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Letteratura scientifica selezionata sul tema "Museums – Historiography"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 7 febbraio 2022

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Articoli di riviste sul tema "Museums – Historiography"

Divall, Colin. "Transport Museums: Another Kind of Historiography". Journal of Transport History 24, n. 2 (settembre 2003): 259–65. http://dx.doi.org/10.7227/tjth.24.2.8.

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Morrow, Paul. "Are Holocaust Museums Unique?" Royal Institute of Philosophy Supplement 79 (ottobre 2016): 133–57. http://dx.doi.org/10.1017/s1358246116000114.

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AbstractHolocaust museums record and memorialize deeply affecting historical events. They can nevertheless be described and criticized using standard categories of museum analysis. This paper departs from previous studies of Holocaust museums by focusing not on ethical or aesthetic issues, but rather on ontological, epistemic, and taxonomic considerations. I begin by analysing the ontological basis of the educational value of various objects commonly displayed in Holocaust museums. I argue that this educational value is not intrinsic to the objects themselves, but rather stems from the extrinsic relations established between objects in museum exhibitions and displays. Next, I consider the epistemic, or knowledge-creating, function of Holocaust museums. I argue that the structure of public displays in such museums reflects the particular, document-based epistemology that continues to characterize Holocaust historiography and other fields of Holocaust research. Finally, I turn to examine taxonomic features of Holocaust museums. As I explain, both professional and ‘artefactual’ networks link the activities and display strategies of national, regional, and local Holocaust museums. A brief conclusion sketches some implications of my analysis for ongoing debates about the ethical function of Holocaust museums.

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Hughes, Patrick. "New Media in the ‘New Museums’: Much Technology, Little Historiography". Media International Australia 95, n. 1 (maggio 2000): 183–90. http://dx.doi.org/10.1177/1329878x0009500116.

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New communications technologies offer museum curators opportunities to create exhibitions that are ‘open’ to diverse interpretations and are ‘democratic’ in privileging no particular interpretation. However, a fascination with the new forms of exhibition that communications technologies offer can distract us from the fact that they inevitably represent a particular view of the past. Reconsidering the collection of articles titled ‘Museums and New Media’ (Media International Australia incorporating Culture and Policy, no. 89) highlights the need to assert the primacy of historiography over the technologies of its representation.

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Zubanova, Nadezda A. "Museums of a “manufacturing type” in the USSR: Emergence, experience and liquidation. The history of museum development in the USSR in the 1920s–1930s". Issues of Museology 11, n. 2 (2020): 197–209. http://dx.doi.org/10.21638/11701/spbu27.2020.205.

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The article examines the experience of the museums of a “manufacturing type” that appeared in Soviet Russia in the 1920s. References to the existence of such museums are repeatedly found in official reports, museums’ documentation and periodicals of those years. At the same time, we note that up to now there is no definition of this type of museum in the national historiography of the history of museums. The reference to the experience of their work remains on the periphery of the research interest. The article explores the example of two Moscow’s museums — the Museum of Porcelain and the Museum of Furniture — to describe the history of the creation of museums, to find out the socio-cultural factors that contributed to their formation as a “manufacturing type” museums, and to analyze the reasons that led to the closure (in the case of the Museum of Furniture) or a change of their profile. The emergence and activity of manufacturing museums was associated with a special historical moment — the time of the active creation of the Soviet museum network and experiments in the field of museum business. If earlier museums in their activities were focused on storage and scientific functions, then at the new historical stage the role of museums in society was rethought: the educational functions were placed at the forefront of their activities. At this time, there was still the opportunity to implement certain creative experiments. In the activities of “manufacturing museums”, such types of museum work with a visitor were already successfully practiced and some approaches in expositional activities that were relevant in modern museology and in demand by modern museum institutions were implemented.

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Philipp Dominik Keidl. "Toward a Public Media Archaeology: Museums, Media, and Historiography". Moving Image: The Journal of the Association of Moving Image Archivists 17, n. 2 (2017): 20. http://dx.doi.org/10.5749/movingimage.17.2.0020.

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Danуluik, Igor. "Educational Museums of the Ivano-Frankivsk Region". Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 2, n. 46 (20 dicembre 2017): 111–17. http://dx.doi.org/10.31861/hj2017.46.111-117.

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Educational museums are one of the most widespread types of museums not only in the Ivano-Frankivsk region, but on the whole and in Ukraine. Development of educational museums especially increased in 90th of the ХХ th on territory of Prykarpattya such museums are practically in every settlement. In villages it is mainly regional museums at schools or educational-educator complexes. The article analyses development, and becoming of educational museums on territory of our region. This theme is practically not studied and not investigationed in historiography. Basis of the article are the worked out sources and resources that are accessible. The questions of development of educational museums investigated P. Arsenuch and B. Havruliv fragmentary. In the article analysed in particular educational museums, that are in rural locality. Fund work of these museums and display exhibitions are characterized. The basic orientation of these structures opens up on pumas and students young people. This article leads to the necessity of existence of such establishments, exposes them scientific and educational. Keywords: museums, Ivano-Frankivskregion, regional, educational, funds, displays, exhibits, work, ancientthings

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Huzhalouski, Alexander A. "Museums of the Soviet Belarus during the Khrushchev’s ‘Thaw’ (1953–1968)". Issues of Museology 12, n. 1 (2021): 35–47. http://dx.doi.org/10.21638/spbu27.2021.104.

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The historical perspective allows us to take a fresh look at a complex and contradictory period in the development of museum affairs in the USSR, which entered into historiography under the name of Khrushchev’s ‘thaw’. Using archival sources that are part of the Ministry of Culture of the Byelorussian SSR record, published statistical data, as well as periodicals, the article attempts to show the growth of the museum network in the BSSR and trace the process of its profile differentiation and museum branch development during this period. Using the specified source base, an analysis of state policy and public initiatives in the field of museum work was carried out. The public discussion of the early 1960s on the role of an artist in the process of museum display design is considered. While listing and analysing museum innovations during the ‘thaw’, the author pays special attention to the legalization of the activities of Belarusian private collectors. The emergence of museum architecture as a material embodiment of socio-cultural ideas about the museum is considered separately. The transformation of Belarusian museums into a subject of international relations in 1953–1968 is presented as an important new trend in their development. Appreciating the positive changes in the life of museums during the ‘thaw’ period, the author points out that it was in those years that the subordination of all activities of Belarusian museums to the tasks of glorifying Soviet society at the expense of other historical periods was finally established at the normative level. All areas of museum activities were filled with ideological content, which reflected the general cultural policy, invariably pursued by the party leadership. The article significantly expands the museological interpretation of the ‘thaw’ era and its role in the expansion, democratization, and professionalization of museum activities.

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Carreño, Miryam. "The New Museums of Education, an International Movement". Encounters in Theory and History of Education 9 (9 ottobre 2008): 75–91. http://dx.doi.org/10.24908/eoe-ese-rse.v9i0.1769.

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In this article the resurgence of interest in museums of education during the last twenty years of the twentieth century and their development up to this day is analyzed. The “new museums” of education are different from their predecessors, the pedagogical museums, which were created in the last fifty years of the nineteenth century. The new museums constitute an international movement that is developing in an age of deep transformation. Some of them are analyzed here with the goal of looking for the explanation of that great development: new historiography tendencies; the current globalization process; movements for the recovery of historical memory; and finally changes in museology. Lastly, the creation and development of the new museums of education in Spain are analyzed, as well as the museographical and museological activities that are taking place in this country

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Stead, Lisa. "Digital opportunities for feminist film historiography". Alphaville: Journal of Film and Screen Media, n. 20 (27 gennaio 2021): 191–204. http://dx.doi.org/10.33178/alpha.20.14.

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This paper discusses some of the key methodological challenges emerging from the AHRC project Reframing Vivien Leigh: Stardom, Archives and Access, led by PI Dr. Lisa Stead at the University of Exeter. This twenty-month project examined how the legacies of screen star Vivien Leigh are archived and curated by a range of public institutions in the South West of England, taking audiences behind the scenes of local archives and museums. The paper reflects on how researching within rural heritage centres and volunteer run archives encourages the introduction of new voices and new case studies within women’s film history, by encompassing the archival labour of a network of volunteers, amateurs and professionals within a broader heritage sector whose historical actions and choices produce alternative kinds of women’s film history. It reflects in turn on the challenge involved in finding new ways to present these histories in interactive, digital and physical forms for audiences beyond the academy and to make meaningful impact from this kind of research.

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Overton, Keelan, e Kimia Maleki. "The Emamzadeh Yahya at Varamin: A Present History of a Living Shrine, 2018–20". Journal of Material Cultures in the Muslim World 1, n. 1-2 (9 febbraio 2021): 120–49. http://dx.doi.org/10.1163/26666286-12340005.

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Abstract The Emamzadeh Yahya at Varamin, a tomb-shrine located south of Tehran, is well known for supplying global museums with iconic examples of Ilkhanid-period luster tilework. After providing a historiography of the site, including its plunder in the late nineteenth century, we explore its current (2018–20) “life” in order to illuminate the many ways that it can be accessed, used, perceived, and packaged by a wide range of local, national, and global stakeholders. Merging past and present history, art history and amateur anthropology, and the academic, personal, and popular voice, this article explores the Emamzadeh Yahya’s delicate and active existence between historical monument, museum object, sacred space, and cultural heritage.

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Più fonti

Tesi sul tema "Museums – Historiography"

Livne, Inbal. "Tibetan collections in Scottish museum 1890-1930 : a critical historiography of missionary and military intent". Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/20606.

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This thesis looks at Tibetan material culture in Scottish museums, collected between the mid-nineteenth and early twentieth centuries. It examines how collectors used Tibetan objects to construct both Tibet in the western imagination and to further personal, organisational and imperial desires and expectations. Through an analysis of the highly provenanced material available in Scottish museums, collectors will be grouped in three categories: missionaries, military personnel and colonial collectors. These are not only divided by occupation, but also by ideological frames of reference. The historical moments in which these different collector groups encountered Tibetan material culture will provide a framework for an examination of the ways that collectors accessed, collected, interpreted, used and displayed objects. Within the framework of post-colonial theory, this thesis seeks new ways of understanding assumptive concepts and terminology that has become embedded in western analysis of Tibetan material culture. These include Tibetan Buddhism as a 'religion', 'Tibetan art', 'Tibetan Buddhist art' and the position of Tibetan 'art' versus 'ethnography' in western hierarchies of value. These theoretical concerns are scrutinised through an anthropological methodology, based on the concept of 'object biography', to create an interdisciplinary model for examining objects and texts. Using this model, I will demonstrate that collectors, whilst giving Tibetan material culture a variety of social roles, invested these categories with a range of values. Yet despite this heterogeneity, the mosaic of knowledge produced about Tibet by these varying encounters, established and then cemented British understandings of Tibetan material culture in specific ways, constructed to assist in the British imperial domination of British-Tibetan relations. I will argue that on entering the museum, these richly textured object biographies were 'flattened out', and the information embedded within them that gave traction to interpretations of British-Tibetan encounters was hidden from view, requiring this study to make visible once more the heterogeneity, richness and significance of Tibetan material culture in Scottish museums.

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Sippel, Elizabeth. "The role of memory, museums and memorials in reconciling the past : the Apartheid Museum and Red Location Museum as case studies". Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005773.

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When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.

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Leon, Ethel. "Design em exposição: o design no Museu de Arte Moderna do Rio de Janeiro (1968-1978), na Federação das Indústrias de São Paulo (1978-1984) e no Museu da Casa Brasileira (1986-2002)". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-04042013-115331/.

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O trabalho configura uma contribuição para os estudos do campo do design brasileiro. Avalia iniciativas institucionais brasileiras de expor publicamente design, particularmente no Museu de Arte Moderna do Rio de Janeiro, com as Bienais de Design e o Instituto de Desenho Industrial; na Federação das Indústrias de São Paulo e no Museu da Casa Brasileira, reconhecendo-as como momentos de construção do campo. As concepções de design em jogo, sua aproximação com a esfera doméstica e sua heteronomia estão em questão, apontando para mudanças do próprio conceito de design no Brasil de 1970 a 2002. Revela como os projetos de design industrial e público dos anos 1970 têm sido ignorados em nossa historiografia.
This work is a contribution to the Brazilian design field studies. It evaluates Brazilian institutional actions of exhibiting design, particularly in Rio de Janeiro\'s Modern Art Museum (MAM-RJ), its Design Biennales and Industrial Design Institute. It also studies design exhibitions in the São Paulo\'s Industries Federation (FIESP) and in Museu da Casa Brasileira (Brazilian House Museum). All of them representing the construction of the field moments. Different concepts of design, its proximity with the domestic sphere and its heteronomy are put in debate, pointing to changes of design concept in Brazil between 1970 and 2002. This study reveals how public and industrial design of the 1970s has been ignored in Brazilian historiography.

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Espírito, Santo Silvia Maria do [UNESP]. "O colecionador público documentalista: museu histórico e de ordem geral Plínio Travassos dos Santos de Ribeirão Preto". Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/100795.

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A presente tese estuda os conteúdos do desenvolvimento das coleções e da documentação sobre a representação museológica do Oeste paulista (Oeste Paulista, 1948-1958) no Brasil. O trabalho também inclui a análise da personagem agenciadora no exemplo específico e o caso sobre o processo de criação do museu de história natural e oficial e sobre a economia do café. O contexto econômico e da cultura material, nesse estudo do Museu Histórico e de Ordem geral, talvez guarde os aspectos do corpo material e os processos do colecionismo, da documentação de objetos e dos documentos.
The present thesis studies the contents of the development of the collections and the documentation on the museológica representation of the São Paulo West (São Paulo West, 1948-1958) in Brazil. The work also includes the analysis of the agent personality in the special example and the case on the creation process of the natural and official history museum and the coffee economy. Perhaps the economic and the material culture context, in this History Museum and general Order study, holds the aspects of the material body and the colecionismo processes, objects documentation and documents.

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Espírito, Santo Silvia Maria do. "O colecionador público documentalista : museu histórico e de ordem geral "Plínio Travassos dos Santos" de Ribeirão Preto /". Marília : [s.n.], 2009. http://hdl.handle.net/11449/100795.

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Orientador: Eduardo Ismael Murguia Marañon
Banca: Oswaldo Francisco de Almeida Júnior
Banca: Suely Moraes Ceravolo
Banca: Marília Cury Xavier
Banca: Maria Lúcia Lamonier
Resumo: A presente tese estuda os conteúdos do desenvolvimento das coleções e da documentação sobre a representação museológica do Oeste paulista (Oeste Paulista, 1948-1958) no Brasil. O trabalho também inclui a análise da personagem agenciadora no exemplo específico e o caso sobre o processo de criação do museu de história natural e oficial e sobre a economia do café. O contexto econômico e da cultura material, nesse estudo do Museu Histórico e de Ordem geral, talvez guarde os aspectos do corpo material e os processos do colecionismo, da documentação de objetos e dos documentos.
Abstract: The present thesis studies the contents of the development of the collections and the documentation on the museológica representation of the São Paulo West (São Paulo West, 1948-1958) in Brazil. The work also includes the analysis of the agent personality in the special example and the case on the creation process of the natural and official history museum and the coffee economy. Perhaps the economic and the material culture context, in this History Museum and general Order study, holds the aspects of the material body and the colecionismo processes, objects documentation and documents.
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Sido, Anna E. "Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/663.

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This paper compares two art museums, both created during the French Revolution, that fostered national unity by promoting a cultural identity. By analyzing the use of preexisting architecture from the ancien régime, innovative displays of art and redefinitions of the museum visitor as an Enlightened citizen, this thesis explores the application of eighteenth-century philosophy to the formation of two museums. The first is the Musée Central des Arts in the Louvre and the second is the Musée des Monuments Français, both housed in buildings taken over by the Revolutionary government and present the seized property of the royal family and Catholic Church. Created in a violent and unstable political climate, these museums were an effective means of presenting the First Republic as a guardian of national property and protector of French identity.

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Silva, Ana Celina Figueira da. "Investigações e evocações do passado : o Departamento de História Nacional do Museu Julio de Castilhos (Porto Alegre-RS, 1925-1939)". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/180928.

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Este trabalho analisa o início da transformação do Museu Julio de Castilho (Porto Alegre-RS) de um museu de caráter enciclopédico, que priorizou durante as suas duas primeiras décadas as coleções de ciências naturais, a um museu histórico, tomando como recorte temporal o período compreendido entre 1925 e 1939, relativo à gestão do segundo diretor da instituição, Alcides Maya. Insere o surgimento do MJC, no ano de 1903, no contexto da Era brasileira de museus, quando predominavam os museus de caráter enciclopédico, bem como vincula o seu processo de especialização rumo à história ao declínio desse movimento no final dos anos 1920, mas também incorporando a essa transformação fatores de ordem interna regional, ressaltando o papel central de Maya nessa mudança. Descreve o surgimento dos museus de história na Europa, enfatizando os museus franceses do século XIX como os modelos seguidos na constituição de instituições congêneres no Brasil, as quais, através da exposição de imagens e objetos de personalidades e eventos de exceção, assumiram uma função evocativa e celebrativa do passado na constituição da identidade nacional. Identifica-se, no que se refere à identidade regional do Rio Grande do Sul, essa mesma função no MJC, com a formação das coleções de objetos e imagens dos políticos e militares envolvidos fundamentalmente na Guerra dos Farrapos A partir da documentação administrativa, a tese apresenta a formação do acervo das seções do Departamento de História Nacional do MJC, destacando o papel de Eduardo Duarte nesse trabalho, procurando identificar a relação entre a produção historiográfica elaborada no período em análise e a constituição das coleções do Museu. Examina ainda a criação de uma Pinacoteca Histórica no MJC com a intenção de representar os personagens e locais considerados importantes para a história sul-rio-grandense, identificando o investimento do governo do estado na visualização do passado descrito nos documentos do Arquivo Histórico na configuração da identidade regional relacionada ao passado farroupilha. Identifica as concepções de história moderna e clássica operando, respectivamente, no Arquivo Histórico e nas demais seções do Departamento de História Nacional do MJC. Por meio destes procedimentos, a pesquisa buscou compreender a concepção de história (e outras noções a ela atinentes, como documento histórico, autenticidade e tempo).
This study aims to analyze the initial transformation of Júlio de Castilhos Museum in the city of Porto Alegre, State of Rio Grande do Sul, from one of encyclopedic nature that prioritized natural sciences collections into an historical museum during its first two decades, comprising the period between 1925 and 1939, under the management of Alcides Maya, the second director of the institution. The study inserts the emergence of the MJC (Júlio de Castilhos Museum) in the year 1903 into the Brazilian Museum Era context, when museums of an encyclopedic nature prevailed, as well as links its specialization process towards history to the decline of this trend in the late 1920s, which also included factors of internal regional nature, emphasizing Maya's central role in this change. It describes the emergence of history museums in Europe, emphasizing 19th century French museums as models for the establishment of similar institutions in Brazil which, through the exhibition of images, personality objects and exception events, took on an evocative and celebrative function of the past in making up a national identity. As to the regional Rio Grande do Sul identity, that same MJC role could be identified, with the formation of memorabilia collections of objects from politicians and the military involved mainly in the Guerra dos Farrapos (Farrapos War) From the administrative documentation, the dissertation presents the MJC collection of the Department of National History sections, highlighting Eduardo Duarte's role and trying to identify the relationship between the historiographic production developed in the period under analysis and the formation of the Museum collections. It also examines the creation of a Historical Art Gallery by MJC with the intention of representing characters and places thought to be important for the history of Rio Grande do Sul, identifying the investment of the State government in displaying the past described in the Historical Archive documentation and in setting a regional identity related to the Farroupilha Revolution past. Finally, it identifies modern and classical history conceptions by analyzing both the Historical Archive and in other sections of the MJC Department of National History. Through these procedures, the research sought to understand the conception of history (and other notions related to it, such as historical documentation, authenticity and time).

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Wood, Eleanor. "Displaying dress : new methodologies for historic collections". Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/displaying-dress-new-methodologies-for-historic-collections(8ac9a65f-f153-43ca-88d5-d6e04ea5db1b).html.

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At the beginning of the twenty-first century British costume museums were failing to attract audiences; consequently, all but the Gallery of Costume, Manchester and the Fashion Museum, Bath were closed to the public. This thesis has sought to examine the traditional display methodologies of historic costume museums, using the Gallery of Costume as its primary case study of practice. This investigation problematises the theoretical assumptions upon which the gallery’s display methodologies are founded and compares its approaches to those taken in contemporary displays of historic dress. The findings of this investigation have been used to propose new approaches to the display of historic dress that aim to engage contemporary audiences. Using the research methods of participant observation, interviews and archival research the first chapter of this thesis outlines the development of the Gallery of Costume’s display methodologies, highlighting the agency of individual curators. The next two chapters explore the ways in which curators of dress reconstruct the bodies and personalities that give form to worn dress in the museum. The thesis moves on to examine both the methods by which the Gallery of Costume’s constructed history in its displays of history and the theoretical assumptions underlying its historiography. This chapter is followed by an exploration of the performance of fashion within the museum, attending to the way in which exhibitions can express dress as ‘living’ concept within accepted conservation guidelines. Finally, this thesis outlines a framework upon which reflexive exhibitions of historic dress can be built.

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Oliveira, Ana Amélia Rodrigues de. "Juntar, separar, mostrar: memória e escrita da história no Museu do Ceará (1932 - 1976)". www.teses.ufc.br, 2008. http://www.repositorio.ufc.br/handle/riufc/2846.

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OLIVEIRA, Ana Amelia Rodrigues de. Juntar, separar, mostrar : memória e escrita da história no Museu do Ceará (1932 - 1976). 2008. 184 f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2008.
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This research aims to interpret the course of the Ceara History Museum, since its creation (in 1932) until 1976. It discusses the manners of its exposures and sees about its public education function, considering that the Museum works as an educational institution where the historical objects could teach about past ages. In this way this research also analyze the Ceara History Museum from onward the agreements and conflicts which collaborate with its creation, considering it as a result of the social relationships which define its uses in a certain age.
A presente pesquisa tem como objetivo interpretar a trajetória do Museu Histórico do Ceará, desde a sua criação em 1932 até o ano de 1976, enfocando as formas de exposição de seu acervo, refletindo sobre a função de lugar de instrução pública, já que o Museu assume o caráter de instituição educativa, onde os objetos expostos aparecem com a intenção de ensinar e de construir representações sobre o passado. A partir dessa problemática, busquei analisar o Museu Histórico a partir dos acordos e dos conflitos que o constituíram, pois o mesmo é resultado das relações sociais que definem a sua utilização num dado período.

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Pitches, Ceri Louise. "From explosions to explaining : a new historiography of the Science Museum Group Explainer role". Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/15867/.

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This thesis explores the role of the UK Science Museum Group Explainer, a public-facing role with responsibility for engaging visitors and enhancing their experience of the museums within the Group. Arguing for new recognition of the performative complexity of this role, the research is driven by the view that its significance is currently undervalued within the science museum context. The thesis offers an original perspective on the contemporary Explainer, positioning it as the latest vital iteration in a performed science communication tradition that is here traced first, to the practices of Science Museum Guide Lecturers dating from 1924, and second, further back in time to nineteenth- century lecture demonstration practices at the Royal Institution, London. In so doing, it re-evaluates the role, challenging commonly held museum industry assumptions that the current iteration is simply a late twentieth-century customer service and education construct, and proposes a new history of its development and practice. The interconnected Performance Studies theories of embodied knowledge transmission and intertheatricality are utilised in conjunction with the performer-training concept of vertical transmission, to inform a new interpretation of the ways in which scientific public presentation practices can be seen to have been inherited or passed on. In this way the thesis suggests a line of performance transmission from the early nineteenth to the early twenty- first century. Highlighting performance elements within the contemporary role and its various suggested antecedents, the thesis proposes use of a new term, ‘performed explaining’, to uniquely describe their presentational forms, appropriately distinguishing them from the more ubiquitous twentieth-century museum industry term ‘live interpretation’. As a collaborative doctoral project the findings of this research are intended to be of particular significance to the SMG, but also the broader science museum and science centre industry. The thesis therefore concludes with recommendations for improving future practice in relation to the development of the Explainer role.

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Libri sul tema "Museums – Historiography"

Babelon, Jean Pierre. Quel musée d'histoire pour la France? Paris: A. Colin, 2011.

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Quel musée d'histoire pour la France? Paris: A. Colin, 2011.

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Arkhangelov, S. A. (Sergeĭ Aleksandrovich), editor e Gosudarstvennyĭ t︠s︡entralʹnyĭ muzeĭ sovremennoĭ istorii Rossii, a cura di. Istoricheskoe znanie i muzei: Materialy Vserossiĭskoĭ nauchno-prakticheskoĭ konferent︠s︡ii, sostoi︠a︡vsheĭsi︠a︡ v g. Bri︠a︡nske 7-11 senti︠a︡bri︠a︡ 2009 g. Moskva: Gosudarstvennyĭ t︠s︡entralʹnyĭ muzeĭ sovremennoĭ istorii Rossii, 2011.

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The poetic museum: Reviving historic collections. Munich: Prestel, 2002.

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George, Gerald. Visiting history: Arguments over museums and historic sites. Washington, DC: American Association of Museums, 1990.

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George, Gerald. Visiting history: Arguments over museums and historic sites. Washington, D.C: American Association of Museums, 1990.

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Historia de la documentación museológica: La gestión de la memoria artística. Gijón, Asturias: Ediciones Trea, 2002.

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George, Gerald. Visiting history. Washington, DC: American Association of Museums, 1990.

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Recht, Roland. Penser le patrimoine: Mise en scène et mise en ordre de l'art. Paris: Hazan, 1998.

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Museum memories: History, technology, art. Stanford, Calif: Stanford University Press, 1999.

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Capitoli di libri sul tema "Museums – Historiography"

Stone, Dan. "Memory, Memorials and Museums". In The Historiography of the Holocaust, 508–32. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230524507_24.

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Spalink, Angenette, e Scott Magelssen. "Performing Speciation: The Nature/Culture Divide at the Creation Museum". In Theatre/Performance Historiography, 17–40. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137397300_2.

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Peacocke, Emma. "Facing History: Galleries and Portraits in Waverley’s Historiography". In Romanticism and the Museum, 57–86. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137471444_3.

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Harlaftis, Gelina. "The Maritime Historiography of Greece in Recent Decades". In Maritime History at the Crossroads. Liverpool University Press, 1995. http://dx.doi.org/10.5949/liverpool/9780969588580.003.0006.

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This essay surveys the range of Greek maritime research studied over the last twenty years and explores the development of maritime history within the context of political, social and economic history in Greece. It also strives to examine the main vehicles of historical research, research institutes, historical journals and museums, and determines the main problems encountered by researchers.

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Bruijn, Jaap R. "Recent Developments In the Historiography of Maritime History in the Netherlands". In Maritime History at the Crossroads. Liverpool University Press, 1995. http://dx.doi.org/10.5949/liverpool/9780969588580.003.0009.

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This chapter examines existing research on Maritime History in the Netherlands. The essay looks at the sources of history and research in Dutch Maritime and pays close attention to the research of the navy, museums, universities and the world of amateur historians, and addresses the development across maritime research since the 1970s.

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Wawruschka, Celine. "Stadtmuseen als kulturelle Praxis. Zur Geschichte eines bürgerlichen Phänomens". In Niederösterreich im 19. Jahrhundert, Band 2: Gesellschaft und Gemeinschaft. Eine Regionalgeschichte der Moderne, 575–660. NÖ Institut für Landeskunde, 2021. http://dx.doi.org/10.52035/noil.2021.19jh02.22.

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Municipal Museums as Cultural Practice. On the History of a Bourgeois Phenomenon. Research on the history of bourgeois collections in Lower Austria in the long 19th century turns its attention to a regional culture of science and historiography that formed part of the cultural practices that united the increasingly heterogeneous middle classes. Until the mid-19th century, the oldest bourgeois collections were still guided by the ideals of the Enlightenment and hence they closely resembled the contemporary aristocratic and monastic collections. In the second half of the 19th century, the municipal museums focussed on exhibiting local history. Thus municipal museums created, stabilised and represented the identity of the provincial middle classes (Bürgertum) and reflected their emancipatory ambitions. Nevertheless, the elites of the society of orders, the nobility and the clergy, still exerted considerable influence, particularly via the learned societies at the time.

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Whitehead, Christopher. "Historiography, Connoisseurship and Museum Space". In The Public Art Museum in Nineteenth Century Britain, 3–37. Routledge, 2017. http://dx.doi.org/10.4324/9781315237565-ch-1.

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"CHAPTER 7. Film Museum Exhibition Spaces". In Film Museum Practice and Film Historiography, 131–50. Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048526741-009.

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"ACKNOWLEDGEMENTS". In Film Museum Practice and Film Historiography, 9–10. Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048526741-001.

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"Introduction". In Film Museum Practice and Film Historiography, 11–28. Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048526741-002.

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Atti di convegni sul tema "Museums – Historiography"

Chin, Irene. "Le Corbusier’s Musée à croissance illimitée: A Limitless Diagram for Museology". In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.584.

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Abstract: “Let us imagine a true museum, one that contained everything, one that could present a complete picture after the passage of time, after the destruction by time…” This paper considers La Musée à croissance illimitée, an unrealized proposal from 1939 by Le Corbusier in which a series of galleries elevated on pilotis and organized about a square courtyard would extend – infinitely. The paper unfolds as an analysis of the museum and its relationship to history and time, structured by the form of Le Corbusier’s proposal. Four themes establish the parameters of the investigation – spatial organization, notions of monumentality, relationship to site, and ideas of growth – and Le Corbusier's resistant approach is considered as a method of criticality. Order-less, face-less, place-less, end-less. To categorize the Museum of Unlimited Growth as such is not to suppose conditions without, conditions of lack, or absence; but rather is a means to consider the proposal as an absolute – a degree zero that subsumes and thus allows for conditions of possibility. The themes set up a dialectical reading of the project, as its negations are bound to the assertive, positivity of the idea of a limitless spiral. Perpetually unfolding and folding in on itself, the Musée resists the forces of time. It is the ur- museum, a concept that negates the historiography of museums before and proposes an impossible model for museums to come. Keywords: museum; limitless; growth; spiral. Palabras clave: museo; límites; crecimiento; espiral. DOI: http://dx.doi.org/10.4995/LC2015.2015.584

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TSYREMPILOVA, I. S. "HISTORIOGRAPHY OF THE HISTORY OF THE MUSEUM STUDIES IN BURYATIA". In Scientific conference, devoted to the 95th anniversary of the Republic of Buryatia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0521-6-2018-205-207.

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