Literatura científica selecionada sobre o tema "Museum phenomenon"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Consulte a lista de atuais artigos, livros, teses, anais de congressos e outras fontes científicas relevantes para o tema "Museum phenomenon".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Artigos de revistas sobre o assunto "Museum phenomenon"
1
Anisimova, Margarita Vyacheslavovna. "The Phenomenon of Leningrad Military Museum in the first decades of the Soviet era". Исторический журнал: научные исследования, n.º 5 (maio de 2023): 127–37. http://dx.doi.org/10.7256/2454-0609.2023.5.43662.
Texto completo da fonteResumo:
After 1917, historical everyday life museums became widespread, but there were also projects of military everyday life museums, which are the subject of this article. In 1919–1927 in Petrograd (Leningrad) there was the Military museums Section of the People's Commissariat of Education. Its activities were aimed at conservation the military museum property and developing projects for the creation of a unified military museum, which involved the creation of an everyday life department. However, the proposed ideas were not timely, and the Section was dissolved. But already in 1930, the Military-historical-everyday life museum was organized in the Military department, which existed for 7 years, and then became part of the Artillery Museum. For the first time, the composition and activities of the Leningrad Military museums section are considered, whose employees were officers of the Imperial Russian Army, founders of regimental museums, military historians, archivists, writers, collectors who tried to save the memory of the First World War and contribute to the preservation of pre-revolutionary military history. The continuation of the development of these ideas falls on the 1930s due to the new generation of the military, who realized the importance of museumification of the historical and cultural heritage, and the creation of the Military-historical-everyday life museum. Based on the analysis of some exhibits introduced into scientific circulation for the first time, conclusions can be drawn about the features of the collections. Based on archival sources, the article analyzes how the history of museum work reflects sociocultural changes in the country.
2
Herczyńska, Sara. "Paradoks Kasztanki. Fantazmatyczne eksponaty w domach-muzeach". Czas Kultury XL, n.º 2 (17 de junho de 2024): 189–200. http://dx.doi.org/10.61269/kmmy4710.
Texto completo da fonteResumo:
This article deals with exhibitions in house-museums. The author focuses on a phenomenon peculiar to such establishments: the ambiguous authenticity of the objects on display. The primary example is the hoof of Kasztanka exhibited in the manor house “Milusin” belonging to the complex of the Józef Piłsudski Museum in Sulejówek. Within the logic of the exhibition, the hoof is simultaneously both authentic and not. To explain this phenomenon, the author uses Tom Selwyn’s theory, especially his anthropological analysis of the category of authenticity. The second part of the article relates this issue to the controversy surrounding the striped uniform from the museum commemorating Maximilian Maria Kolbe. Key-words: phantasmal exhibits, house-museum, biographical museum, authenticity
3
Gerasimov, Grigoriy I. "Museum as an idealistic phenomenon". Issues of Museology 11, n.º 1 (2020): 119–32. http://dx.doi.org/10.21638/11701/spbu27.2020.112.
Texto completo da fonte
4
Klimaszeweski, Cheryl. "Towards a Typology of an Emergent Museum Form". Martor. The Museum of the Romanian Peasant Anthropology Review 23 (15 de novembro de 2018): 121–40. http://dx.doi.org/10.57225/martor.2018.23.07.
Texto completo da fonteResumo:
Personal museums created by enthusiastic individual makers are becoming more visible on the cultural landscape. Recent scholarship studying examples of this emergent institutional form in Colombia, Estonia, Finland, Romania and Spain refer to these museums using a variety of terms, including: amateur, author, do-it-yourself, family, grassroots, local, naïve, personal, unofficial, vernacular and wild. Having studied this phenomenon since 2011, one challenging problem for me as a researcher has been: what do we call this kind of museum? Adding to the list of descriptors emergent museums, I employ Greg Lakoff and Mark Johnson’s (2003) work on metaphor theory to present an analysis of how these terms reflect different aspects of this phenomenon. Understood as knowledge institutions, these experimental spaces fosters ways of knowing that contrast with more traditional museum epistemologies, foregrounding knowledge-from-within; knowledge-making; and the individual-as-locus-of-knowledge. I share my experience visiting Cleo’s Ferry Museum and Nature Trail, a self-made, self-described museum in Melba, Idaho as a comparative analysis that connects notable experiential moments (captured in photographs) I have had in Romanian emergent museums to notable moments at Cleo’s. Connecting patterns of experiences across these spaces using personal examples illustrates the different ways of knowing emergent museums foster. In conclusion, I consider emergent museums as a new model of museum-making that are not simply anomalies or novelties; they provide an example of what all museums could be.
5
Xue, Yuchen. "Research on Museum Brand Building under the New Media Environment". Highlights in Art and Design 2, n.º 3 (5 de maio de 2023): 101–4. http://dx.doi.org/10.54097/hiaad.v2i3.8094.
Texto completo da fonteResumo:
The fierce market competition makes the phenomenon of museum homogenization serious. In order to stand out, museums must put good brand building and appropriate marketing communication in an important position. This is of great significance to enhance the brand image of the museum and promote the development of the museum. The development of new media has further expanded the extension of the media environment and diversified the ways of brand building. Through the interaction and feedback of the new media platform, the experience and communication between the audience and the museum can be increased. The continuous development of cultural and creative products is an in-depth excavation of the cultural value of museums. Through the dissemination of new media, it can help to establish the unique image of the museum and further strengthen the brand relationship between the audience and the museum. Unlike traditional museums as cultural institutions that often leave a serious impression on the public, museums in the new media environment weaken the sense of cultural distance from the public and create a new image of the museum. Taking the exploration of the Palace Museum in recent years as an example, this paper introduces the attempt of the Palace Museum to actively use new media and other means to tap the characteristic cultural resources and cultural connotation, shape the influential museum brand, and develop a new museum model.
6
Mastenitsa, E. N., e L. M. Shlyahtina. "School museum in social and cultural spatium of megalopolis". Vestnik of Saint Petersburg State University of Culture, n.º 1 (30) (março de 2017): 107–11. http://dx.doi.org/10.30725/2619-0303-2020-3-107-111.
Texto completo da fonteResumo:
The article is devoted to phenomenon of the school museum representing the most widespread kind of the non-state museums. Its distinctive features as educational museum and division of structure of educational institution are noted, the serious transformations of the school museum caused by the globalization processes which are actively proceeding in social and cultural space of the megalopolis are accented. On the basis of the analysis of current trends of museum world development authors draw a conclusion about need of reconsideration as borders of school museum impact on younger generation, and professional enhancement of all types and directions it activities.
7
Rosso, Aluminé. "The cinefication of museums: from exhibitions to films. The case of Tate Modern". Digital Age in Semiotics & Communication 5 (30 de dezembro de 2022): 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.
Texto completo da fonteResumo:
Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events. This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system. In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate. This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system.
In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate.
This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
8
Loder-Neuhold, Rebecca. "The “Missions-ethnographische Museum” of St Gabriel as an Example for European Mission Museums". Anthropos 114, n.º 2 (2019): 515–30. http://dx.doi.org/10.5771/0257-9774-2019-2-515.
Texto completo da fonteResumo:
Using the example of the “Missions-ethnographische Museum” in St Gabriel (Mödling, today Maria Enzersdorf, near Vienna) as a case study, this article looks at the phenomenon of European mission museums and argues that the museum in St Gabriel was seen dominantly from a scholarly perspective. This was itself a part of the scholarly orientation of the SVD (Societas Verbi Divini) congregation (Frs. Schmidt, Koppers, Schebesta, etc.). The article thus places its main focus on the network that included the mission museum, the Museum of Ethnology Vienna, and the University of Vienna.
9
Estudiantin, Nusi Lisabilla. "Transformation in the National Museum of Indonesia: Never-ending decolonisation". Decolonizing academic disciplines and collections 52-1 (2024): 114–23. http://dx.doi.org/10.4000/11zlx.
Texto completo da fonteResumo:
Colonial practices in Indonesia that lasted for hundreds of years greatly influenced various aspects of life in a nation. In the postcolonial era, the phenomenon of decolonisation developed in the former colonial countries. One of the decolonising issues that has been on the rise lately is decolonising in museums, including in Indonesia. The National Museum of Indonesia is the largest and most comprehensive museum in Indonesia. After independence, the National Museum did not change its appearance and narrative. Colonial thoughts and perspectives are very strong in this museum. The decolonising of museums in Indonesia is often associated with national identity and pride as an Indonesian nation which leads to the strengthening of national character. Decolonising a museum by changing its face requires a long process and is not an easy thing to do in practice. Gradually, efforts to decolonise the National Museum of Indonesia began in 2004 and have continued to this day.
10
Melnikova, Ekaterina A. "From “vernacular museums” to the “do-it-yourself past”". Etnograficheskoe obozrenie, n.º 1 (17 de fevereiro de 2024): 60–76. http://dx.doi.org/10.31857/s0869541524010033.
Texto completo da fonteResumo:
This article examines the idea of “vernacular museums” as it was put forth by Irina Kyzlasova and Elena Chesnokova in an earlier issue of the journal. In response to the authors’ idea, I aim to further develop the line of argumentation, proposing to broaden the scope of analysis for this phenomenon. The article explores the issues surrounding the application of the term “vernacular museum.” These obstacles include the presence of previous iterations of such museums, the inherent contradictions within the categorization of museums’ diversity, and the challenges associated with conceptualizing vernaculars as a significant Other of the officially recognized museum models. The article presents a novel approach to examining modern museum activities, suggesting that they could be placed alongside broader grassroots commemoration activities and memorial activism.
Teses / dissertações sobre o assunto "Museum phenomenon"
1
Guiragossian, Olivia. "Représenter le phénomène muséal et son évolution. Approche statistique et compréhensive de la notion de musée". Electronic Thesis or Diss., Paris 3, 2024. http://www.theses.fr/2024PA030024.
Texto completo da fonteResumo:
Combien de musées existe-t-il dans le monde ? S’appuyant sur une approche chiffrée du monde muséal, cette question soulève de nombreuses problématiques sur ce que les musées représentent, sur la manière dont ils se développent, ainsi que sur les savoirs et les compréhensions que nous en avons. Les musées ne bénéficient cependant pas d’une approche quantitative satisfaisante et aucune recherche à ce jour n’aborde les enjeux de la construction et de la signification de ces chiffres pour une représentation du phénomène muséal. Ce travail se développe comme l’ouverture successive de plusieurs boites noires, explorant tour à tour les enjeux de la définition du musée, des méthodes de recensement et d’observation, et des moyens d’expression de sa diversité. Il s’appuie notamment sur un travail de terrain consacré aux stratégies du recensement autour des musées en France, interrogeant la possibilité de paysages et de périmètres muséaux différenciés et soulevant une tension constitutive entre reconnaissance et invisibilisation. Cette réflexion est rapportée aux enjeux de la statistique européenne dans la formation d’une Europe des musées, à partir de l’analyse de ses acteurs et de leurs productions. Enfin, les débats menés par l’ICOM autour de la définition proposée en 2019 à la Conférence de Kyoto mettent en exergue la fabrique d’un consensus international, confronté aux visions particulières des musées dans le monde. Je souhaite ainsi mettre au jour la dynamique des structures des systèmes d’information dédiés au musée, objectiver des visions différentes du musée à travers le monde, et initier de nouvelles méthodes pouvant contribuer au développement de la muséologieHow many museums are there in the world? Based on a numerical approach to the museum world, this question raises a number of issues about what museums represent, how they develop, and the knowledge and understanding we have of them. However, museums do not benefit from a satisfactory quantitative approach, and no research to date has addressed the issues involved in the construction and significance of these figures for a representation of the museum phenomenon.This work develops as the successive opening of several black boxes, exploring in turn the issues of the definition of the museum, the methods of census and observation, and the means of expressing its diversity. It is based in particular on fieldwork devoted to census strategies around museums in France, questioning the possibility of differentiated museum landscapes and perimeters and raising a constitutive tension between recognition and invisibilisation. This reflection is related to the challenges of European statistics in the formation of a Europe of museums, based on the analysis of its actors and their productions. Finally, the debates led by ICOM around the definition proposed in 2019 at the Kyoto Conference highlight the creation of an international consensus, confronted with specific visions of museums around the world. In this way, I hope to bring to light the dynamics of the structures of information systems dedicated to the museum, to objectify the different visions of the museum throughout the world, and to initiate new methods that can contribute to the development of museology
2
Ehrmantraut, Adam. "Phenomenon of adolescent prayer| Christian, Jewish, and Muslim perspectives". Thesis, Saint Mary's University of Minnesota, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3711542.
Texto completo da fonteResumo:
This study explored one aspect of religious life, prayer, at a dynamic time in human development, adolescence. This phenomenology examined the experience of adolescent prayer among those who subscribed to Islam, Christianity, and Judaism. Eighteen high school seniors from two Minnesota high schools, six from each religious group, completed a 7-day journal identifying and explaining their prayer experiences. After, each adolescent participated in a conversational interview with the researcher further exploring their individual prayer experiences. Journal and interview data were analyzed according transcendental phenomenology methods to create a synthesis of the adolescent prayer experience. Five themes of adolescent prayer were identified in the differing categories of human experience: (a) fitting prayer into adolescent life, (b) prayer's connection with the divine, (c) building identity through prayer, (d) emotional transitions from prayer, and (e) prayer as a coping method. In the end, a cyclical model of the adolescent prayer experience was created describing how prayer leads to the solidification of identity, emotional change, and a readiness to cope during everyday life.
3
Hardy, Alexandra Joy. "The "new phenomenon" an examination of American media portrayal of Muslim female suicide bombers /". Connect to Electronic Thesis (CONTENTdm), 2010. http://worldcat.org/oclc/642701035/viewonline.
Texto completo da fonte
4
Cozien, Christine. "Code-Switching among Bilingual Speakers of Cape Muslim Afrikaans and South African English in the Bo-Kaap, Cape Town". Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/32559.
Texto completo da fonteResumo:
The Bo-Kaap is traditionally a Cape Muslim Afrikaans-speaking community, and sociohistorically it is particularly relevant to the development of Afrikaans at the Cape (Davids 2011, Mahida 1993). The Cape Muslim Afrikaans spoken in the Bo-Kaap is a sub-variety of Standard Afrikaans (Kotzé 1989, Davids 2011) and is distinguishable by its retained lexis (Mesthrie and Bhatt 2008) from languages historically spoken by slaves at the Cape, such as Malay, Arabic, Gujarati, and Konkani. Over time a number of socio-cultural, geographic, and historical factors have introduced the use of South African English alongside Cape Muslim Afrikaans in this speech community. The goal of this study was to provide insight into the nature of bilingual talk in the Bo-Kaap community, and to make a useful contribution to the growing body of codeswitching1 (hereafter CS) research generally. Based on natural language data collected during group interviews with members of the community, the study explored the language contact situation in the Bo-Kaap today, taking the viewpoint that what is occurring presently may be considered CS Three aspects of the CS documented were analysed and quantified. Specifically, the study investigated language interaction phenomena (Myers-Scotton 1995, Deuchar et al 2007) triggers (Clyne 1987) and directionality (Muysken 1997, Deuchar et al 2017, Çetinoglu 2017). A quantitative approach was taken to the data analysis. The interview audio files were downloaded and transcribed in ELAN. (Max Planck Institute). The annotations2 produced in ELAN were organised in a spreadsheet for analysis, resulting in a data set comprised of 356 annotations. The full data set was divided into subsets and tagged for language interaction phenomena, triggers, and directionality. These data sets were then sorted and quantified to identify trends in these three areas of interest. The study found Intra-sentential switches to be the most common type of language interaction phenomenon in the CS of this speech community, being present in 79% of the sampled annotations. Results from other CS studies echo this finding in other speech communities (Al Heeti et al 2016, Koban 2012, Falk 2013). The most common trigger for Intra-word switching in this corpus was in the head of the past tense Verb Phrase. Out of 27 occurrences of Intra-word switching, 16 were of this nature. In all of those an English verb head was housed within an Afrikaans past tense structure. No exceptions were observed in the data set, a strong indicator of the relationship status of the two languages involved. Cape Muslim Afrikaans almost certainly playing the role of the Matrix language, with South African English embedded. In terms of directionality, switching from Cape Muslim Afrikaans into South African English was by far the most common, at 85%. This further supports what the findings on triggers suggest about the hierarchy between these two languages.
5
DeLosso, Lisa Christine. "A phenomenon of thought : liminal theory in the museum". Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1298.
Texto completo da fonteResumo:
This thesis was planned as a cross-case study of three docent-led museum tours, examined through the lens of liminality. The liminal, as identified by anthropologist Victor Turner, is an ambiguous and transitional state that is “betwixt and between” normative structures. When applied to the art museum, I argue that the liminal is a zone of negotiation that can assist in transformation and personal meaning making through a phenomenon of thought.
This study centers on the following questions: How can liminal theory, as applied to museum education, illuminate the relationships between gallery teachers, visitors, and objects? And, in what ways does liminality allow for visitors’ personal meaning making to occur?
These questions were answered through the planned observation of three docent-led museum tours at the Jack S. Blanton Museum of Art at The University of Texas at Austin. Video and audio recordings, as well as observational field notes, occurred in one museum gallery and focused on one artwork, Cildo Meireles’ Missão/Missões (How to Build Cathedrals). Data was collected from narrative transcripts of the aforementioned video and audio recordings, exit interviews with docents, observational field notes taken during each tour, and observations and notes made while analyzing the video and audio footage. Two of these three tours fit within the parameters set by the researcher and, therefore, one tour was eliminated from the research findings.
Content analysis is utilized in this study. This type of data analysis placed information into three categories modeled after Arnold van Gennep’s rites de passage: separation, the liminal, and aggregation. Four subcategories were subsequently discovered during this analysis: observation, connection, realization, and transformation. Conclusions determined after the analysis of this data revealed fluidity between these stages. Additionally, liminal theory illuminated the relationships between visitors, objects, and museum educators in a way that stressed that the negotiation of the artwork, meaning making, and the process of transformation are part of a collaborative journey, and that the spaces “betwixt and between” are valuable for the advancement of museum education.text
6
Wu, Dai-Rong, e 吳岱融. "The Phenomenon of Independent Curators in Taiwanese Arts Museums". Thesis, 2001. http://ndltd.ncl.edu.tw/handle/44277685060543514142.
Texto completo da fonteResumo:
碩士臺南藝術學院
博物館學研究所
89
Museums are indexes of a culture level of a state; among them, the arts museums are notable for exhibiting their research achievements to the public. Above all, the very critical people who put the exhibitions into practice are defined as curators in this article. The outsets of Taiwanese Arts Museums just began in no more than two decades, and the motif of their foundation was deeply related with the state political policies. In the past, the exhibitions held by the public arts museums were the representation of the state’s propaganda; the seriousness, creativeness, and the knowledge behind the exhibitions had been ignored over a long period of time. Thus, while the power of curating exhibitions is transferred to the independent curators outsides the arts museums, the legitimacy of it is still a questionable issue and being discussed among the Museology Field in Taiwan. In 1990s, a phenomenon of independent curators has appeared in Taiwanese Arts Museums. There is no exaggeration of naming this situation as a phenomenon, for the press enormously advocate and focus on it, and thus makes the independent curators the novel art nobles in the world of Taiwanese Arts. These independent curators do mitigate the awkward situation of the limitation of in-house curators; however, their intervention symbolizes that the culture hegemony shaped by the arts museum has been collapsed. According to my observation to the museum improving process, the appearance of independent curators is inevitable; however, their existence has significant influence on Taiwanese Arts Museums. Hence, I bring up four types of independent curators, “Dragonfly type”, ”Ant type”, “Turtledove type”, and “Butterfly type”, to describe the interaction between independent curators and arts museums in Taiwan. We are now at the interchange of centuries, and we do have some pioneers in Taiwanese Arts Museums, such as the first college museum of arts, the first BOT museum of arts and so on. What we can foresee is that Taiwanese Arts Museums are trying to find out their own way to the museum world. Thus, how to deal with independent curators and well digest them into their own mechanism should be the next issue to consider in the near future.
7
Chen, Bi-Syuan, e 陳苾瑄. "An Analysis of the Chinese Tourists Phenomena in the National Palace Museum". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/41612394888533834082.
Texto completo da fonteResumo:
碩士國立臺灣師範大學
社會教育學系
102
At the year of 2008, Taiwan open the gate for Chinese tourists. Afterwards, the amount of PRC travelers increased rapid, especially the number of the tourists in National Palace Museum (NPM), as NPM is widely regarded as one of the must-see spots. Facing the huge amount of Chinese tourists, NPM also encountered great impacts and many disputes, which shows the insufficiency of space at the present stage. Therefore, in order to redefine the role in the world stage, NPM started to introspect itself for tourism by resetting the tourist strategies. This study hopes to explore not only the tourist gaze of those Chinese tourists in Taiwan, but also the phenomena caused by Chinese tourists in NPM. With deep interviews and document analysis, we hope to understand not only the tourist gaze of those Chinese tourists who come to visit Taiwan, but also the responses from the NPM administration for those phenomena at present stage. For those Chinese tourists, they have been holding a lot of illusions for Taiwan when expecting and planning their visits here. They become modern pilgrims, with the mood of pilgrimage to come to Taiwan. NPM becomes one stop in this pilgrimage. At the same time, they try to gather different symbols during the trip and make it objectify. Facing the huge amount of Chinese tourists, NPM also encounters a great impact and many disputes. It engages in introspection by positioning the character in the world, resetting the tourism strategies and working out the counter-measures such as extending the opening hours and controlling the amount of people. In the future, NPM also wishes to become an international museum by regarding tourist reflectivity as self-improvement criteria.
8
Huang, Yu-Ting, e 黃鈺婷. "Phenomenal Perception as a Design Strategy in Steven Holl's Museum Architecture". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/69997437467682923399.
Texto completo da fonteResumo:
碩士國立臺灣科技大學
建築系
104
The objective of phenomenology is to investigate the direct description of phenomena as consciously experienced. Influenced by the ‘body-subject’ proposed by Maurice Merleau-Ponty(1908-1961), the American architect Steven Holl further developed his own theory and based his practice on ‘phenomenal zones’ corresponding to different perceptual phenomena explored in his writings. His works skillfully combined light, color, etc. and created space full of perceptual and sensual experience. This research attempts to summarize Holl’s ideas on phenomena from his publications and writings, and focuses on the perceptual aspects of Holl’s design in his museum architecture. It investigates how his phenomenological design methods inform design concepts, and how the museum space can be experienced by users through multiple perceptions, creating unique space and bodily perceptions. The generic phenomenal zones, which are categorized in this research into external and internal forms as well as into direct and indirect factors, are investigated in each case study to understand Holl’s ideas and the relationship between different perceptions. The results of the analysis are as follows: (1) Among Holl’s generic phenomenal zones, five external perceptions relate to each other, and they respond subjectively and objectively to two perceptual items: ‘site circumstance and idea’ and ‘time duration and perception.’ (2) Static and dynamic bodily perception is caused by ‘form’, ‘light and shadow’, ‘material’ and ‘detail’ simultaneously; ‘color’ is seldom used in the exhibition room. ‘Enmeshed experience’ combines each external perception, and is created by means of the unique formal design of ‘areas’ and ‘paths’ of the exterior space and the lobby, as well as the emphasis of the ‘material’, ‘detail’, and ‘light and shadow’ of ‘edges’ and ‘areas’ between, and of exterior and interior parts. The fusion of the visual and the haptic realm is the main purpose. (3) Concepts are mainly fulfilled by the external and internal Form. In addition to responding to these concepts, Holl also responds to the exclusive ‘site circumstance and idea’ through ‘material’, ‘light and shadow’, and ‘form’, creating the indirect perception and both the direct and indirect ‘time duration and perception.’
9
Li, Feng-yi, e 李鳳儀. "A Research on the Phenomena and Theories of the Art Museum Visitors'' Abnormal Behaviorism". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/82957289247900711424.
Texto completo da fonteResumo:
碩士南華大學
美學與藝術管理研究所
93
The thesis contains five chapters. Chapter 1 (The Introduction) states the research motive, purpose, method, structure, scope, limits, literature review, and term explanation, and so on, of the thesis. Chapter 2 (The Theory on the Museum Visitors'' Abnormal Behavior) states that a visit to the museum is a trend and then discusses if the museum visitors'' abnormal behavior, including hallucination, fantasy, self-infliction, and even self-murder, violates the law, and how the museum staff should take emergency measures towards this kind of behavior. It further analyzes the psychological factors of the aggressive and unaggressive abnormal behavior, using the National Taiwan Museum of Fine Arts as an example. Chapter 3 (A Study of the Theory on the Showing of the Visitors'' Abnormal Behavior in the Museum) discusses the relationship between family concern and the showing of the abnormal behavior, and it also looks into the theoretical foundations of the abnormal behavior from the aspects of social psychology, educational psychology, normal and abnormal psychological states. Finally it sets the handling mode for the abnormal behavior from the viewpoint of psychiatry. Chapter 4 (The Prevention, Cure, and facilitation of the Museum Visitors'' Abnormal Behavior) states that after research, we should start preventing and curing the visitors with abnormal behavior by the guidance of family and educational system, supported by art therapy such as music and artistic creation. The social concern can also be shown through the help of the community and the administration of the sanitation system. Chapter 5 (Conclusion and Suggestion) shows the research reveals that with the rapid development of society, more and more people with mental illness live together with people with mental health in our society, but we have no idea when the abnormal behavior will show up. So, it concludes: first, much abnormal behavior does exist in the broad courtyard of the museum; second, the museum visitors'' abnormal behavior comes about as a result of the change of the structure of our society and the mind of the public being in conflict, contradiction, and discordance; third, to ensure the safety of the people, the matters, and the objects, the museum should set up a reasonable mode to handle the museum visitors'' abnormal behavior. Lastly, the thesis offers suggestions and issues derived from this thesis for further research.
10
Wreford, Liz. "Field works: explorations in the tall grass prairie landscape". 2007. http://hdl.handle.net/1993/324.
Texto completo da fonteResumo:
‘FIELD WORKS’ explores landscape experiences that were once common to the tall grass prairie region of Manitoba. The route through this project winds in and out of urban surfaces to reveal memories embedded in the land. It documents forgotten and dormant prairie events so that they might be woven back into the fabric of the city.
The purpose of this project is to transfer explored and speculative experience into a physical route through the urban prairie landscape. It is an effort to expose the layers clinging to physical memories rooted in the prairie.May 2007
Livros sobre o assunto "Museum phenomenon"
1
Mare, Joonsalu, Talvistu Tiiu, Jürma Halliki, Haugas Siiri, Talvistu Enriko e Tartu Kunstimuuseum, eds. Elmar Kitse fenomen, 1913-1972: Näitus Tartu Kunstimuuseumis, 2. märts-20. mai 1994 : kataloog, Tartu Kunstimuuseum, Eesti = Phenomenon of Elmar Kits, 1913-1972 : exhibition in the Tartu Art Museum, March 2nd-May 20th, 1994 : catalogue, Tartu Art Museum, Estonia. Tartu: Kunstimuuseum, 1994.
Encontre o texto completo da fonte
2
Marion Koogler McNay Art Museum., ed. Collecting: A Texas phenomenon. San Antonio, Tex: Marion Koogler McNay Art Museum, 1986.
Encontre o texto completo da fonte
3
Kits, Elmar. Elmar Kitse fenomen, 1913-1972: Näitus Tartu Kunstimuuseumis, 2. märts-20. mai 1994 : kataloog = Phenomenon of Elmar Kits, 1913-1972 : exhibition in the Tartu Art Museum, March 2nd-May 20th, 1994 : catalogue. Tartu: Tartu Kunstimuuseum, 1994.
Encontre o texto completo da fonte
4
Traviglia, Arianna, Lucio Milano, Cristina Tonghini e Riccardo Giovanelli. Stolen Heritage Multidisciplinary Perspectives on Illicit Trafficking of Cultural Heritage in the EU and the MENA Region. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-517-9.
Texto completo da fonteResumo:
It is a well-known fact that organized crime has developed into an international network that, spanning from the simple ‘grave diggers’ up to powerful and wealthy white-collar professionals, makes use of money laundering, fraud and forgery. This criminal chain, ultimately, damages and dissipates our cultural identity and, in some cases, even fosters terrorism or civil unrest through the illicit trafficking of cultural property.The forms of ‘possession’ of Cultural Heritage are often blurred; depending on the national legislation of reference, the ownership and trade of historical and artistic assets of value may be legitimate or not. Criminals have always exploited these ambiguities and managed to place on the Art and Antiquities market items resulting from destruction or looting of museums, monuments and archaeological areas. Thus, over the years, even the most renowned museum institutions have - more or less consciously - hosted in their showcases cultural objects of illicit origin. Looting, thefts, illicit trade, and clandestine exports are phenomena that affect especially those countries rich in historical and artistic assets. That includes Italy, which has seen its cultural heritage plundered over the centuries ending up in public and private collections worldwide.This edited volume features ten papers authored by international experts and professionals actively involved in Cultural Heritage protection. Drawing from the experience of the Conference Stolen Heritage (Venice, December 2019), held in the framework of the NETCHER project, the book focuses on illicit trafficking in Cultural Property under a multidisciplinary perspective.The articles look at this serious issue and at connected crimes delving into a variety of fields. The essays especially expand on European legislation regulating import, export, trade and restitution of cultural objects; conflict antiquities and cultural heritage at risk in the Near and Middle East; looting activities and illicit excavations in Italy; the use of technologies to counter looting practices.The volume closes with two papers specifically dedicated to the thorny ethical issues arising from the publication of unprovenanced archaeological objects, and the relevance of accurate communication and openness about such topics.
5
Wacker, Christian, ed. Sport im Museum. Ergon – ein Verlag in der Nomos Verlagsgesellschaft, 2022. http://dx.doi.org/10.5771/9783956508448.
Texto completo da fonteResumo:
Sport is omnipresent in museums. There are around 1,500 sports museums worldwide—from the lovable bicycle museum in the Palatine to the FIFA World Football Museum. Sport gets collected, sports objects are researched, sport is exhibited, and sport can be experienced and learned about in museums. In this anthology, international authors deal with 'Sport in Museums' and reflect on the fast-moving phenomenon of sport in the context of museum work, which offers opportunities for future-oriented museum work. The editor has been working in the context of sports museums for almost 30 years and compiled this volume to describe and research sport in museums and to raise awareness of it as an important component of popular culture. With contributions by Jason Beck, Prof. Dr. Louise Bielzer, Martin Ehlers, Dr. Matthias Henkel, Pekka Honkanen, Yousef Khacho, Volker Kluge, Geoffrey Z. Kohe, Prof. Dr. Michael Krüger, Barbara Kummler, Ulrich Schulze Forsthövel, Jed Smith, Prof. Dr. Junko Tahara (und Kyoko Raita), Jurryt van de Vooren, Prof. Dr. Axel Vogelsang, Kalle Voolaid, Dr. Christian Wacker, Prof. Dr. Ronald Wadsack and Helen Walpole.
6
Open 16: The Art Biennial as a Global Phenomenon. NAi Uitgevers / Publishers Stichting, 2009.
Encontre o texto completo da fonte
7
Watson, Nicola J. The Author's Effects. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198847571.001.0001.
Texto completo da fonteResumo:
The Author’s Effects: On Writer’s House Museums is the first book to describe how the writer’s house museum came into being as a widespread cultural phenomenon across Britain, Europe, and North America. Exploring the ways that authorship has been mythologized and materialized through the conventions of the writer’s house museum, The Author’s Effects anatomizes the how and why of the emergence, establishment, and endurance of popular notions of authorship in relation to creativity. It traces how and why the writer’s bodily remains, possessions, and spaces came to be treasured in the late eighteenth and nineteenth centuries, as a prelude to the appearance of formal writer’s house museums. It ransacks more than 100 museums and archives to tell the stories of celebrated and paradigmatic relics—Burns’ skull, Keats’ hair, Petrarch’s cat, Poe’s raven, Brontë’s bonnet, Dickinson’s dress, Shakespeare’s chair, Austen’s desk, Woolf’s spectacles, Hawthorne’s window, Freud’s mirror, Johnson’s coffee-pot, and Bulgakov’s stove, amongst many others. It investigates houses within which nineteenth-century writers mythologized themselves and their work—Thoreau’s cabin and Dumas’ tower, Scott’s Abbotsford and Irving’s Sunnyside. And it tracks literary tourists of the past to such long-celebrated literary homes as Petrarch’s Arquà, Rousseau’s Île St Pierre, and Shakespeare’s Stratford to find out what they thought and felt and did there, discovering deep continuities with the redevelopment of Shakespeare’s New Place for 2016
8
Irland, Basia. Inscriptions: Stars, tides, and ice : [exhibition] University of New Mexico Art Museum, Albuquerque, New Mexico, February 6-March 25, 2001 (Water library ... into the phenomenon of water / Basia Irland). The Museum, 2001.
Encontre o texto completo da fonte
9
Ystehede, Per Jørgen. Contested Spaces. Editado por Paul Knepper e Anja Johansen. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199352333.013.17.
Texto completo da fonteResumo:
This article provides an outline of the history of crime museums, monuments, and crime memorials and suggests how these can be understood as historical, social, and cultural phenomena. First, some common characteristics of crime museums, monuments, and memorials are set out. Second, a short historical outline of the rise of the (crime) museum from the Renaissance period until the twenty-first century is provided, followed by a consideration of crime museums, crime monuments, and memorials as separate categories and objects of study. A selection of examples of crime museums, monuments, and memorials is presented with the aim of showing some particular perspectives on and approaches to the study of crime museums, monuments, and memorials, and their relevance to criminological research.
10
Skovgaard-Petersen, Jakob, e Bettina Graf. Global Mufti: The Phenomenon of Yusuf Al-Qaradawi. C. Hurst and Company (Publishers) Limited, 2008.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Museum phenomenon"
1
Simpson, Pat. "Lysenko’s “Michurinism” and Art at the Moscow Darwin Museum 1935–1964". In The Lysenko Controversy as a Global Phenomenon, Volume 1, 129–75. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-39176-2_5.
Texto completo da fonte
2
O’Sullivan, Emer. "Chapter 10. Make it Irish!" In Children’s Literature, Culture, and Cognition, 226–49. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.15.10osu.
Texto completo da fonteResumo:
Before the British Copyright Act of 1710 was extended to Ireland in 1801, its book market was dominated by British works, reprinted by Irish booksellers. Rather than being mere copies of the original, many of these were hibernicized, or made Irish. This chapter addresses the transnational phenomenon of culturally translated books issued in Ireland in the eighteenth century. It focusses on the Dublin bookseller James Hoey Junior, especially on his hibernicized version of John Newbery’s 1750 encyclopedia for children, A Museum for Young Gentlemen and Ladies, and reviews the sociopolitical context in which it was created. The chapter probes the blend of commercial and patriotic interests behind Hoey’s hibernicization, and aims to ascertain the degree to which his own cultural and religious affiliations are evident in his version for young Irish readers.
3
Divjak, Helen, e Christina Ferwerda. "Why So Serious? Harnessing the Phenomenon of Fun in Museums". In Flourishing in Museums, 215–22. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003281351-36.
Texto completo da fonte
4
Desmond, Adrian. "26. Provisions for the Afterlife". In Reign of the Beast, 503–30. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0393.26.
Texto completo da fonteResumo:
Intimations of mortality—Saull turned 70 in 1853 and had already been dangerously ill—should have made the search for a posthumous home for the museum paramount. Holyoake was reminding him of the late John Barber Beaumont and Charles Jenkins, whose bequests had not resulted in institutions, as they had intended. Saull still spent his days at the Mechanics’ Hall of Science, and we have first-hand accounts of life here, and its hosting of Chartists from Bonner’s Fields after their skirmishes with the police. Nor had co-operation lost its attraction: Saull could be found at the Co-Operative League; or involved in Aldersgate ward politics, or City politics, in the National Reform Society, and at the Archaeological Association’s congresses. The distractions were endless. Meanwhile the museum continued expanding, with models now being used in his account of life’s rise and socialist promise. (He even tried one last time, in an Essay on the Connexion Between Astronomical and Geological Phenomena in 1853, to convince the Geological Society grandees of his orbital explanations of stratal periodicity.) The museum was still being extolled for its worker-free access, and contrasted with the Great Exhibition’s capitalist appropriation of dinosaurs. Foreigners were turning up: Edward Hitchcock from America, Boucher de Perthes from France. Yet the 20,000 exhibits stood in peril of being lost. After his death they would need a permanent home in a proper working-man’s institution, and a sympathetic custodian. At Thomas Cooper’s suggestion, the John Street activists started drawing up plans for such a home, the Metropolitan Institution.
5
Yakubovych, Mykhaylo. "4. The King Fahd Complex for the Printing of the Qur’an". In The Kingdom and the Qur’an, 89–146. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0381.04.
Texto completo da fonteResumo:
Chapter Four, ‘The King Fahd Complex for the Printing of the Qur’an: A Turning Point in the History of Qur’an Translations’, discusses a unique phenomenon in twentieth-century Muslim intellectual life: the creation of a special institution (in 1984) for the production, revision, and publication of translations. While a significant proportion of the translations published by the KFGQPC are merely revised editions of earlier works, the organisation has also produced more than fifty newly-prepared translations, some of which have become extremely influential in various parts of the Muslim world. Remaining a leading international actor in the field, the KFGQPC has become the gold standard for many Salafi readers of the translations, as well as a broad range of Sunni audiences, with its own set of regulations and requirements for its translations, in terms of both their content and formal features.
6
Bean, Jessica R. "Instructional Strategies for Climate Education in the Classroom: Storytelling about Our Place in the Earth System". In Storytelling to Accelerate Climate Solutions, 399–420. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54790-4_19.
Texto completo da fonteResumo:
AbstractIt is essential that we prepare tomorrow’s scientists, engineers, and communities to respond to the ongoing climate and environmental crises to plan for a sustainable future. Successfully addressing these needs requires contextualizing learning and using student-centered teaching practices that help learners construct an understanding of the world around them. For this reason, local phenomena can successfully anchor instructional storylines—coherent sequences of lessons that connect to students’ lives and engage them in synthesizing various scientific concepts to explain how the world works and why it changes through time. Students should reflect on how they are a part of the Earth system, and how individual and collective actions can address climate and environmental problems. These shifts in teaching practices are supported by tools developed by the Understanding Global Change (UGC) Project at the University of California Museum of Paleontology to investigate the causes, consequences, and solutions to the climate crisis.
7
Shaw, Ian. "10. Cultural heritage". In Ancient Egypt: A Very Short Introduction, 141–52. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780198845461.003.0010.
Texto completo da fonteResumo:
‘Cultural heritage’ discusses the impact of the events of the Arab Spring in 2011 on pharaonic cultural heritage. The first real indication of any threat to Egyptian heritage arrived on 28 January 2011, when protesters set fire to the headquarters of the ruling National Democratic Party in downtown Cairo, which was immediately next door to the Egyptian Museum. In addition to theft from museums or archaeological sites, there was also the phenomenon of ‘land-grabbing’ either for agriculture or building projects. There have been some very innovative approaches to cultural heritage management in Egypt, including the establishment of Egypt's new museums, such as regional museums and the Grand Egyptian Museum.
8
Nolin, Heather R., e Amy C. Whitaker. "Non-Fungible Tokens and Nonprofit Management". In The Oxford Handbook of Arts and Cultural Management, C59P1—C59N25. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197621615.013.59.
Texto completo da fonteResumo:
Abstract While most influential in art markets, the non-fungible token (NFT) phenomenon also has serious ramifications for museums and other cultural institutions. This chapter explores these applications to core nonprofit missions and activities, including audience development, fundraising, earned-income generation, acquisitions, and institutions’ relationships with their communities. Any initiative involving NFTs at a museum is also an exercise in strategic planning. We develop a novel conceptual framework around mapping institutions’ financial and philosophical priorities to guide strategic planning around NFTs. We present this framework through five case studies that range from existing museum projects around revenue generation, conservation, and endowment to two hypothetical scenarios around deaccessioning, restitution, and institutions’ relationships with their audiences. Cultural institutions apart from museums may also find the framework valuable and worth incorporating into their strategic planning processes, as it can be tailored to an organization’s individual priorities, artistic missions, and financial needs.
9
Nørskov, Vinnie. "Introduction: When is a Collection a Collection? Provenance Studies and the Role of Dealer’s Collections". In Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century: Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History, 9–28. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.00.
Texto completo da fonteResumo:
The paper discusses a phenomenon in the history of collecting antiquities that is rarely recognised. Many antiquities acquired and presented in museums as ‘collections’ were, in fact, assembled by dealers. Thus the compilation of objects was guided by a commercial incentive, sometimes to meet specific gaps in museum collections or, at other times, to empty the dealers’ stocks. The practice had its historical roots in the role of dealers as agents, but became more widespread during the nineteenth century and was particularly effective in the twentieth, as collection histories acquired additional economic, social and ethical value. This paper critically analyses the inclusion of such ‘collections’ in museum collection histories, using provenance studies as a key methodology and focusing on developments in the nineteenth century.
10
Massi, Marta, Chiara Piancatelli e Piergiacomo Mion. "Boosting Football Club Brands Through Museums". In Advances in Marketing, Customer Relationship Management, and E-Services, 110–28. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7617-4.ch006.
Texto completo da fonteResumo:
This chapter focuses on the relatively recent phenomenon of the creation of museums by football clubs and discusses the role of football club museums as “branding platforms.” The authors review the case of Mondo Milan, an innovative museum founded in 2014 by A.C. Milan, to illustrate how the development of football club museums represents a marketing strategy aimed at boosting the club brand and broadening the club customer base. The analysis of the case—supported by an interview with the Marketing and B2C Sales Director of Mondo Milan—shows how football club museums represent an opportunity not only for generating revenue but also for attracting new market segments that can engage in the history and values of the club and enhancing their brand awareness and image.
Trabalhos de conferências sobre o assunto "Museum phenomenon"
1
Krasnova, E. L. "Museum phenomenon: system approach". In Культура, наука и искусство - современные векторы развития вуза культуры. Орел: Орловский государственный институт культуры, 2021. http://dx.doi.org/10.53722/9785905436499_156.
Texto completo da fonte
2
Spiridonova, Anna. "VIRTUAL MUSEUM AS PHENOMENON OF POST-POSTMODERNISM". In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s13.027.
Texto completo da fonte
3
Khrustova, Elena V. "Recreational and educational potential of St. Petersburg and Leningrad region small museums". In Seventh World Professional Forum Sudak-Sochi-Transit «Sochi-2023». Russian National Public Library for Science and Technology, 2023. http://dx.doi.org/10.33186/978-5-85638-261-6-2023-189-195.
Texto completo da fonteResumo:
The phenomenon and concept of «small museum» is examined in the context of recreational and educational activities as compared to that of the world-famous museums of global and national cultural heritage. The publicly significant and main city events in St. Petersburg and Leningrad region are discussed to illustrate the point.
4
Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists". In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.
Texto completo da fonteResumo:
Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
5
Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum". In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.
Texto completo da fonteResumo:
Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
6
Borsotti, Marco. "From the invisible from the everyday, the unmentionable towards narrative strategies to explain, understand, remember. New Perspectives on Cultural Preservation." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3211.
Texto completo da fonteResumo:
This proposal takes into consideration three categories of unusual narrative, connected to human life - the invisible, the everyday and the unmentionable - often placed in the outer fringe of our attention or completely ignored. The invisible: that which inhabits our world and often influences our lives, even though escaping our awareness because active in dimensions that we cannot see or do not know to guess. The everyday: what accompanies us in every moment of our lives and that produces in us a habit that makes it obvious (and then again, but otherwise invisible). The unmentionable: what happened at some time and somewhere, and the memory of which, for convenience, hypocrisy or convenience, has been removed or put on the edge of our life (and therefore to the visible limits), These categories have been chosen because of paradigmatic of new experiences on Cultural Preservation. The comprehension of the fundamental value of intangible cultural heritage, which came less than ten years ago to be part of the definition of "museum" written by ICOM (International Council of Museums), indeed, has opened new perspectives in the field of curating and of exhibition design, often destabilizing and unexpectedly coincident. Therefore we needs updated languages, more interactive and interdisciplinary towards the construction of a real design of the intangible cultures, able to reflect (and make reflect) on at first sight marginal phenomena, preserving their value of social and historical testimony and making it comprehensible to an audience as broad as possible. The new methods of staging these tales turn the apparent immateriality of knowledge of their socio-cultural values into occasion of development solutions, in form of exhibition design products and related services. We will examine as case studies, among others: for the invisible - l’Amterdam Micropia Musem (ART+COM studios), the World Water Museum (Keti Haliori), the Water Museum (P-06 atelier); for the everyday - the Museum of Broken Relationships (Vištica and Grubišić), the Museum of Obsolete Objects (Jung von Matt), The Museum of Everyday Life (Tidens Samling) for the unmentionable - the Museo Laboratorio della Mente (Studio Azzurro), the Memoria y Tolerancia Museum (Arditti+RDT).DOI: http://dx.doi.org/10.4995/IFDP.2016.3211
7
Fedorchuk, Evgenia. "SONGS AND POEMS OF PARTISANS WRITTEN BEHIND ENEMY LINES. SMOLENSCHINA - BELARUS, 1942-1944 (FROM THE FOUNDATIONS OF THE BYKHOV MUSEUM OF LOCAL HISTORY)". In FIRST KULAKOV READINGS: ON THE FIELDS OF RUSSIA'S MILITARY. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3638.khmelita-19/160-174.
Texto completo da fonteResumo:
This report discusses a collection of songs and poems written by partisans behind enemy lines. The book contains 58 works. The compiler divided it into six parts. The first two parts are devoted to major events and phenomena as such: namely the Thirteen Special Partisan Regiment and the Bovkin blockade. The remaining four parts are more personalized: the partisan routine and way of life are described, some of the poems are written in memory of the dead, as well as various local events. In addition to poems and songs, a number of personalities (authors and those mentioned), events and locations will be considered. At the end of the report is a list of all mentioned names and places in alphabetical order. The main actions and battles are tied to the Smolensk and Mogilev regions. The poetic creativity of the partisans, shown in the collection from the funds of the Bykhov Museum of Local History, is a curious phenomenon for researchers, museologists, and historians. By studying and analyzing the information obtained from these sources, researchers can draw up a picture of front-line life, relationships, and the emotional state of the fighters.
8
Meškova, Sandra. "THE SENSE OF EXILE IN CONTEMPORARY EAST CENTRAL EUROPEAN WOMEN’S LIFE WRITING: DUBRAVKA UGREŠIČ AND MARGITA GŪTMANE". In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/22.
Texto completo da fonteResumo:
Exile is one of the central motifs of the 20th century European culture and literature; it is closely related to the historical events throughout this century and especially those related to World War II. In the culture of East Central Europe, the phenomenon of exile has been greatly determined by the context of socialism and post-socialist transformations that caused several waves of emigration from this part of Europe to the West or other parts of the world. It is interesting to compare cultures of East Central Europe, the historical situations of which both during World War II and after the collapse of socialism were different, e.g. Latvian and ex-Yugoslavian ones. In Latvia, exile is basically related to the emigration of a great part of the population in the 1940s and the issue of their possible return to the renewed Republic of Latvia in the early 1990s, whereas the countries of the former Yugoslavia experienced a new wave of emigration as a result of the Balkan War in the 1990s. Exile has been regarded by a great number of the 20th century philosophers, theorists, and scholars of diverse branches of studies. An important aspect of this complex phenomenon has been studied by psychoanalytical theorists. According to the French poststructuralist feminist theorist Julia Kristeva, the state of exile as a socio-cultural phenomenon reflects the inner schisms of subjectivity, particularly those of a feminine subject. Hence, exile/stranger/foreigner is an essential model of the contemporary subject and exile turns from a particular geographical and political phenomenon into a major symbol of modern European culture. The present article regards the sense of exile as a part of the narrator’s subjective world experience in the works by the Yugoslav writer Dubravka Ugrešič (“The Museum of Unconditional Surrender”, in Croatian and English, 1996) and Latvian émigré author Margita Gūtmane (“Letters to Mother”, in Latvian, 1998). Both authors relate the sense of exile to identity problems, personal and culture memory as well as loss. The article focuses on the issues of loss and memory as essential elements of the narrative of exile revealed by the metaphors of photograph and museum. Notwithstanding the differences of their historical situations, exile as the subjective experience reveals similar features in both authors’ works. However, different artistic means are used in both authors’ texts to depict it. Hence, Dubravka Ugrešič uses irony, whereas Margita Gūtmane provides a melancholic narrative of confession; both authors use photographs to depict various aspects of memory dynamic, but Gūtmane primarily deals with private memory, while Ugrešič regards also issues of cultural memory. The sense of exile in both authors’ works appears to mark specific aspects of feminine subjectivity.
9
Jan, Šejbl. "Hříšná exotika A. V. Nováka Literární obraz cesty do Asie v letech 1926–1927". In Orientalia antiqua nova XXI. Západočeská univerzita v Plzni, 2021. http://dx.doi.org/10.24132/zcu.2021.10392-120-144.
Texto completo da fonteResumo:
Sinful Exotics of A. V. Novák Literary image of a journey to Asie in 1926–1927 Traveller and writer Archibald Václav Novák (1895–1979) rose to fame in the 1920s as the author of popular nov els and short stories inspired by a stay in Tahiti and the United States of America from 1919 to 1921. Sucesess of books and lectures allowed Novák to undertake another long journey. From October 1926 to April 1926 A. V. Novák visited Sri Lanka, India, Myanmar, Malaya, Singapore, Sumatra, Vietnam, Cambodia, China and Japan. After returning home, Novák organized public lectures and published new novels and short stores inspored by the places he visited and the people he met. He also wrote a four-volume travelogue based on his travel diary. On his journey, Novák took not only still photographs, but short movies as well. After the communists took power in Czechoslovakia in 1948, Novák was purged from public life. No longer heralded as either a traveller or a writer, he was virtually consigned to oblivion. It was not until after 2000 that a study of the phenomenon of Czecho slovak emigration to Tahiti kindled renewed interest in him. In 2010, some of Novák’s previously unknown pho tographs were discovered and donated to the Náprstek Museum’s photographic collection, which is a part of the National Museum in Prague. Movies, diaries and the most of negatives by A. V. Novák have not been preserved, but there is a large number of glass slides used as an accom paniment of lectures. Photographic collection and books by A. V. Novák offer a valuable source of information about the non-Europen countries in 1920s and the ways, how they were presented to public in Czechoslovakia.
10
Kavetskaya, Vera. "POSSIBILITIES OF THE COLLECTION OF THE MUSEUM OF THE HISTORY OF THE FAR EAST NAMED AFTER V.K. ARSENYEV IN THE REPRESENTATION OF PHENOMENON OF THE FAR EASTERN REPUBLIC AND THE CIVIL WAR". In История Гражданской войны на Дальнем Востоке и история русской эмиграции. Благовещенск: Благовещенский государственный педагогический университет, 2021. http://dx.doi.org/10.48344/bspu.2021.23.52.013.
Texto completo da fonteRelatórios de organizações sobre o assunto "Museum phenomenon"
1
Butyrina, Maria, e Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, fevereiro de 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.
Texto completo da fonteResumo:
The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
2
Kerrigan, Susan, Phillip McIntyre e Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.
Texto completo da fonteResumo:
Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
3
Ihsan, Yilmaz, e Raja Ali M. Saleem. The nexus of religious populism and digital authoritarianism in Pakistan. European Center for Populism Studies (ECPS), dezembro de 2022. http://dx.doi.org/10.55271/pp0016.
Texto completo da fonteResumo:
Pakistan has a turbulent political history. In the seven decades since its creation, the country has faced four military-led dictatorships and another two decades under indirect military rule. Given this political trend, authoritarianism is not a novel phenomenon in the country. Digital authoritarianism, however, is a relatively new domain of oppression. This paper looks at how a political party in power and the “establishment” (military elite and its civilian collaborators) have been increasing the control of digital mediums as well as weaponizing space. This dual control and usage allow for growing digital authoritarianism. Using the case study of Imran Khan’s government (2018-2022) and its collaboration with the military establishment in enforcing digital authoritarianism, this article uses four levels of an assessment of internet governance in Pakistan (whole network level, sub-network level, proxy level, and user level). In addition, the role of Khan’s political party’s Islamist populist outlook in contributing to authoritarianism is also discussed. A lot of censorship happens around ideas of protecting Islam and Pakistan’s Muslim identity. The review also finds that the establishment uses not only religion but also ultra-nationalism and fears of foreign attacks, primarily by “Hindu” India, as means to closely surveil and curb the rights of citizens which it deems not worthy of trust. Our results find that Pakistan’s digital space is highly oppressive where ideas of religion, ontological insecurity, and nationalism are weaponized to legitimize the state’s growing authoritarianism.