research carried out by Slovak and Czech scholars (historians or archivists) in Italy based on a cultural interstate agreement, an agreement between academies of sciences or outside the framework of agreements, and the formal and informal relations between professional historians of both countries. Another aspect examined is the place of historical themes in cultural, popularization and propaganda activities in the form of films, lectures, exhibitions, museums, celebrations.
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Krasuska, Karolina. "Gendering the Holocaust gallery in POLIN Museum of the History of Polish Jews." European Journal of Women's Studies 26, no. 3 (2019): 247–60. http://dx.doi.org/10.1177/1350506819857220.
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Even though a gender perspective, in reference to various aspects of museums and their exhibits, permeates the reflection on museums, gender is not explicitly taken up as a category of knowledge within the self-reflective narratives about the core exhibition or the conceptualization of the Holocaust gallery in POLIN Museum of the History of Polish Jewish, which opened in Warsaw, Poland in 2014. Building upon the research gendering the memory of the Holocaust, especially with regard to historical exhibitions, and using a cultural studies framework to the study of representation, this article asks how femininities are framed by the representation of masculinities and how museum technologies work to produce gendered meanings. It concludes that most of the Holocaust gallery in POLIN problematically instrumentalizes gender relations to underpin a chronological historical narrative. In a dialogue with queer research on temporality, underscoring the coincidence of normative gender/sexuality and linear progressive narrative, it analyses this strategy as gender chronotechnology.
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Ergut, Elvan Altan. "Displaying Abroad: Architecture and Town Planning Exhibitions of Britain in Turkey in the Mid-1940s." New Perspectives on Turkey 50 (2014): 145–70. http://dx.doi.org/10.1017/s0896634600006609.
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AbstractThis paper focuses on two exhibitions of architecture and town planning held by Britain in Turkey in the mid-1940s. The use of these exhibitions for propaganda purposes, as well as their reception in the highly politicized context of World War II, requires the study to emphasize the political as well as the professional perspective of the contemporary architectural context. Analyzing why and how these exhibitions were held, and what they displayed as representative of British architecture and town planning, the paper discusses the characteristics of the contemporary discourses and practices of the profession with reference to the national dynamics of each country and their position in the international scene at the dawn of a new era in world history. The aim is to question the relations of power that are conventionally taken to define discursive and practical hierarchies of binary constructs, such as national/international or traditional/modern. Examining the case of the British exhibitions in Turkey, the paper emphasizes instead the necessity of a comparative analysis to evaluate the architectural products in-between or beyond dichotomies as produced in discrete yet interconnected contexts.
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Budai, G., and N. D. Afanasieva. "Teaching the Russian Language in Hungary: History of Cultural Interactions." Concept: philosophy, religion, culture 5, no. 1 (2021): 121–31. http://dx.doi.org/10.24833/2541-8831-2021-1-17-121-131.
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The paper is dedicated to outlining the main specific features of the spread and reception of Russian language in Hungary, with attention paid to the chronological perspective and the current situation. The text aims at revealing the factors, institutional and personal agents that fuel the interest to studying and teaching Russian in the atmosphere of Hungary. Russian history, culture, literature, traditions, and, consequently, the Russian language have always been of interest in Hungary. The Hungarian national culture developed in parallel with the rise of enthusiasm toward Russia — and in 1849 the Department of Slavic Philology was introduced at the University of Pest. Russian was popularized and spread in Hungary by textbooks and translations of famous oeuvres of Russian writers. The turn of the 19th century and the beginning of the 20th marked the growing interest of students to Russian, with the First World War, the October revolution in Russia and the subsequent Russian exodus intensifying mundane interactions. The Second World War, its outcomes and the split of Europe into two zones showed the clout that the Russian language acquired. In 1949, Russian became the only compulsory foreign language at school; Russian was introduced in higher educational institutions on a broader basis, including pedagogical institutes which were training Russian teachers for middle schools. After 1989, Hungary, like other Central and Eastern European countries, saw a sharp decline in the number of Russian language learners due to geopolitical reasons. The current stage of the spread of the Russian language in Hungary is characterized by positive changes: strengthening of economic relations between the countries, expansion of cultural and educational ties that is gradually leading to an increase in emphasis on the Russian language. In particular, it is owed to the liberalization of book industry and publishing of new Russian textbooks, digital promotion via Internet, construction of the Baksi nuclear power plant, and numerous exhibitions and festivals. What can be concluded is that cultural bonds connecting the Hungarians and the Russian language have a long path dependency relative to the post-1917 diaspora, the period of socialism and favourable relations with the USSR. Their effect is maintained by modern funds and associations. Economic ties that have foundation in both historical industrial cooperation and modern projects also foster attention to maintaining closer cultural interactions — and, thus, to studying Russian.
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Kim, Su-Mi. "The Metropolitan Museum of Art’s Korean Collection: Historical Changes in Collecting, Exhibition, and Management." Korea Association of World History and Culture 64 (September 30, 2022): 305–28. http://dx.doi.org/10.32961/jwhc.2022.09.64.305.
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This article aims to investigate the trajectory of the Korean collection in the Metropolitan Museum of Art (Met) in New York, which is distinguished as a “universal” museum. The transformative characteristics of the formation, exhibition, and management of the Korean collection from its early stage to the present have a close relationship with the Met’s achievement of its mission statement and South Korean cultural institutions’ practices. Transitionally, the establishment of the Korean gallery in 1998 and the presence of a diverse range of its collections in further exhibitions were the major components of the completion of the museum’s global universality from the Met’s perspective. The achievement of the Met’s mission reflects a remarkable shift that can open up the development of Korean collection in universal space. As a part of world culture and history, the study alludes to a suggestive way to expand the investigation of Korean art and culture in world cultural history.(Hankuk University of Foreign Studies)
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Castañeda, Luis M. "Kubler's Sarcophagus: Cold War Archaeologies of the Olmec Periphery." ARTMargins 4, no. 1 (2015): 3–26. http://dx.doi.org/10.1162/artm_a_00103.
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This article examines conflicting racial, archaeological and art historical interpretations of Olmec art produced in the United States in the early 1960s. It inscribes shifting approaches to the study of monumental Olmec art by figures like George Kubler within the contexts of violent modernization of the Olmec ‘heartland’ of Veracruz and Tabasco, the politicized display of this artistic tradition in museums and traveling exhibitions, and the unstable horizons of U.S.-Mexico diplomatic relations during that period.
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Северин, Віктор Дмитрович, та Надія Василівна Северин. "ФІЛОСОФСЬКО-КУЛЬТУРОЛОГІЧНИЙ ВИМІР ВИСТАВКОВОЇ ДІЯЛЬНОСТІ В КОМУНІКАТИВНОМУ ПРОСТОРІ СУСПІЛЬСТВА". Humanities journal, № 4 (19 грудня 2018): 45–53. http://dx.doi.org/10.32620/gch.2018.4.05.
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Exhibition activity in Ukraine is becoming important. Exhibitions as a factor of scientific, technical and cultural progress in modern conditions contribute improving the efficiency and quality of production, the development of economic relations and international cooperation. The object of the article is to define the concept of exhibition design as a particular aspect of art-design activity, its role and functions in the information and communication space of the modern design culture of Ukraine. The problem of exhibition design is relevant in modern art history. Researchers suppose that at a certain stage people began to use objects and the environment as tools to satisfy an instinctive impulse to discover, emphasize, deify, sell and interpret elements of their own experience. Such «communication environment» considered as a creative sphere, or exhibition design. In the conditions of technical progress, the incorporation of elements of aesthetics into production gradually began to cover all production areas. The role of exhibition design in the organization of modern exposition is to create, in combination with communication room design, an environment that would provide the most profound and complete transmission of information, help to attract the audience and increase the intensity of understanding. The functions of exhibition design are: educational, cognitive, axiological, psychological, aesthetic, communicative, etc. Exhibition design in the 21st century both in the world and in Ukraine is characterized by the use of innovative technologies, which contribute to the expansion of the information field of the exposition and the disclosure of its main idea.
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Kushner, Marilyn S. "Exhibiting Art at the American National Exhibition in Moscow, 1959: Domestic Politics and Cultural Diplomacy." Journal of Cold War Studies 4, no. 1 (2002): 6–26. http://dx.doi.org/10.1162/152039702753344807.
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Odumosu, Temi. "Burthened Bodies: the image and cultural work of “White Negroes” in the eighteenth century Atlantic world." American Studies in Scandinavia 46, no. 1 (2014): 31–53. http://dx.doi.org/10.22439/asca.v46i1.5149.
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Under the shadow of slavery, skin color played a vital role in determining social relations within cities, ports and colonies around the Atlantic world. Eighteenth century literature propagated the idea that visual differences between the major known human populations were not simply a matter of climate, but also of discreet characteristics and biological composition. When focused on comparisons between Africans and Europeans, these discussions were often speculative and subjective, drawing heavily on traditional symbolic meanings of whiteness and blackness in a positive/negative dichotomy, and using them to explain contemporary inequalities encapsulated in the relationship between master and slave. Thus varying representations of race (in image and text) distinguished the bodies of Africans as inherently ‘other’ and as property used in labor for manufacture. But what happened to these meanings and social dynamics when Africans could be born or become white? How were the people referred to as “White Negroes”, negotiating rare skin diseases such as Vitiligo and albinism, understood? This essay explores the stories and representation of individuals with skin pigmentation disease whose bodies were used as public performers in America and Europe to prove the normative position of whiteness and forewarn the potential outcomes of race mixing. These people, who were no longer considered fit for plantation labor, were appropriated and enslaved into another form of cultural work that included the medical and philosophical examination of their bodies, public exhibitions for profitable popular entertainment, and the reproduction and sale of their physical likeness.
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Matveev, E. V. "Associations of Readers in Socialist Countries as a Sphere of Interests of the All-Union Society of Book Lovers." Вестник Пермского университета. История, no. 3(54) (2021): 140–52. http://dx.doi.org/10.17072/2219-3111-2021-3-140-152.
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The article focuses on the analysis of the relations of power and society in the USSR in the 1970s and 1980s, the history of mass voluntary organizations of the late socialism, and the studies of Soviet cultural diplomacy. The process of formation of the international activity of the All-Union Society of Book Lovers (1974–1992) is in the focus of the study. Reports on the reception and dispatch of delegations, plans for foreign partnerships, and responses to requests to Soviet ambassadors in the Eastern Bloc states became sources for the article. Collaboration with foreign organizations – associations of readers, clubs of subscribers at publishing houses, communities of bibliophiles, etc. – began with a detailed consideration of their activities. The international activity of the Society of Book Lovers included the reception of high-ranking foreign guests, sending Soviet groups to socialist countries, and participation in important events in the sphere of reading, such as international exhibitions, national weeks of books, etc. International relations were a way for the leadership of the Society of Book Lovers to present Soviet culture, a basis for comparing the principles of functioning of associations of readers, and sources for determining the position of a new mass organization within the USSR. The experience of some of the partners was marked as unsuitable for the Society of Soviet Book Lovers, as it was associated with stimulating consumption. Against this background, the book shortage was presented as a feature of the Soviet reading culture. As ambassadors of the megastructure, representatives of the Society of Book Lovers noticed any manifestations of disunity, at the same time building close relations with large centralized associations, for example, the Cultural Association of the GDR.
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Sánchez, Gonzalo J. "Nineteenth-Century French Painting of Rural Life on Diplomatic Mission to China." French Politics, Culture & Society 41, no. 2 (2023): 71–96. http://dx.doi.org/10.3167/fpcs.2023.410204.
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Abstract Paysages et paysans: la vie rurale en France au XIXe siècle, 1820–1905 was the anodyne title of a loan exhibition inaugurated in March of 1978 at Beijing's National Gallery of China. As the first exhibition of Western painting in China after the instauration of the Communist regime in 1949, the show was a cultural- diplomatic landmark; its planning and reception can refresh our understanding of both Franco–Chinese cultural relations in the waning years of Maoism and the diplomatically recuperative uses of French nineteenth-century painting. This article uncovers the rationales of French actors and institutions as revealed in archival documents and then scrutinizes the unexpected reception of an art exhibition that remains an important episode in cross-cultural relations and aesthetic reclamation.
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Lisowska, Kinga. "The world of popular culture in preparation for Regional education – education of students of early childhood education." Podstawy Edukacji 13 (2020): 163–77. http://dx.doi.org/10.16926/pe.2020.13.11.
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The article presents and analyzes the use of various popular culture world’s qualities, the Internet; Music/Sound Recordings; Films; Photographs; Exhibitions in the education process of students of early education pedagogy in the field of regional education and their importance in preparing future pedagogues for educational activities. Considerations have been based on the cycle of core subjects: History and culture of the region; Basics of historical and regional education; Regional and Civil education, that are fullfilled as part of studies of first and second degree in period of time from 2012 untill 2020 on Faculty of Social Sciences of University of Warmia and Mazury in Olsztyn. In research both the quality analysis of documents and method of gathering data via participant observation had been used; own experiences were also taken into account. Though the popular culture world’s qualities the students are beeing brought broad range of knowledge of ancient Times; quality of society`s life; political relations; cultural and environmental scenery and also undertakings aimed at the multiplication and protection of the cultural heritage of the region. Students are enlightened about the need of building the space, in which kindergarten and school aged children are enabled to find their own both social and cultural affiliation.
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Stryjek, Tomasz, Barbara Markowska-Marczak, and Joanna Konieczna-Sałamatin. "Third War of Independence? The Anti-Colonial Dynamics of Ukraine’s Politics of Memory after 2014 on the Example of the National Museum of the History of Ukraine in the Second World War in Kyiv." Acta Poloniae Historica 128 (February 7, 2024): 151–79. http://dx.doi.org/10.12775/aph.2023.128.07.
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The article discusses the transformation of Ukraine from a peripheral colony to a European nation-state. It examines changes in the interpretation of UkrainianRussian relations in historiography, public perceptions, and museum exhibitions related to the ongoing war. It demonstrates that since 24 February 2022, Ukraine’s politics of memory has exclusively followed a continuously expanding anti-colonial perspective. The article highlights a shift in Ukrainian society’s view of its past, with growing interest in the country’s history and a move away from the Soviet perspective. Museums are crucial in shaping these narrative changes and fostering Ukrainian national identity. The article also explores societal transformations since 1991, showing an increased identification with the state and a gradual distancing from Russia. This is accompanied by a westward turn in geopolitical orientation and a desire to join the European Union. The National Museum of History of Ukraine in the Second World War in Kyiv serves as an example of these processes, reflecting a nuanced portrayal of the war and of its human dimension. The museum’s commitment can be seen as a pillar of a nation-state building project, with symbolic identification shifting from the East to the West, towards the EU and NATO.
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Fine, Steven. "The Menorah: Cult, History, and Myth Exhibiting the Past and Future of Catholic-Jewish Relations." IMAGES 11, no. 1 (2018): 141–51. http://dx.doi.org/10.1163/18718000-12340083.
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AbstractLa Menorà: Culto, Storia E Mito, The Menorah: Worship, History and Myth was a monumental exhibition mounted by the Vatican Museums and the Jewish Museum of Rome in the Spring of 2017. Bringing together many of the most important artifacts relating to the history of the biblical lampstand in both Jewish and Christian traditions, this exhibition marks a milestone in Jewish-Catholic engagement, and was an active agent in that process. This article presents this act of museological diplomacy, describing many of its most significant artifacts as well as the historiographic challenges presented by this exhibition.
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Kryvonos, Pavlo. "New Activities in the Field of Cultural Diplomacy." Diplomatic Ukraine, no. XIX (2018): 733–41. http://dx.doi.org/10.37837/2707-7683-2018-45.
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The author emphasizes that the political power of each state is diplomatic recognition and high-level interstate relations that are mutually beneficial for the parties. The article is concerned with areas of activity of the Directorate-General for Rendering Services to Diplomatic Missions. One of the most fundamental goals in this regard is to provide foreign embassies and international organizations appropriate conditions for their functioning at the highest level, fulfil the duties. In 2018, the staff of the General Directorate for servicing foreign missions again joined the implementation of events in the field of cultural diplomacy. The delegation of the GDIP took part in the scientific conference ” Ukraine and Georgia: Centenary of Diplomatic Relations”. This year, the project “Day of Ukraine in Europe” was continued, the main goal of which is to spread positive information about Ukraine and the history of its statehood, to present the achievements of Ukrainian culture and science in the world, to form effective contacts with foreign organizations of Ukrainians. GDIP also continues to involve its partners, in particular Outlook, in the implementation of projects. However, noted that smaller values of the representatives of GDIP pay for cultural diplomacy. Due to active cooperation of scientific and diplomatic institutions of both Ukraine and foreign countries in 2017–2018, many important measures for bilateral relations were held and organized, in particular scientific events (conferences, presentations, briefings, round tables and panel discussions), which are always accompanied by an exhibition of archival documents about the origin of national-state diplomatic traditions 100 years ago. GDIP also cooperates with state and local authorities, so in the future it opens for diplomats picturesque cities and amazing nature of Ukraine. Keywords: Ukrainian diplomatic service, 100 years of diplomatic relations, GDIP, foreign missions, scientific events, cultural diplomacy.
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Górny, Maciej. "‘Minesweeper’: In Remembrance of Włodzimierz Borodziej (1956–2021)." Acta Poloniae Historica 125 (August 8, 2022): 5–16. http://dx.doi.org/10.12775/aph.2022.125.01.
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The article outlines the life and achievements of Włodzimierz Borodziej, a contemporary historian. Initially a scholar of the history of Polish-German relations, he became the secretary, and later chairman, of the Polish-German Textbook Commission. Then, he engaged himself in the history of diplomacy and international relations; the ‘Polskie Dokumenty Dyplomatyczne’ [Polish Diplomatic Documents] series was established at his initiative. He also occupied various official positions at the University of Warsaw and in the Sejm of the Republic of Poland. In his final decade, he became interested in the history of Central and Eastern Europe. He also contributed to the creation of the permanent exhibition at the House of European History in Brussels.
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Wiśniewski, Michał. "The cracow school. Arising of the national style in polish architecture of the interwar period." Acta Historiae Artium 48, no. 1 (2007): 317–27. http://dx.doi.org/10.1556/ahista.48.2007.1.13.
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In the 1920s, the architects belonging to the so-called Cracow School faced the challenge of creating public buildings to suit the needs of the re-born state administration as well as the challenge of defining the iconography and symbolism with which it could be identified. The School’s strong position soon after Poland regained independence was due to the fact that Cracow was the most important Polish artistic center at the time. From 1901, operated there the Association of Polish Applied Art, which through various publications, contests, and exhibitions, looked for a Polish national style based on Polish vernacular art and European modernism. The artists belonging to the Association, and later to the Cracow Workshops, best suited the artistic needs of the re-born state. Apart from being commissioned to carry out various prestigious projects, many of them also reached top positions at Art Academies, which had fundamental significance for the development of the Polish arts. The history of the Cracow School represents an appropriate background for a vast analysis of the relations between the arts and politics and also economic and social factors in Central Europe during the interwar period.
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Mervay, Mátyás. "Toward a History of Interwar Sino-Hungarian Cultural Relations: Three Advocates of Kuomintang Soft Power, Hungarian Irredentism and Pan-Danubianism." Hungarian Cultural Studies 15 (July 19, 2022): 77–93. http://dx.doi.org/10.5195/ahea.2022.421.
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This paper aims to achieve two goals: the first is to bring a fresh perspective to the Atlanto-centric history of Chinese propaganda while tracing the roots of Sino-Hungarian bilateral approaches and Hungarian Sinology to a time dating some fifteen years earlier than the mutual recognition of the two People’s Republics. This analysis also introduces three actors of different political agendas who applied a similar PR tool of cultural diplomacy to elicit international sympathy for their homeland. After briefly surveying the primary stimuli of cultural diplomacy in interwar Hungary and Republican-Era China, I turn to pre-1949 Sino-Hungarian cultural approaches in the era of no formal diplomatic relations. Such initiatives offer valuable insights into the history of cultural diplomacy while also highlighting significant parallels with the present. Specifically, I introduce the political and cultural agenda of three individuals acting as cultural ambassadors to their homelands. The Shanghai Jewish refugee aid organizer, Paul Komor, and the women’s association president, Theresia Moll, were members of the Hungarian diaspora in China. They introduced the post-Habsburg Central European region to a cosmopolitan community while exhibiting two different foci: Hungarian irredentism and pan-Danubianism. Meanwhile, Zhenya He, a Kuomintang propagandist and the University of Budapest’s first Chinese language instructor during the 1930s, synthesized Hungarian pan-Asian Turanism with Sun Yat-sen’s Tridemism to further Sino-Hungarian exchanges.
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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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Boichuk, O. "Tuning into the design wave. The article is devoted to the Kharkiv School of Design." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (2021): 31–41. http://dx.doi.org/10.33625/visnik2021.02.031.
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It provides a panoramic overview of how the school was created and has since developed, including the events and personalities that have had a significant impact on its formation. The article emphasizes the role of Kharkiv Art and Industry Institute (KAII / KSADA) in training specialists for the needs of production, art, science, and culture. The article presents design developments of industrial products and graphic corporate styles ordered by companies and organizations. The importance of international relations for the development of the vocational education system and design practice is emphasized by the examples of partnership projects with the University of Halle-Burg Giebichenstein in Germany and participation in the ICSID “INTERDESIGN‑77” seminar. The materials of the article reveal the huge contribution of the All‑Union Scientific Research Institute of Technical Aesthetics (VNIITE) to the creation of a domestic design system. The fundamental scientific and methodological publications of VNIITE and the program provisions of the concepts of design activities are presented, which outline the development directions of the Kharkiv School of Design. Additionally, the article presents the history of the work of the Kharkiv organization of the Union of Designers of Ukraine and its interactions with KAII / KSADA in holding large-scale cultural and educational events, festivals, exhibitions, and design competitions. In this regard, the content and objectives of the exhibitions-contests “Vodoparad”, “Svitlo”, “Replicants”, “Cult of Design: Digital Life” are analyzed. Their importance for integration into the international design culture is highlighted, as is the development of the directions: “industrial art-design”, “innovative design”, design of “subject-painting installations”. At the end of the article, the level of success of the Kharkiv School of Design is assessed based on a set of criteria. A forecast of the school’s development in the near future is made and the main conditions for its development are indicated.
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Morgan, Kenneth. "Selling Queensland: Richard Daintree as Agent-General for Emigration, 1872–76." Queensland Review 27, no. 2 (2020): 137–53. http://dx.doi.org/10.1017/qre.2020.12.
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AbstractThis article analyses the work of Richard Daintree as Agent-General for Emigration from the United Kingdom to Queensland when he held that role between 1872 and 1876. Daintree designed exhibitions in London to attract emigrants, placed advertisements in newspapers, wrote a guide to Queensland’s resources, liaised with shipping companies for passenger berths, lectured in the provinces to potential emigrants, and cooperated with emigration sub-agents provided by Queensland’s government for Scotland and Ireland. Daintree contended with two main problems during his period as Agent-General. One involved a serious case of fraud discovered in his London office, but he was not responsible for its occurrence. The other was that a change of Queensland premier from Arthur Hunter Palmer, with whom he had worked cordially, to Arthur Macalister, with whom he had fraught relations, adversely affected his work. Overall, however, the article shows that Daintree was successful in increasing net migration to Queensland during his incumbency as Agent-General.
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Chrisnandi, Yuddy. "Future of Indonesian-Ukrainian Relations." Diplomatic Ukraine, no. XIX (2018): 340–46. http://dx.doi.org/10.37837/2707-7683-2018-21.
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In this interview, Yuddy Chrisnandi, Ambassador Extraordinary and Plenipotentiary of the Republic of Indonesia to Ukraine, expresses his gratitude to every person engaged in celebrations of the 73rd anniversary of Independence of the Republic of Indonesia in Ukraine, in the course of which there was an exhibition of goods which can potentially enter the Ukrainian market. The Ambassador pays much attention to the rejuvenation of economic and sociocultural cooperation. Ukraine has hosted more than 20 official visits of Indonesian delegations from various governmental agencies specialising in such realms as IT, pharmaceuticals, and food industry. The Ambassador is of the opinion that the paramount task is to preserve friendship and cultural appreciation between our countries. Specifically, the Embassy has finished the construction of Indonesian pavilion and garden in the Hryshko National Botanical Garden. The curriculum for studying the Indonesian language at Taras Shevchenko National University of Kyiv favours strengthening of contacts between the people of Ukraine and Indonesia. One of the means of strengthening contacts and cultural cooperation between the two nations is to examine various opportunities for cooperation, namely through the establishment of sister cities in Indonesia and Ukraine. The Ambassador met mayors of big towns and heads of the administrative offices of regions of Ukraine to deepen regional cooperation in different domains. The Ambassador is looking forward to enhancing cooperation in the spheres of management and tourism. Over the last two years, the number of Ukrainian tourists in Indonesia has doubled thanks to the non-visa regime for citizens of Ukraine. The Ambassador hopes that citizens of Indonesia who are eager to see Ukraine will have an opportunity to travel to the country without visas. Ukraine has many attractions to draw attention of Indonesian tourists, including its beautiful nature and rich history. Keywords: Indonesia, Ukrainian tourists, Ukraine, Indonesian language, strengthening of contacts, visa-free regime.
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Mickiewicz, Ellen. "Efficacy and Evidence: Evaluating U.S. Goals at the American National Exhibition in Moscow, 1959." Journal of Cold War Studies 13, no. 4 (2011): 138–71. http://dx.doi.org/10.1162/jcws_a_00171.
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The American National Exhibition in Moscow (ANEM) in 1959 during the administration of Dwight Eisenhower was intended to show the adversary “a corner of America” and the abundance and technological advances produced by the United States. Neither before nor since has a cultural-diplomatic initiative of similar scale, cost, and bureaucratic and international complexity been attempted. Some former U.S. officials maintain to this day that the success of the venture cannot be determined and that “the jury is still out.” This article not only contributes the assessment of a working participant at the ANEM throughout its duration but also draws on a wealth of archival materials. This analysis “from below” and simultaneously “from above” reveals new perspectives that challenge many of the conclusions drawn by diplomatic and cultural historians concerning the events in Moscow and their aftermath. The article offers a more nuanced and informed understanding of the most ambitious U.S. cultural-diplomatic self-portrayal.
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Regt, Marina de. "Legal and Practical Aspects of Participation by Women in Arab Societies." American Journal of Islam and Society 21, no. 3 (2004): 183–85. http://dx.doi.org/10.35632/ajis.v21i3.1789.
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Many Arab and Muslim countries have a long history of women’s activism.Depending on location and historical moment, women activists have drawninspiration from a wide array of sources, including both religious and seculardiscourses. In all cases, however, one main issue is how legal systemsand processes of legal reform on the one hand, and social relations andeveryday life on the other hand, relate to each other.At this conference, held in The Hague, The Netherlands, on March 4-5, 2004, the tensions between legal systems and social life were discussed.The conference was organized by the Arabic Dutch Women Circle (ANVK)in cooperation with the municipality of The Hague and the InternationalDialogues Foundation (IDF). The ANVK is a Dutch non-profit organizationdedicated to promoting cultural exchange between Dutch and Arabsocieties, and, in particular, between Dutch and Arab women. The ANVKorganizes conferences, meetings, debates, and exhibitions to stimulate dialogueand exchange.Among other things, the conference sought to clarify that class, ethnicity,political system, history, and cultural factors are of wider influence thanjust law or religious factors themselves. The constitutions of almost allArab and Muslim countries proclaim equal rights for all, regardless of race,sex, language, and religion. However, the implementation of these rights isoften a problem. By inviting a group of women activists and academicsfrom the Middle East, as well as representatives of various sectors of Dutchsociety and of the Arab and Muslim communities in The Netherlands, theconference also aimed at stimulating discussion about Arab women’s rightsand practices.The conference was chaired by Professor Annelies Moors, chair of theInternational Institute for the Study of Islam in the Modern World (ISIM)at the University of Amsterdam. The first day was open to the general publicand consisted of a plenary session in which four papers were presented, ...
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Rybak, A. "Exhibition and fair art of Nizhyn in the context of ethnographic local lore of the Left Bank of Ukraine." Literature and Culture of Polissya 105, no. 15i (2021): 126–33. http://dx.doi.org/10.31654/2520-6966-2021-15i-105-126-133.
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The article examines the history and present of the exhibition and fair art of Nizhyn. The relevance of research of the fair movement as the need to restore historically old and new fair projects in the context of cultural and artistic creativity of the inhabitants of large cities, small towns and villages of the regions of Ukraine is argued. The emphasis is placed on exhibition and fair activities for domestic organizations and companies as one of the forms of presentation of their own creations for buyers and making interest of investors. It has been approved that holding exhibition and fair events is one of the effective types of advertising of own products in the world, an objective factor in the development of trade and economic relations, creative exchange, enrichment of cultural and artistic experience of communities in the economy, intercultural communications. In the context of ethnographic local lore of the Left Bank of Ukraine, the chronological, socio-cultural relationship of the traditions with the present in the Pokrovsky Fair of Nizhyn is characterized with its geographical convenience in the development of trade and economic relations of Chernihiv region. The nation-building and cultural-educative functions of the Cossack hundreds of the Nizhyn Regiment – participants of the Pokrovsky Fair were singled out: the time of the holiday of the Protection of the Holy Virgin, patroness of Ukrainian Cossacks, the numerous locations of the exhibition-fair products of the industrialists of Nizhyn, guests from different corners of Ukraine, festive and solemn events, competitions.The activity of the Kopytsia Charitable Foundation has been analyzed in the context of the research and support of young talents, participants of the Nizhyn Pokrovsky Fair. The concerts of amateur performances with the participation of children, youth, adult musical-instrumental, vocal, choral folklore groups, collectives, soloists of the city are presented in today’s fair events.
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Варламова, Л. И. "The history of the opening of the first exhibition from the Republic of Korea in the Primorye State Art Gallery." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 74–85. http://dx.doi.org/10.46748/arteuras.2021.04.006.
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Статья посвящена истории открытия персональной выставки художника Ким Кён Ёл (Kim Kyong Yeoul) из Республики Корея в Приморской картинной галерее в 1997 году и ее значению для развития российско-корейских культурных связей. В основу исследования положены материалы из коллекции и архива Приморской государственной картинной галереи. Primorye State Art Gallery The article is devoted to the history of the opening of the exhibition of Korean artist Kim Kyong Yeoul (Seoul, Pepublic of Korea) in the Primorye State Art Gallery in 1997 and to its significance for the Russian-Korean cultural relations. This research is based on the Primorye State Art Gallery‘s collection and archive.
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Selejan, Ileana L. "Incident Transgressions: A Review of Transmissions: Art in Eastern Europe and Latin America, 1960–1980, MOMA." ARTMargins 5, no. 2 (2016): 87–104. http://dx.doi.org/10.1162/artm_r_00149.
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By placing on view a large selection of objects recently acquired by the New York Museum of Modern Art, the exhibition Incident Transgressions: Report on “Transmissions: Art in Eastern Europe and Latin America 1960–1980” (September 5, 2015 to January 3, 2016) sought to situate artistic practices from Latin America and Eastern Europe within a discursive model of cross-cultural and aesthetic transmission. However, the exhibition marginalized an account of the specific relations between these objects in favor of a more encompassing global curatorial narrative. While seeking to outline the parameters of the exhibition, and its implications in regard to contemporary trends in art history and museology, the text aims to highlight some of the instances of transmission and contact, both real and imagined, between the objects displayed.
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Isabella, Brigitta. "Navigating and Exhibiting Ambivalence: Yin Hua Artist Organization and Sino-Indonesian Relations in the 1950s to 1960s." Indonesia 117, no. 1 (2024): 31–57. http://dx.doi.org/10.1353/ind.2024.a926785.
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Abstract: This paper interrogates the logic of inclusion and exclusion that foregrounds the ethnocentrism and spatial boundedness of the state project’s national identity construction and proposes critical terms of discussion that challenge the limiting nation-centric framework prevalent in the dominant modern art historiography discourse. Drawing on primary archival research, it describes accounts of Lembaga Seniman Yin Hua (Yin Hua Meishu Xiehui, 印華美術協會, Yin Hua Artist Organization), an art organization established in 1955 in Jakarta and analyzes it against the backdrop of the Sino-Indonesian diplomatic relationship during the Cold War era. By engaging with the ambivalent aesthetic and politic of Chinese Indonesian artists, this paper recognizes the active and strategic agency of Chinese Indonesians as both insiders and outsiders in China and Indonesia under the uncertain circumstances of their dual nationality status. It argues that Yin Hua ambivalently navigated between the political patronage of Indonesia and China, performed dual loyalty to Indonesian and Sino-centric art history, and exhibited multiple artistic lineages that disrupted the stabilized territory of postcolonial nation-state geographical and cultural border. Weaving exhibition history, diplomatic history, and critical ethnic studies through a thread of transnational perspective, this paper provides historical narratives that unsettle the roots of racializing logic in the political articulation of nationalism and pushes toward an epistemic shift in rethinking categories of national identity, ethnicity, and citizenship.
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Kwiatkowska, Hanna. "EXHIBITION REVIEW." East European Jewish Affairs 37, no. 1 (2007): 109–11. http://dx.doi.org/10.1080/13501670701309079.
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PAVER, CHLOE. "What's so Austrian about the Alps? Local, Transnational and Global Perspectives in Austrian Exhibitions about the Alps." Austrian Studies 18, no. 1 (2010): 179–95. http://dx.doi.org/10.1353/aus.2010.0010.
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Lazebnyk, Stanislav. "Monumental Ambassador of Ukraine." Diplomatic Ukraine, no. XIX (2018): 742–56. http://dx.doi.org/10.37837/2707-7683-2018-46.
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The author emphasizes that the political power of each state is diplomatic recognition and high-level interstate relations that are mutually beneficial for the parties. The article is concerned with areas of activity of the Directorate-General for Rendering Services to Diplomatic Missions. One of the most fundamental goals in this regard is to provide foreign embassies and international organizations appropriate conditions for their functioning at the highest level, fulfil the duties. In 2018, the staff of the General Directorate for servicing foreign missions again joined the implementation of events in the field of cultural diplomacy. The delegation of the GDIP took part in the scientific conference ” Ukraine and Georgia: Centenary of Diplomatic Relations”. This year, the project “Day of Ukraine in Europe” was continued, the main goal of which is to spread positive information about Ukraine and the history of its statehood, to present the achievements of Ukrainian culture and science in the world, to form effective contacts with foreign organizations of Ukrainians. GDIP also continues to involve its partners, in particular Outlook, in the implementation of projects. However, noted that smaller values of the representatives of GDIP pay for cultural diplomacy. Due to active cooperation of scientific and diplomatic institutions of both Ukraine and foreign countries in 2017–2018, many important measures for bilateral relations were held and organized, in particular scientific events (conferences, presentations, briefings, round tables and panel discussions), which are always accompanied by an exhibition of archival documents about the origin of national-state diplomatic traditions 100 years ago. GDIP also cooperates with state and local authorities, so in the future it opens for diplomats picturesque cities and amazing nature of Ukraine. Keywords: Ukrainian diplomatic service, 100 years of diplomatic relations, GDIP, foreign missions, scientific events, cultural diplomacy.
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Timoschenkova, Galina A. "Figures of the socio-political, scientific, and cultural life of Italy, 17–19 centuries. The exhibition of autographs at the RSL." Bibliotekovedenie [Russian Journal of Library Science], no. 5 (October 24, 2011): 70–78. http://dx.doi.org/10.25281/0869-608x-2011-0-5-70-78.
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2011 — the Year of Russian culture and Russian language in Italy and the Year of Italian Culture and Italian language in Russia is the culmination of centuries-old ties between Moscow and Rome. The history of relations between Russia and Italy is intimately associated with the interpenetration of cultures of two countries: Italy culture in Russia — due to famous and great architects, sculptors, musicians, and Russian in Italy, where many painters, poets and writers from our Fatherland worked. “Cross-year” also has been reflected in the activities of the Russian State Library, where was the exhibition of the Italian autographs of 17–19 centuries, presented to visitors for the first time from 10 to 30 June 2011. There are letters and documents written with the own hand of those who made up blossom to Italy, working for the blessing and country prosperity, struggling for its independence.
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DE GIORGI, LAURA. "Chinese Brush, Western Canvas: The travels of Italian artists and writers, and the making of China's international cultural identity in the mid-1950s." Modern Asian Studies 51, no. 1 (2016): 170–93. http://dx.doi.org/10.1017/s0026749x16000263.
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AbstractAfter 1955 the People's Republic of China looked to Western Europe to develop new economic and cultural relations, and to project its new image as an independent Socialist state. In this new context, between 1955 and 1957 several Italian delegations visited China to explore the possibility of cooperation between China and Italy in the field of literature and art. This article investigates the most important of these delegations, led by the jurist, Piero Calamandrei, in 1955, and some subsequent initiatives, such as the exhibition of Italian artists held in Beijing in 1956. Drawing mainly from Italian published and private sources, the article explores how Socialist China's revolutionary cultural identity was understood and received in Italy in this period. It does so with special reference to the impact of Soviet cultural influence on China, and the prospect of Sino-Italian cooperation in the field of arts and literature as a way to bridge the East–West political and ideological divide.
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May, Anthony, and XiaoLu Ma. "Hong Kong: Changing Geographies of a Media Capital." Media International Australia 124, no. 1 (2007): 156–65. http://dx.doi.org/10.1177/1329878x0712400115.
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Thanks to its stunning entry into the ranks of world cinema in the 1970s, the history of the Hong Kong film industry up to 1997 is relatively well known. However, the coincidence of the Asian economic recession and the city's reintegration into the People's Republic of China (PRC) has worked to obscure recent developments. This article analyses contemporary Hong Kong cinema and its relations with the government of the mainland. We argue that the economic, cultural and geopolitical location of the city is contributing to developments that will allow the art cinema of the People's Republic of China to engage in international, Hollywood-dominated markets. Matters to do with production investment, censorship and film exhibition business are analysed in terms of the development of and revisions to the Closer Economic Partnership arrangement that now governs trade between the PRC and the Hong Kong Special Administrative Region (HKSAR).
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Gardner, Sally. "Procedures for moving. Walls." Choreographic Practices 11, no. 2 (2020): 245–58. http://dx.doi.org/10.1386/chor_00021_1.
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This article discusses an experiment in combining personal archival digital images, including those taken at various dance performances or rehearsals, in which the phenomenon of interruption was both discovered and investigated. The composite images were shown at a Space, Race, Bodies cultural studies and activist conference with the theme of ‘Walls’, held in 2018 in Aotearoa New Zealand. Parallel with discussing the process of creating these images and considering their effects, the article draws on the experience of exhibiting at the conference to explore relations between poetics and politics. The idea of interruption can be a key to this relation. With its rich history in the modernist performing arts and film, interruption facilitates making connections through difference.
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Pangilinan, Carlo Gabriel. "Tansong Ginto: Alaala, Lunan at Ideolohiya sa Loob at Labas ng Museo ng Lilan." Plaridel 8, no. 1 (2010): 71–94. http://dx.doi.org/10.52518/2011.8.1-05pnglnn.
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This paper is a critical inquiry, assessment and re-reading of the permanent exhibit Gold of Ancestors: Pre-colonial Treasures in the Philippines at the Ayala Museum. The critique employs the concepts of memory, space and ideology as vital theoretical positions and formulations, in order to criticize the exhibition, the museum and as such, to serve as a trope and discursive linkage in the critique of consumerism, capitalism and neo-liberal globalization as vital ideological imperatives that invisibly shape the field of other cultural productions and spaces—such as the mall. It will try to look at the arena of the museum, as a concrete cultural, communicative and ideological space where traces and imprints of contending local and global discourses of history, power, class contradiction, capitalism and neo-liberalism are enmeshed. Its analysis would then serve as a grid in the interrogation of the mall as another distinct cultural sphere and facet of the capitalistic industry where similar issues of class, ideology, power relations and cultural imperialism are further heightened and actualized. In the end, this paper aims to contribute to the development of a counter-hegemonic and contrapuntal critique that would further strengthen the strategic position and politics of partisan scholarship in the academe.
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Taylor, Lawrence D. "From Turbulent Skies to Calmer Air Currents." Mexican Studies/Estudios Mexicanos 34, no. 3 (2018): 347–77. http://dx.doi.org/10.1525/msem.2018.34.3.347.
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This article traces the long and difficult road towards the establishment of the first U.S.–Mexico aerial routes. It focuses on seven particular aspects of transborder aviation relations between Mexico and the U.S in the years between 1910 and the early 1930s: transborder observation and exhibition flights; the search for and rescue of lost U.S. pilots in the Mexico border region; U.S. aerial incursions into Mexican territory; goodwill flights; the binational flight of Charles A. Lindbergh (December 1927); the establishment of commercial airlinks and the Compañía Mexicana de Aviación (cma); and the Pan Am mail and passenger flights between Mexico and the U.S. En este artículo se traza el camino largo y dificultoso hacia el establecimiento de las primeras rutas aéreas entre México y Estados Unidos. Se enfoca sobre siete aspectos específicos de las relaciones aéreas transfronterizas entre México y Estados Unidos en los años entre 1910 y principios de la década de 1930: vuelos de observación y de exhibición; la búsqueda y el rescate de pilotos estadunidenses extraviados en la región del lado mexicano de la frontera; incursiones aéreas de los Estados Unidos en territorio mexicano; vuelos de buena voluntad; el vuelo binacional de Charles A. Lindbergh (diciembre de 1927); el establecimiento de vínculos aéreos y la Compañía Mexicana de Aviación (cma); y los vuelos de correo y pasajeros de la Compañía Pan Am entre México y Estados Unidos.
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Bachmann, Anne. "Atlantic crossings: Exhibiting Scandinavian–American relations in scale models and moving pictures during the mid-1910s." Early Popular Visual Culture 10, no. 4 (2012): 345–66. http://dx.doi.org/10.1080/17460654.2012.724566.
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Dragaikina, T. A. "Rare Editions of N. M. Karamzin’s Works in Novosibirsk Libraries." Proceedings of SPSTL SB RAS, no. 2 (August 6, 2023): 29–37. http://dx.doi.org/10.20913/2618-7515-29-37.
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Lifetime and rare editions of works of great writers, researchers, public figures are of special cultural and historical value and enjoy the increased attention of the keepers of book collections and visitors of book museum exhibitions. The purpose of this article is to introduce into scientific circulation the rare copies of domestic and foreign editions of works of the historian and writer N. M. Karamzin (1766 – 1826), stored in the Novosibirsk State Regional Scientific Library (NSRSL) and the State Public Scientific and Technological Library of the Siberian Branch of the Russian Academy of Sciences (SPSTL SB RAS). Among them are books from the library of the Kolyvan-Voskresensk mining plants, including those received there from personal collections of mining engineers, copies of the journal “Vestnik Evropy” for 1802-1803 from the collection of V. S. Mikhalkov, a volume of “History of the Russian State” used in one of the oldest educational institutions in Russia – the Smolensk Boys’ Gymnasium, a volume of a lifetime edition of the “History of the Russian State”, which belonged to the historian, archaeographer P. M. Stroev, the compiler of the “Key, or alphabetical index to the “History of the Russian State” by N. M. Karamzin”.Special attention should be paid to the first complete Russian-language edition of “On Ancient and New Russia in its Political and Civil Relations”, written in 1811, addressed directly to Emperor Alexander I and for censorship reasons first published only abroad, in Berlin, in 1861. A copy from the Department of Rare Books and manuscripts of the State Public Scientific Library of SB RAS is unique in that it contains proofreading notes of the historian A. N. Pypin. Relying on this copy of the Berlin edition of N. M. Karamzin’s work and consulting the handwritten copies of it which were at his disposal, he prepared the first complete publication of the text of this manifesto of Russian conservatism in Russia in 1900 as an appendix to his monograph “Social Movement in Russia under Alexander I”. A careful study of valuable publications from the collections of Novosibirsk libraries deepens our knowledge about the book culture of Siberia and, more broadly, about the history of Russian-language book culture, about the history of the formation of Novosibirsk book collections, demonstrates the continuity of these collections in relation to the outstanding book collections of the past.
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Oreshina, Yulia. "Useful Sites of Memory: Jewish Museums in Belgrade and Sarajevo." Tirosh. Jewish, Slavic & Oriental Studies 18 (2018): 237–49. http://dx.doi.org/10.31168/2658-3380.2018.18.5.2.
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Understanding museum as a tool of mediation, premediation and remediation of cultural memory, I focus in this article on two case studies — the Jewish Museum in Sarajevo and Jewish Historical Museum in Belgrade. While the Jewish Museum in Sarajevo positiones the city of Sarajevo as the first center of Jewish life in Balkans, the Jewish Historical Museum in Belgrade claims to be the only museum in ex-Yugoslavia presenting the history of Jews in the entire region. Both museums, therefore, claim to be the most important museums on this topic in the region, and certainly in a way compete to each other. What are the real stories hidden under these narratives, and which political and historical circumstances influence the fact that these two museums represent such contrasting stories? With the help of content analysis of the museum exhibitions, I detalize the narratives presented in the both case studies. In the focus of my interest is contextualization of Jewish history in the region and juxtaposition of the ways it is presented in the chosen museums. Obviously, Jewish Historical Museum in Belgrade still represents the unifying Yugoslavian narrative, serving as an umbrella museum for the entire region. In case of Sarajevo, close connection between ongoing process of victimization of the recent past of the city and mythologization of preYugoslavian life in Sarajevo, together with idealization of Bosnian-Jewish relations can be observed. Additionally, I look into the way of representation of the topic of the Holocaust. In the both case studies, the way of narration of the Holocaust is closely linked to the dominant historical narrative of the country, and the museum exposition serves as yet another justification of it. In both cases, the narrative of the Holocaust is shadowed by the previously existing historical tradition — in Yugoslavian times, the Holocaust was predominantly connected to the Ustasha regime and was symbolized by Jasenovac. Nevertheless, within current political realities, the Holocaust memory and the memory of Jewish life in Serbia and in Bosnia and Herzegovina undergoes certain changes and becomes instrumentalized in many contexts.
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Monticelli, Daniele. "Illness: Narratives, Imagery, and Politics." Folklore: Electronic Journal of Folklore 83 (August 2021): 235–50. http://dx.doi.org/10.7592/fejf2021.83.monticelli.
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The article uses the review of a seminar, an exhibition, and a graduate conference, which took place at Tallinn University in the 2020–2021 academic year, as an occasion to reflect on the different ways in which illness has been represented in literature, the arts, and film across the history of Western culture. The specific focus of the article is on the theoretical contribution of the humanities to a more complex and adequate understanding of the phenomenon of illness. The study of illness narratives reveals different patterns and strategies of constructing the illness experience into a coherent and meaningful story, but also the resistance that the disruptive impact of illness on our everyday lives poses to narrativisation. The complex historical imagery which endows the biological fact of being sick with additional cultural and social meaning has also to be critically investigated in the humanities and social sciences. Metaphors about illness and the use of illness as a socio-political metaphor have often had a nefarious impact on sick people as well as entire social groups and communities. This is why the article also considers illness in its relations with politics and power and describes various attempts to empower sick people in their relations with medical institutions and their social environment. The article ends with a review of the “Illness: Narratives, Imagery, Politics” graduate conference (27–28 January 2021), which is a good illustration of the many literary and artistic works and of the plurality of methods that can be used in the study of the illness phenomenon from a humanities perspective.
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Чувилькина, Ю. В. "Under the Protection of the Museum Department: The Fates of Estate Collections in Moscow Oblast and of Their Owners after the 1917 Revolution." Nasledie Vekov, no. 3(35) (September 30, 2023): 82–95. http://dx.doi.org/10.36343/sb.2023.35.3.006.
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В статье анализируется судьба дворянских имений Подмосковья и находившихся в них усадебных коллекций, национализированных после революции 1917 года. Использованы материалы Государственного архива Российской Федерации и Центральногогосударственного архива литературы и искусства, статьи музейных исследователей, воспоминания современников. Отмечена роль бывших владельцев усадеб как хранителей и руководителей музеев, впоследствии возникавших на основе имений. Характеризуются принадлежавшие бывшим владельцам произведения искусства и исторические артефакты, описывается последующая история коллекций, как правило, становившихся частью музейного фонда советской России. Выявлены и обобщены в виде таблицы разнообразные формы приспособления усадеб под общественные и государственные нужды, получившие распространение в послереволюционный период. Определен ряд тенденций, связанных с послереволюционной судьбой культурных ценностей, входивших в состав подмосковных усадебных коллекций. The study aims to systematize the processes that took place after the 1917 Revolution with collections of art, books and other cultural property located in the noble estates of Moscow Oblast. The materials were documents stored in the State Archive of the Russian Federation and the Central State Archive of Literature and Art, monographs and articles by researchers on the history of estates near Moscow in the 19th and 20th centuries. Historical-systemic, comparative and other methods applied in historical research were used. The study notes that estates near Moscow and collections of art works located in them during the events of the 1917 Revolution were rarely plundered by peasants. The author describes the role of former owners of estates as curators and managers of museums that subsequently arose on the basis of estates; analyzes the process of registering and describing property located in estates near Moscow; characterizes the works of art and historical artifacts that belonged to the former owners and the subsequent history of the collections, which, as a rule, became part of the museum fund of Soviet Russia. In some cases, the author comments on the fate of the former owners. The study focuses on the Moscow Oblast estates of the Uvarovs (Porechye), the Shcherbatovs (Brattsevo), the Sheremetevs (Vvedenskoye), the Olsufievs (Ershovo), and others. In total, the author briefly characterizes the post-revolutionary history of about one and a half dozen estates near Moscow and their collections. The forms of adaptation of estates for public and state needs, which became widespread in the post-revolutionary period, are diverse, and the author identifies and summarizes them in a table. The several important trends related to the subsequent fate of cultural values that were part of the Moscow Oblast estate collections the author identified are: (1) conflict-free relations between landlords and peasants had a positive impact on the preservation of the estate heritage of Moscow Oblast; (2) the so-called “museums of landlord life” (“museums of the nobility”), which existed in the first years of the Soviet power, became widespread in the region; however, this trend did not develop further: over the following ten years, most of these museums were closed due to ideological inconsistency; (3) the last owners of estates played a major role in preserving cultural values at the beginning of the Revolution. Thanks to their contribution, unique cultural values that were previously part of estate collections today adorn exhibitions of the best museums in the country.
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Margolis, Emily A. "‘See your spaceport’: Project Apollo and the origins of Kennedy Space Center tourism, 1963–67." European Journal of American Culture 39, no. 3 (2020): 249–74. http://dx.doi.org/10.1386/ejac_00030_1.
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This article argues that the National Aeronautics and Space Administration (NASA) deployed tourism as a key public relations strategy during preparations for Project Apollo. NASA appropriations hearings in 1963 catalysed a national debate over the tangible benefits and costs of sending Americans to the moon. American ambivalence towards the effort alarmed Democratic Representative Olin E. Teague of Texas, chairman of the powerful House Subcommittee on Manned Spaceflight, who understood the correlation between public opinion and congressional appropriations. Inspired by the crowds that congregated on the beaches outside Florida’s John F. Kennedy Space Center (KSC) for each crewed space launch, Teague proposed a tourism programme to encourage public support for NASA’s objectives. Public affairs officers facilitated these programmes at KSC, beginning with a modest information trailer in 1964 and culminating in a Visitor Information Center in 1967 that included an exhibition hall, outdoor displays and depot facilitating escorted bus tours. The space centre quickly became a popular attraction: however, a culture of racial discrimination and intimidation in Brevard County deterred African Americans from participating in space centre tourism. Public programming at KSC – an important legacy of Project Apollo that continues today – was not the panacea Teague and NASA hoped it would be.