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1
Anisimova, Margarita Vyacheslavovna. "The Phenomenon of Leningrad Military Museum in the first decades of the Soviet era." Исторический журнал: научные исследования, no. 5 (May 2023): 127–37. http://dx.doi.org/10.7256/2454-0609.2023.5.43662.
Повний текст джерелаАнотація:
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, no. 2 (June 17, 2024): 189–200. http://dx.doi.org/10.61269/kmmy4710.
Повний текст джерелаАнотація:
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, no. 1 (2020): 119–32. http://dx.doi.org/10.21638/11701/spbu27.2020.112.
Повний текст джерела
4
Klimaszeweski, Cheryl. "Towards a Typology of an Emergent Museum Form." Martor. The Museum of the Romanian Peasant Anthropology Review 23 (November 15, 2018): 121–40. http://dx.doi.org/10.57225/martor.2018.23.07.
Повний текст джерелаАнотація:
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, no. 3 (May 5, 2023): 101–4. http://dx.doi.org/10.54097/hiaad.v2i3.8094.
Повний текст джерелаАнотація:
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., and L. M. Shlyahtina. "School museum in social and cultural spatium of megalopolis." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 107–11. http://dx.doi.org/10.30725/2619-0303-2020-3-107-111.
Повний текст джерелаАнотація:
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 (December 30, 2022): 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.
Повний текст джерелаАнотація:
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, no. 2 (2019): 515–30. http://dx.doi.org/10.5771/0257-9774-2019-2-515.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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, no. 1 (February 17, 2024): 60–76. http://dx.doi.org/10.31857/s0869541524010033.
Повний текст джерелаАнотація:
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.
11
Vesci, Massimiliano, Emanuela Conti, Chiara Rossato, and Paola Castellani. "The mediating role of visitor satisfaction in the relationship between museum experience and word of mouth: evidence from Italy." TQM Journal 33, no. 1 (July 8, 2020): 141–62. http://dx.doi.org/10.1108/tqm-02-2020-0022.
Повний текст джерелаАнотація:
PurposeThis paper aims to analyse the quality of experience in the Italian art museum context and to understand the mediating role of satisfaction between museum experiences and visitors' word-of-mouth (WOM) behavioural intentions.Design/methodology/approachThis exploratory study adopted a quantitative methodology. Visitors to Italian art museums were interviewed, and the results were examined using exploratory factor analysis and regression analysis.FindingsThe analysis shows that the following museum experience dimensions were present in the Italian art museum context: aesthetics, escapism and “edumotion”. Further, these dimensions positively affected visitors' overall satisfaction which mediates on WOM behavioural intentions.Research limitations/implicationsThe small sample limits the generalisability of findings, and further research on the topic is recommended.Practical implicationsMuseums should allocate resources to improve visitor experience, visitor satisfaction and museum attractions. Specifically, museum managers should invest in the three dimensions that emerged from this study.Originality/valueThis study enriches the empirical evidence on experiential marketing in the museum context by focussing on the mediating role of overall satisfaction in the relationship between museum experience and WOM behaviours. To the best of the authors' knowledge, this is the first study investigating this phenomenon in Italian museums.
12
Макарова, А. Н. "Phenomenon of private museums: socio-philosophical significance in the socio-cultural development of Russian regional centers (case study of cities of the Yaroslavl Oblast)." All-Russian Scientific and Practical Journal of Social and Humanitarian Research, no. 3(10) (September 29, 2023): 64–69. http://dx.doi.org/10.46741/sgjournal.2023.10.3.009.
Повний текст джерелаАнотація:
Такое явление, как частные музеи, возвращается в культурную повестку страны спустя более чем сто лет. В последние два десятилетия количество частных организаций, зарегистрированных в качестве музеев или использующих в своем названии слово «музей», возросло в разы, появились ассоциации частных музеев, каталоги и реестры. Данный формат существования музейных и околомузейных институций вызывает интерес у научного сообщества культурологов, историков, философов. Появляются классификации частных музеев и попытки зафиксировать их место в социальной, культурной и научной среде, а также выявить общественные функции музеев в сравнении с официальными и государственными музеями. В данной статье мы рассмотрим частный музей как социокультурный феномен, исследуем роль частного музея в провинциальном городе, где он выполняет массу социально значимых функций: может являться и местом встречи, и предметом для гордости местного населения, и центром притяжения для гостей города, уникальным маркером территориальной идентичности. Определим особенности небольших частных музеев России на примере музеев г. Рыбинска и других городов Ярославской области. Such a phenomenon as private museums returns to the cultural agenda of the country after more than a hundred years. For the last two decades, a number of private organizations registered as museums or using the word “museum” in their name has increased significantly, associations of private museums, catalogs and registries have appeared. This format of the existence of museum and near-museum institutions is of interest to the scientific community of cultural scientists, historians, and philosophers. There are classifications of private museums and attempts to fix their place in the social, cultural and scientific environment, as well as to identify public functions of museums in comparison with official and state museums. In this article, we will consider a private museum as a socio-cultural phenomenon, explore the role and function of a private museum in a provincial city, where it plays a lot of socially significant functions: it can be a meeting place, a source of pride for the local population, and a center of attraction for guests of the city, and a unique marker of territorial identity. We will define features of small private museums in Russia on the example of museums of the city of Rybinsk and the Yaroslavl Oblast.
13
Karamanov, Oleksij, Olha Zheleznyk, and Oksana Surnach. "Theatricalization in the Space of the Museum: Possibilities of Interaction between School and Museum." Pedagogika. Studia i Rozprawy 32 (2023): 147–55. http://dx.doi.org/10.16926/p.2023.32.09.
Повний текст джерелаАнотація:
The authors of the article analyze the phenomenon of theatricalization in the museum space from the perspective of museum pedagogy and museum communication. They examine various aspects and forms of theater pedagogy and the conditions for conducting a theatrical performance in a museum with a children’s audience using appropriate communication methods. Presenting various forms of practical application of theatrical elements in Ukrainian museums, the authors pay special attention to the experience of Lviv, such as the organization of the Levenya Mobile Song Theater and volunteer work. The authors emphasize that theatricalization in the museum space is in line with modern trends in the development of education and culture, which contributes to the development of the child’s creative potential, creative and perceptual abilities.
14
Chaikovskaya, A. M. "Digitalization of museums as a socio-cultural phenomenon." Communicology 10, no. 2 (June 30, 2022): 95–104. http://dx.doi.org/10.21453/2311-3065-2022-10-2-95-104.
Повний текст джерелаАнотація:
The paper considers the process of digitalization of Russian museums as an important project of state. The author reviews and analyses the approaches to the definition of the term digitalization in Russian sociology and studies the measure of influence of the COVID-19 pandemic on the rate of digitalization of museums based on the interim results of the national project “Culture” dedicated to digitalization of the infrastructure of the cultural sphere. Within this study the author shows the experience of the digitalization process on the example of domestic museums and as successfully implemented examples that contributed to the improvement of the digital communication process, analyzes the processes of digitizing museum expositions, introducing virtual reality mechanisms, audio guides (their analogues in the form of QR codes), and online events. Based on these technologies, the author comes to conclusion (1) about the multifaceted activities of museums, which cease to be just a place to store exhibits of historical and cultural value, and (2) that modern social demands make the issue of digitalization of museums relevant in the context of communication interaction in society. Russia has successful examples of implemented cases of digital museums, but a further continuation of this work is required, since many museums have partially implemented digitalization.
15
Ilinskaya, N. I. "ART MEDIATION IN RUSSIA AND FRANCE: GENERAL AND DIFFERENCES." Arts education and science 1, no. 4 (2020): 149–54. http://dx.doi.org/10.36871/hon.202004019.
Повний текст джерелаАнотація:
The article discusses the phenomenon of art mediation. The relevance of this problem is due to the fact that the concept of art mediation, or "museum as a cultural mediator", is relatively new in Russia. It is mainly adopted in our country by contemporary art museums, often nonstate. At the same time, in a number of countries around the world, and especially in France, the concept of art mediation (médiation culturelle), or "museum-mediator", firmly rooted in museum practice, in the legal field, as well as in university education and training, practically forcing out the more familiar for Russia term "museum pedagogics" (pédagogie muséale). In this regard, it is important to think about and understand the French experience in this field and how it can be applied in the Russian context, outside the still relatively small sphere of private and contemporary art museums, where this experience is already being applied.
16
Asmara, Dedi. "Peran Museum dalam Pembelajaran Sejarah." Kaganga:Jurnal Pendidikan Sejarah dan Riset Sosial-Humaniora 2, no. 1 (June 30, 2019): 10–20. http://dx.doi.org/10.31539/kaganga.v2i1.707.
Повний текст джерелаАнотація:
This study aims to find out how the role of the museum in learning history. The method used in this study is qualitative research to understand the phenomenon of what is experienced by research subjects. The results showed that with the shift of the museum paradigm from collection (collection oriented) to visitors (visitor oriented), the wider community had more access to museum collections. The museum must provide various access for visitors so that they can get the opportunity to use facilities and services, research and study collections, display offerings, including consultations with museum staff. The conclusions of this study are that the existence of museums in the world of education is so needed, including in history learning. Both from the low to high education level. A student from elementary school will be happy when studying in a museum, compared to in the classroom. In the museum they can observe ancient relics directly. The learning process can also be carried out by visitors who are not from the education community. A tourist visiting the museum, for him will add to the repertoire of mental and intellectual wealth to know the past from an ethnic or community group. In the museum, collection research can also be carried out, this provides an opportunity to produce the latest findings. Research for students, lecturers, and anyone interested in the museum
Keywords: Museums, Learning, Visitors.
17
Kurbatova, M. S., E. Y. Dunaevskiy, and А. V. Dunaievska. "EVOLUTION AND DEVELOPMENT OF MUSEUM BUILDINGS." Regional problems of architecture and urban planning, no. 17 (October 17, 2023): 251–63. http://dx.doi.org/10.31650/2707-403x-2023-17-251-263.
Повний текст джерелаАнотація:
Museums are not just places where valuable artifacts of historical significance are stored and exhibited. They are true masterpieces of architectural art and places that win the hearts of visitors with their internal organization and aesthetic expression. The article examines the phenomenon of spectacular buildings, focusing on museums that fascinate with their architectural solutions and interior design. The author examines the emergence of the first museums as institutions that store and display artifacts of historical significance. The author reveals how over time museums have become not only places of preservation of valuable things, but also cultural centers that reflect social and intellectual achievements. The further evolution of museums has led to the emergence of incredible architectural creations that have become real spectacles of the museum world. The article explores various concepts used in the creation of modern museums. The functionality of the museum and the basic principles of museum interior design are considered. The importance of the aesthetic components of the museum interior is highlighted, showing how lighting and colors play an important role in creating an atmosphere and mood that support the goals and ideas of the museum. Attention is paid to the establishment of the art of museum exposition in recent years as an independent and valuable genre of creativity. All of these aspects allow museums to remain relevant and engaging for audiences. They fulfill an important mission of preserving cultural heritage and provide an opportunity to enjoy art and history in a unique way. Museums continue to amaze us with their beauty and intellectual richness, revealing to us the greatness and diversity of the world.
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Meirissa, Allicia Sandra, Titihan Sarihati, and Vika Haristianti. "Implementation of Experience Design on Museum Interiors. Case Study: East Java Cultural Museum." Journal of Architectural Design and Urbanism 4, no. 1 (October 27, 2021): 1–11. http://dx.doi.org/10.14710/jadu.v4i1.11929.
Повний текст джерелаАнотація:
This study examines the involvement of interior design with the museum purpose in terms of education and recreation. The purpose of this study is to provide effective solutions in museum interior design to attract attention, education, and recreation to visitors and form the basis for future research. This research creates a design that forms a spatial experience, with a focus on cultural museums. The method used in this study is a qualitative method with three stages of triangulation (interviews, observations, and documents). The case study in this study is the East Java Cultural Museum because the phenomenon that occurs is that traditional culture has begun to erode due to the times, especially in East Java, and the absence of research on the interior design of cultural museums. This study shows that there are five aspects in supporting the creation of a visitor's space experience in the museum, including the atmosphere of the room, lighting, collection displays, storylines, and interactive media. These five aspects are united in an "Experience Design".
19
Kuznetsov, Dmitry, Anna Novoklinova, Nadezda Rabkina, and Olga Valko. "The Role of Coal-Mining Museum in Kuzbass Coal Industry Development." E3S Web of Conferences 105 (2019): 04044. http://dx.doi.org/10.1051/e3sconf/201910504044.
Повний текст джерелаАнотація:
A museum cluster is a phenomenon that did not acquire conceptual understanding until the late 1990s. Since then, numerous approaches to defining a museum cluster have been put to the test. It has been unanimously stated that a museum cluster is an environment-creating and culture-forming entity, which catches the spirit of the time/place and embodies the locus genii. The museum, thus, renews and strengthens itself in the urban, scientific and cultural thought. These apply well to Krasnaya Gorka, a museum cluster in Kemerovskaya oblast. Combining all ‘cluster’ characteristics, Krasnaya Gorka features very specific, historically and culturally valuable trends eventually transforming the urban environment and forming local traditions. The study is aimed at comprehensive research of a museum cluster contribution to the local culture, environment, science, economy and, most importantly, people. The study showed that: (1) the Krasnaya Gorka museum is justifiably the heart of a cluster; (2) the archival materials in city museums are valuable as integral historic documents in their own right, but more significant when regarded along with other papers and artefacts in the domain of the museums, forming the cluster; c) the Krasnaya Gorka museum is a culture-forming entity due to its aggregating people and organizing activities.
20
Mason, Rhiannon. "National Museums, Globalization, and Postnationalism." Museum Worlds 1, no. 1 (July 1, 2013): 40–64. http://dx.doi.org/10.3167/armw.2013.010104.
Повний текст джерелаАнотація:
In recent years it has been asked whether it is time to move ‘beyond the national museum’. This article takes issue with this assertion on the grounds that it misunderstands not only museums as cultural phenomenon but also the ways in which globalization, nationalism, and localism are always enmeshed and co-constitutive. The article begins by considering theories of globalization, postnationalism, and cosmopolitanism and their relevance for national museums in the European context. Specific theories of cosmopolitanism are subsequently further explored in relation to two museum examples drawn from the National Museum of Scotland in Edinburgh and the Museum of European Cultures in Berlin. In different ways both examples demonstrate the potential for museums to engage visitors with ideas of cosmopolitanism, globalization, and postnationalism by revisiting, reframing, and reinterpreting existing national collections and displays. In the process the article makes the case for the merits of a nationally situated approach to cosmopolitanism in European museums. At the same time it acknowledges some of the potential limits to such endeavors. The article concludes by imagining what a ‘cosmopolitan museology’ would offer in terms of practice, politics, and ethics.
21
Grinko, Ivan Alexandrovich. "«Museum borders» and new identities." Samara Journal of Science 5, no. 4 (December 15, 2016): 149–53. http://dx.doi.org/10.17816/snv20164215.
Повний текст джерелаАнотація:
Benedict Anderson named museum and map the main instruments in formation of national identity. Today we see a lot of new identities but the instruments are still actual. In this article the author discusses the image of borders in contemporary museum space and its new functions. Today border in museum exposition appears in many variants (maps, pictures, elements of navigation, photo or installation) so it is interesting how this phenomenon is linked with new goals of museum in contemporary world and how it influences new communities and its identities creation. The article is based on the field materials from the museums of Eastern Europe. According to our research two main functions of border image in museum space are the visiotype of territory and hronotop of the most important events in national history. Despite its original sense and meaning today image of the border in museum can unite people and evoke empathy in visitors.
22
Agamalyan, Larisa G. "Encyclopedia Literary Museums of Russia and the Pushkin House Literary Museum." Issues of Museology 12, no. 2 (2021): 279–86. http://dx.doi.org/10.21638/spbu27.2021.210.
Повний текст джерелаАнотація:
The article notes the importance of creating the Encyclopedia “Literary Museums of Russia” for writing the history of the phenomenon as a whole and each museum separately. The dictionary proposed by the compilers is the result of a certain inventory of the Literary Museum. Work on the articles of the Encyclopedia made it possible to systematize and update the bibliography, including the latest research and publications. The creation of the encyclopedia facilitated recalling and resurrecting the forgotten names of their creators, as well as museums that have merged with others or have been lost. The Pushkin House Literary Museum includes the collections of the Pushkin Museum at the Imperial Alexander Lyceum, the Lermontov Museum at the Nicholas Cavalry School, the Tolstoy Museum in St. Petersburg, the Pushkin Museum of A. F. Onegin (Otto) in Paris, the Museum of Russian Writers in St. Petersburg created by F. F. Fiedler. The Pushkin House is part of the system of institutions of the Academy of Sciences and its museum has been departmental throughout history, which has determined its complex history. The article recounts the work on articles for the encyclopedia as well as specifics and history of the Literary Museum of the Pushkin House, which sought to create “a special literary pantheon where the relics of Russian writers of the XIX century would be collected and stored.” The vastness of the task determined the structure of its collection and the theme of the exhibition — the first museum of the history of Russian literature. This, in turn, determined the content of 13 articles for the encyclopedia. The exhibition was the first unique experience of illustrating the literary process in a single space. The article highlights the role of the Pushkin House in the formation of the system of literary museums in Russia.
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Murzyn-Kupisz, Monika, and Dominika Hołuj. "INITIAL DIAGNOSIS OF ACTIVITIES CONNECTED WITH TEXTILES, CLOTHES, AND FASHION ACCESSORIES UNDERTAKEN BY POLISH MUSEUMS." Muzealnictwo 63 (October 14, 2022): 173–84. http://dx.doi.org/10.5604/01.3001.0016.0471.
Повний текст джерелаАнотація:
Coinciding with a lively topical debate on the presence of textiles, fabrics, clothes, and fashion accessories in museum collections and activities, the paper aims at showing a wide range of projects and initiatives undertaken in recent years by Polish museums. The presented analyses and conclusions are based on the results of the national survey on museum operations in 2019–2021 conducted by the paper’s Authors jointly with the National Institute for Museums and Public Collections in the first quarter of 2022, and allowing to review this phenomenon nationally. The survey’s goal was to consider various formats of the presence of such objects and references to them in museums, both those of a more traditional character (e.g., including fashion-related exhibits in the museum collection, their conservation, studying, displaying in exhibitions), as well as of a newer character (e.g., cooperation with clothing companies and fashion designers, holding fashion shows, workshops, and fashion-related contests).
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Yusran, Yusfan Adeputera. "ENVISIONING OPEN-AIR MUSEUM FOR INDONESIAN." DIMENSI (Journal of Architecture and Built Environment) 45, no. 1 (July 31, 2018): 63. http://dx.doi.org/10.9744/dimensi.45.1.63-72.
Повний текст джерелаАнотація:
The founding of Skansen in the early of the 19th century was a milestone behind the phenomenon of Open-air museums all over the world. Although late, this phenomenon began to emerge in Indonesia since 1972 marked by the establishment of Taman Mini Indonesia Indah (TMII). Behind all the controversy on its establishment, TMII has been recognized as one of the nation pride as well as the first instituted open-air museum in the country. Ahead, this noble purpose should be further envisaged as an opportunity for Indonesian to take a part in rescuing remaining vernacular houses as the provision for future generations recognize their identity. By observing TB Silalahi Center in Balige and Taman Nusa in Gianyar, this paper describes that the opportunity for Indonesian to conserve ex-situ their neglected vernacular houses also definitely could be realized. From the analysis, some constraint found in terms of management, specifically in financial issue, but proven does not make a significant barrier in making these both museums keep running. Need collaboration from related parties since there is no proper translocation procedure done and also the weaknesses of tangled documentation. This concern aroused in order to prospecting ex-situ conservation for Indonesian vernacular houses properly implemented as an Open-air museum.
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Britto, Rosangela Marques de, Marisa De Oliveira Mokarzel, and Werne Souza Oliveira. "Mirante e Desapego: Obra em Deslocamento, Diferentes Lugares e um só Museu." Arteriais - Revista do Programa de Pós-Gradução em Artes 6, no. 10 (May 27, 2021): 141. http://dx.doi.org/10.18542/arteriais.v6i10.10582.
Повний текст джерелаАнотація:
ResumoOs inúmeros deslocamentos de uma obra do artista paraense Armando Queiroz, localizada no Jardim de Esculturas do MUFPA e seu posterior desaparecimento do ângulo de visão, nos instigou a refletir acerca dos processos de salvaguarda e comunicação museológica de uma obra de arte conceitual e seus modos de aparição e desaparição em um museu universitário voltado às artes visuais. Tecemos algumas reflexões acerca da dificuldade de realização de pesquisas e da documentação museológica de duas obras de arte conceitual do artista, intituladas de Mirante (escultura em madeira/módulos de 2006) e Desapego (performance para vídeo de 2010). O contato com uma obra conceitual específica, salvaguardada em um museu universitário como MUFPA, estabelece vínculo com a definição de museu e suas funções que decorrem de sua ação que inclui: preservação, pesquisa, comunicação, educação, exposição, mediação, gestão, arquitetura. Articular e refletir sobre o processo pelo qual passaram essas duas obras de Armando Queiroz contribui para o estudo desse fenômeno em pleno desenvolvimento no mundo dos museus, como o conhecemos com seu papel de salvaguardar memórias.AbstractThe numerous offsets from a work by artist paraense Armando Queiroz, in the sculpture garden MUFPA and subsequent disappearance of your viewing angle, we instigated the safeguard procedures reflect and museological communication of a work of conceptual art and its modes of appearance and disappearance in a University Museum back to Visual Arts. The research methodology approached the field of contemporary art (art history and art criticism) to the field of museology and heritage, with regard to the process of Museum documentation. The resources used were semi-structured interviews with the artist and curator, questionnaires with the public. At the end we weave some thoughts about the difficulty of conducting research and museological documentation of two works of conceptual art of the artist, titled of Lookout (wood carving/2006 modules) and Detachment (performance for video of 2010). Contact with a specific conceptual work, safeguarded in a University Museum as MUFPA establishes link with the definition of Museum and its functions arising from your action that includes: preservation, research, communication, education, exhibition, mediation, management, architecture. Articulate and reflect on the process by which work Gazebo/Detachment of Armando Queiroz contributes to the study of this phenomenon in full development in the world of museums, as we know with your role to safeguard memories.
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Portnova, Tatiana V. "Theater museums as a base for excursion and tourism programs." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 333–39. http://dx.doi.org/10.34069/ai/2020.27.03.36.
Повний текст джерелаАнотація:
The article discusses excursion work related to theatrical museum collections, which is one of the interesting, but little developed types of activities in the field of tourism. Гhe author refers to the specifics of the theater museums involved in updating knowledge and raising the professional level, developing practical skills and professional competencies of tourism service specialists in the field of a holistic presentation of the history of the development of such a museum as a specific sociocultural institute. It touches on the interesting history of the creation, formation and composition of collections, as well as the modern activities of major museums and the latest museum centers around the world, hosting tourists. It is noted that the purpose of excursion and tourist programs using the collections of theater museums is not only to improve the modern tourist structure, but also to create a special spatial and artistic image that complements the content of the text, overcomes psychological discomfort due to the frequent presence of tourists in the bus or in open spaces , by creating favorable environmental conditions, the realization of the aesthetic potential of the museum atmosphere, capable of Favorably affect the emotional state and enrich the tour. In this regard, today, an important complex of problems that lie in the aesthetic field arises in the context of intensive tourism development processes, along with the need to solve infrastructure and technological issues, problems of implementing socio-economic problems in the tourism sector. Theater museums in excursion programs are considered as a special historical and cultural phenomenon. Their development is a continuation of world and domestic experience and, at the same time, a unique cultural phenomenon, inextricably linked both with the regional traditions of the countries and with the theater school - the academic school, for which the theater exhibit has become the most important area for the realization of creative potential. An attempt is being made to reflect the optimal combination of considering general theoretical and methodological issues and concrete and practical material on museum theater pedagogy.
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Karamanov, Oleksiy. "The Phenomenon of Learning in a Museum in a Modern Educational Space: Opportunities of Using Smart Technologies." Czech-polish historical and pedagogical journal 12, no. 2 (September 29, 2021): 146–52. http://dx.doi.org/10.5817/cphpj-2020-028.
Повний текст джерелаАнотація:
The article analyzes the peculiarities of organizing learning in a museum in the system of smart education with modern smart technologies aimed at the process of gaining skills and competencies for flexible and adapted interaction with social, economic and technological environment. Smart technologies are emphasized to not only allow creating the effect of presence but also to advance the content sharing, change its quality, and ensure the possibility of communication between all the participants of the educational process. The phenomenon of learning in a museum is viewed in the context of gamification, edutainment, the storytelling technique and the project method. The opportunities of using smart technologies in museums as centres of communication, studying and leisure in the context of a modern knowledge society are defined.
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Kurz, Michal. "„Zapojíte se do diskuze?“ Uvažování o muzeích na stránkách českých muzejních periodik (1989–2021)." Muzeum Muzejní a vlastivedná práce 60, no. 2 (2023): 84–92. http://dx.doi.org/10.37520/mmvp.2022.020.
Повний текст джерелаАнотація:
The analysis based on the leading Czech museum periodicals from 1989–2021 explores the understanding of the phenomenon of the museum. The conclusions show the lack of advanced discussion about the museum’s role during this period. Most museum workers are only concerned with practical problems; they are unwilling to reflect on their work critically, and their idea of the museum is based primarily on physical collections. There is an evident distance between the narrow circle of active theorists in the academic environment and the reserved majority of curators and conservators in the regional museums. This majority does not participate in public discussions, and because of that, its opinions and arguments are more implicit in the analyzed texts. Many published articles are concerned with the history of concrete museum collections, buildings, and significant personalities. The authors frequently underlined the long and rich tradition of Czech museums. However, their perspective lacks a necessary reflective examination (i. e. the museum as an institution and a building with a long history but without a precisely defined position in contemporary society). Review of new exhibitions is a long-neglected genre, often replaced with abstracts or notices. During the last few years, the situation has been improving due to some impulses of new museology and educational turn (i. e. the museum as a responsive and accessible institution to the local community).
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El-Sharif, Ahmad. "To Make A Difference: Interpersonal Meanings in Museum-Texts: A Case-Study of the Children’s Museum in Amman." International Journal of Applied Linguistics and English Literature 11, no. 2 (March 31, 2022): 1–12. http://dx.doi.org/10.7575/aiac.ijalel.v.11n.2p.1.
Повний текст джерелаАнотація:
Systemic Functional Linguistics explicates how texts communicate ideational, interpersonal, and textual meanings. Texts produced by cultural and pedagogic institutions, such as museums, depend on several discursive choices to construct interpersonal meanings communicated through the interaction between the institution, and what it stands for, and the interactant visitors. Museum-texts communicate to/with visitors meanings pertaining to social relationships construed by both the museum and its audience and communicate the mutual relationships between them in relation to role, status, social distance, and feelings of solidarity and affiliation. Meanwhile, children museums have become a widespread phenomenon that promote edifying missions communicated to children through entertaining, interacting, and learning. This study recognises how one exhibition, named ‘I am Change’ in the Children’s Museum in Amman, relies on verbal interpersonal communication to align its young visitors into shared dispositions and perspectives towards environmental concerns related to the importance of conserving electric energy and water resources in Jordan.
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Antipova, Ekaterina A. "Categorical analysis of the museum phenomenon: Space and time." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 24, no. 1 (March 21, 2024): 4–9. http://dx.doi.org/10.18500/1819-7671-2024-24-1-4-9.
Повний текст джерелаАнотація:
Introduction. The museum provides society with the opportunity for special interaction with space and time for the purposes of acquiring knowledge and the most complete assimilation of codes existing in culture and society. Theoretical analysis. Society’s perception of space and time in the museum will be examined and analyzed from the perspective of myth, which makes it possible to identify archetypal ideas of humanity that developed in ancient times and have largely not lost their influence on modern culture and society. The methods of institutionalizing the activities of society, which originated in the past, passed from one era to another in a transformed form, while retaining some characteristic features and at the same time acquiring new ones that became necessary for existence in a different sociocultural context. One of these characteristic features is the idea that space and time in a museum have profane and sacred dimensions. Conclusion. Space and time in the museum are a mirror not only of mythical motifs, but also of the dominant developments of the modern world. These fundamental principles concentrate all the most significant features inherent in human communities for the purpose of their further transmission to society.
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Sidorova, O. V. "ALEXEY DMITRIEV'S EXHIBITION PROJECT "NOMAD" AND PROFESSIONAL TRAINING OF MUSEOLOGY STUDENTS AT THE STATE ART MUSEUM OF ALTAI KRAI." Topical Issues of Culture, Art, Education 40, no. 2 (2024): 104–12. http://dx.doi.org/10.32340/2949-2912-2024-2-104-112.
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The publication introduces the author's exhibition project "Nomad" by artist Alexey Dmitriev at the State Art Museum of the Altai Krai (Barnaul, Russia). The exposition solution of the exhibition was spatial and was in tune with the current trends in the exhibition activities of leading Russian museums, which in their practice turn to such a phenomenon as museum scenography, creating dramatic images in the museum space, filling the exhibits with a variety of situational meanings. A seminar was held within the framework of the exhibition, which examined the relationship of theater with the art of the book, identified the possibilities of "theatricalization" in the construction of an exposition museum space. The main audience of the seminar were students of the Novoaltaisk State Art College, studying in the specialty "Graphic Design" and students of the Museum of the Altai State Institute of Culture, for whom the museum has been operating a basic professional department for the seventh year, in which they acquire initial professional experience in their chosen field of study.
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Kazantseva, O. A. "MUSEUMS OF UDMURTIA IN CONDITIONS OF GLOBALIZATION." Вестник Удмуртского университета. Социология. Политология. Международные отношения 4, no. 1 (April 7, 2020): 101–9. http://dx.doi.org/10.35634/2587-9030-2020-4-1-101-109.
Повний текст джерелаАнотація:
The article presents some analytical results of Udmurtia museums’ work in connection with the processes of globalization. A museum, as a sociocultural institution of society, reacts and feels changes in the world that change the museum's space, and finds other forms of interaction with libraries, archives, universities and research institutes. Informatization as an integral part of globalization has changed the accounting, storage and presentation of historical, cultural and natural heritage to a visitor in domestic museums, including in Udmurtia. Public attention is focused not only on material, but also on intangible objects. Museums of the Udmurt Republic are part of the unified electronic museum space of Russia and the world, where there is an opportunity to join the great cultural achievements of all mankind. Globalization opens up new opportunities for visitors to access the museum's collections and research into the material and spiritual culture of mankind. Museums of Udmurtia are closely connected with the phenomenon of globalization. Based on the use of SHOT analyses to evaluate the activities of the state museums of the Udmurt Republic, the prospects for development are outlined. Some aspects of Udmurtia museums activities are analyzed: informatization of museum environment, new forms of communication and the role of philanthropists and patrons. Museums develop modern forms of communication, introduce multimedia resources, use interactive technologies, successfully develop and participate in projects, and provide visitors with disabilities with group and individual classes - master classes. Museum employees develop special programs for working with such visitors. Udmurtia museums strive to be open to all visitors. Museum community presents successful projects in the field of preservation and study of historical and cultural heritage to Russia and the world. In the process of globalization, museums in Russian society remain a traditional institution where you can see authentic exhibits of history and culture, feel the power of their impact on the thoughts and feelings of a person. It is this educational aspect that makes a museum different from other institutions of society.
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Levchenko, Viktor. "MUSEALIZATION IN THE SYSTEM OF SENSES OF CULTURAL MEMORY." Doxa, no. 1(37) (July 5, 2023): 138–42. http://dx.doi.org/10.18524/2410-2601.2022.1(37).281828.
Повний текст джерелаАнотація:
The article is divided to the problems related to the studying the phenomenon of the museum and its place in the socio-cultural space. The museum is one of the fundamental socio-cultural institutions that designed to present, preserve and distribute cultural, historical and artistic values. There are the museums that should determine what is a cultural value that is a worthy representation of national and universal cultural codes. The development of museums demonstrates their ability to transform reality in a special way, namely, to endow reality with specific properties in relation to the cultural memorial value of their authentic representatives. Modern museology defines such a process as museumization, which transforms reality into “cultural meta-reality”. The author refers to the researching museological conception of Z. Z. Stransky, one of the founders of modern museology. The concepts introduced by Stransky to studying the museum as a cultural institution, despite their debatable in special literature, are an effective tool for understanding museumness as a characteristic of individual human existence. To solve this problem, Stranskyi proposes several new scientific concepts – “cultural meta-reality”. “musealization”, “museum development of reality”, “musealite”. It can be argued that every person can potentially act as a “museum”. Some objects surrounding a person can lose their everyday meaning, transforming into “museum objects” and they are acquiring new value and status. Nowadays the museum is transformed from exclusively a repository of memory into a special space aimed to determining orientations to Future.
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Kepin, Dmytro. "The Cabinet of curiosities as a phenomenon of European culture: a source study." Вісник Книжкової палати, no. 8 (August 25, 2022): 40–47. http://dx.doi.org/10.36273/2076-9555.2022.8(313).40-47.
Повний текст джерелаАнотація:
The article considers the history of the emergence of Cabinets of curiosities in Western and Central Europe. The works of museologists, historians, art critics, architects on the topic are analyzed. The expositions of the National Museum of Arts named Bogdan and Varvara Khanenko (Kyiv), the National Museum of Medicine in Kyiv, the Pharmacy Museum of Podil'sk district of Kyiv, the Lviv National Art Gallery named Boris Voznitsky, the Pharmacy-Museum "Under the Black Eagle" of Lviv, the funds and expositions of the State Historical and Cultural Reserve of the city of Ostroh of the Rivno region were involved. It turned out that the first "Collections of curiosities" meetings appear in the Middle Ages. Varieties of Cabinets of curiosities in Europe are known in the XVI—XVIII centuries. Museum treatises of that time were analyzed. The definition of the concept of "Cabinet of curiosities" during the Renaissance and Enlightenment is considered.
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Fetsko, Ivanna. "SYNTHETIC TERMS OF UKRAINIAN MUSEUM SCIENCE IN THE CONTEXT OF THE POLYSEMY PHENOMENON." Terminological Bulletin, no. 6 (2021): 337–43. http://dx.doi.org/10.37919/2221-8807-2021-6-33.
Повний текст джерелаАнотація:
We have analyzed the phenomenon of polysemy in the Ukrainian term system of museum business, described the main types of ambiguity of synthetic terms of professional language of museum officers, classified ambiguous terms units by different criteria and identified specifics of their semantic structure. In the modern terminology of museum work, there is a clear tendency to unambiguous terms. However, we have a significant number of units that can nominate several concepts in this term system that was identified also in many others. The ambiguous units include exhibition, gallery, museum, museology, index, restoration, etc. The group of three-digit terms consists of the following units: museography, sudok, etc. The four-digit terms in museology occur in isolated cases, e.g. act, etc. Three types of polysemy were identified in the studied terminological system based on the analysis of the semantic structure of the multivalued terminological units present in the terminological system. They are: intrasystemic (it could appear as a result of metonymic transfers of names in the terminology of the museum case («collection of something – institution that keeps such a collection»: herbarium, etc .; device – a building that has such a device”: planetarium, etc.) and metaphorical nomination (office – a room in the house or apartment for classes, business conversations, etc. / variety of museum furniture, etc.), intersystem (intersectoral) (deposit (in museology, economics), exposition (in museology, geography), shield (in museology, geology), etc.), and externally systemic (donation, dating) polysemy. According to the structural composition, the derivative and non-derivative term units are distinguished among the multi-valued synthetic terms of the professional language of museology. They are: a) terms – root units: act, gallery, legend, museum, shield, etc .; b) derived terms – units formed by suffixation or prefixation: exhibition, subtext, etc.; c) complex terms: gallery-museum, lecturer-guide, museology, museography, etc. The analysis of ambiguous synthetic terms of museum business indicates their distribution in this terminology, despite the fact that polysemy is an undesirable phenomenon for term systems in general, that was evidenced by the requirements for «ideal» terms.
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Porshnev, Valeriy P. "Musaeum Kircherianum in the history of museum work during the Baroque epoch." Issues of Museology 13, no. 1 (2022): 16–38. http://dx.doi.org/10.21638/spbu27.2022.102.
Повний текст джерелаАнотація:
The museum, named after its founder A.Kircher, is not sufficiently appreciated by museum historians in this country, limited only to brief characteristics of this cultural phenomenon of the Baroque era. The exposition of the museum was a complete author’s model of the Universe, a world of metaphors and symbols generated by the mystical worldview of A.Kircher. A world far from physical reality, despite the fact that its creator knew and took into account the main scientific discoveries of that time. The evaluation of this museum should not be based on A.Kircher’s contribution to natural sciences and humanities, but by the way the interior was decorated, how artfully the exhibits were selected and presented, how masterfully the visual and sound effects were thought out. In addition, historians do not sufficiently connect the museum with the extensive written heritage of A.Kircher, who previously outlined his model of the world order in a series of illustrated folios, which together formed a virtual museum, transformed by the author into the Musaeum Kircherianum, replacing book illustrations with an objective row. The sources of the proposed reconstruction of the museum are cosmological, scientific, linguistic and historical works of A.Kircher, notes of travelers, and museum catalogues of 1678–1878.
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Sandy, Danielly Dias, Isaura Alberton De Lima, and Rogério Allon Duenhas. "Museums Institutions as A Proposal for Regional, Economic and Social Development: The Museu do Amanhã." Revista de Gestão Social e Ambiental 18, no. 4 (January 15, 2024): e04587. http://dx.doi.org/10.24857/rgsa.v18n4-039.
Повний текст джерелаАнотація:
Objective: To carry out this study, the objective was to address the main impacts of the Museu do Amanhã on regional development since its inauguration on 2015, in the port region of the city of Rio de Janeiro-RJ. Theoretical reference: As defined in Article 1 of Federal Law 11.904, and in accordance with the guidelines of the International Council of Museums (ICOM), museums are non-profit institutions that work at the service of societies (2009). However, museums are also importante cultural facilities that can be well used according to urban and regional strategic planning to revitalize certain areas. Likewise, museums can make theis contribution based on impacts generated by the greather flow of people in the region with increased tourism, which can result in significant regional, economic and social development. Method: This study is based on exploratory and descriptive research dealing with the impacts of the Museu do Amanhã on regionaldevelopment, based on bibliographic sources and data and whose analysis method applied was a qualitative approach to analyze the proposed phenomenon. Results and conclusion: The current analysis leads to the conclusion that the Museu do Amanhã brought significant regional impacts, both economic and social and cultural. However, from bibliographical sources of the time, it was observed that there are signs of gentrifyng action in the processo f revitalization of the region where the museum was built, which cannot, under any circumstances, be related to the real purposes of a museum institution. And this is because museums have as their mission the purpose of working for the promotion of humanity and the establishment of peace. At the same time, museums are also strategic instruments for urban and regional planning and this contexto opens up countless analyzes and discussions. Implications of the research: This study presents important questions focused on the relationship between musems and urban and regional planning, opening up new research and proposing further discussions and analyzes on the topic. Originality/value: The field of museology is quite comprehensive, and its multidisciplinar and interdisciplinar character must also be taken into account. Even so, mosto f the time research is carried out that delas more with the activities carried out within museums such as conservation, research, exhibition and educational action, but there are other ways of thinking about a museum for society and regarding this there are still manygaps that nees be filled. One possibility on this path is precisely to carry out research with proposals that recognize museums in another way, for example, as strategic instruments for urban and regional planning.
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Anthony, Trevor F. "Busy Being Born." Public Historian 45, no. 4 (November 1, 2023): 82–105. http://dx.doi.org/10.1525/tph.2023.45.4.82.
Повний текст джерелаАнотація:
Chronicling the development of Microsoft co-founder Paul Allen’s museal initiatives through the institution now known as the Museum of Pop Culture (MoPOP), this article explores the following questions: What happened when this philanthropist of great ambition and means sought to inspire others through the medium of the museum? What might the history of MoPOP tell us about contemporary issues in the museum? How does the saga of MoPOP challenge historical considerations of popular culture? I describe the kind of negotiations and challenges that faced an institution intentionally setting out to blaze new trails. The narrative shows an evolution in the values of the contemporary museum; while the lofty gestures toward a “museum of the future” or “post-museum” failed to survive, the founder’s vision of popular culture as a viable subject for the medium unequivocally triumphed. New values have now moved to the fore, including inclusivity and relevance. Moreover, the story of the museum elevates the power of the personal and the nostalgic in producing the collective phenomenon that we call history.
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Kozakevych, Olena. "Hutsul Folk Costumes (Embroidery, Lace, Knitting) in the Collection of the Seweryn Udziela Ethnographic Museum in Krakow." Cultural and Historical Heritage: Preservation, Presentation, Digitalization 8, no. 2 (December 26, 2022): 11–20. http://dx.doi.org/10.55630/kinj.2022.080201.
Повний текст джерелаАнотація:
The article presents the research on the Hutsul folk costume in the collection of the Seweryn Udziela Ethnographic Museum in Krakow. The collection of the Hutsul folk costumes stored at the museum has been developed in several stages and is related to the history of two museums: the Museum of Technology and Industry (closed in 1950) and the National Museum in Krakow. The main part of the collection dates from the end of the 19th and the first half of the 20th centuries (until the outbreak of World War II). This collection includes women's and men's garments and a few children's items. Original ornaments, colors and types of garments and accessories show a local variety of the Hutsul clothing. Nevertheless, a number of objects require a more precise attribution, and the collection in general needs further elaboration - in the context of social, cultural, ethnographic and local factors - in order to define and identify the phenomenon of the traditional Hutsul folk costume.
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A. Miralieva, Shakhnoza. "DEVELOPMENT OF MODERN COMMUNICATION IN MUSEUMS OF UZBEKISTAN." European International Journal of Multidisciplinary Research and Management Studies 02, no. 08 (August 1, 2022): 20–24. http://dx.doi.org/10.55640/eijmrms-02-08-05.
Повний текст джерелаАнотація:
In the XXI century, an interactive and communicative function of museums which provides facilitates the interaction of society and culture have appeared as a socio-cultural phenomenon. This article describes the concept of communication, and also scientists who have introduced museum communications to science and their research, and the development of modern communication in world practice. Innovative methods of the museums designed to engage audiences, and projects applied in several museums in the field of the history of Uzbekistan were introduced with their successful outcomes.
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Salim, Polniwati, Christianto R, and Sri Rachmayanti. "PERANCANGAN DESAIN INTERIOR MUSEUM DENGAN TEKNIK INTERAKTIF SEBAGAI RUANG PUBLIK MASA KINI." Jurnal Dimensi Seni Rupa dan Desain 15, no. 1 (September 1, 2018): 45. http://dx.doi.org/10.25105/dim.v15i1.4196.
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Abstract
This study aims to analyze a museum interior design to be able to find the latest output regarding displaying or circulation techniques in a public space, especially museum. This study background is a public phenomenon visited by museums nowadays, which is seen on their social media accounts. Especially for contemporary and art design museums, it becomes an attractive icon for young people, as well as seniors. However, there are many things that need to be considered in designing a museum interior where many factors support for a success interior design, including: display techniques, gallery categorization, signage systems, and lighting. This study will examine how to applied the above items. As a comparison, contemporary art museums in Jakarta and New York. By doing these comparisons, researcher expected there will be a resume on how designing a good contemporary art museum. With good and attractive interior
design in a contemporary art museum, it will further increased visitors interest and the awareness of the community to explore the museum. The method used is by observing and documenting techniques and analyzing the interior of research objects, combined with literature studies, hopefully this research can contribute to the museum design technique as an ergonomic and interactive public space for the wider community. For future development of the museum, this research contributes for a better, good and friendly display techniques.
Abstrak
Penelitian ini bertujuan untuk menganalisa perancangan interior sebuah
museum untuk dapat ditemukan luaran terbaru perihal teknik display
maupun sirkulasi dalam sebuah ruang publik yakni museum. Latar belakang penelitian adalah fenomena masyarakat luas yang terlihat kesadaran untuk berkunjung ke museum, yang terlihat pada akun sosial media masyarakat jaman sekarang yang demikian semarak, khususnya untuk museum bernafaskan contemporary dan art design, menjadi satu ikon menarik bagi kalangan muda, juga para senior. Namun demikian banyak hal yang perlu diperhatikan pada perancangan sebuah interior museum dimana banyak factor yang mendukung kesuksesan sebuah desain museum, antara lain dalam hal teknik display, pengkategorian gallery, system signage, maupun pencahayaan. Dengan design interior yang baik dan menarik pada sebuah museum kontemporer, diharapkan akan semakin menaikkan minat para pengunjung dan kesadaran masyarakat akan semakin meningkat untuk mengeksplorasi isi dari museum tersebut. Metode yang digunakan adalah dengan teknik pengamatan dan pendokumnetasian serta analisa interior objek penelitian, dipadukan dengan studi literature, diharapkan penelitian ini memberikan kontribusi pada teknik perancangan museum sebagai sebuah ruang public yang ergonomis dan interaktif menyenangkan bagi masyarakat
luas. Untuk pengembangan museum ke depannya, penelitian ini memberikan sumbangsih perihal teknik display yang baik dan bersahabat
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Scott, James. "Objects and the Representation of War in Military Museums." Museum and Society 13, no. 4 (November 1, 2015): 489–502. http://dx.doi.org/10.29311/mas.v13i4.349.
Повний текст джерелаАнотація:
This paper reflects upon the ability of a military museum to create diverserepresentations of war, through the use and interpretation of its objects. In this type of museum, war can be presented as being both a positive or negative phenomenon. For many people, a visit to a military history museum is the one of the main ways that a person will learn about war, aside from its portrayal in education, the media or in film and television. These museums have great influence in representing war. This is particularly true in Northern Ireland where representations of conflict have the potential to widen the gap between communities in an already divided society.How objects affect the creation of representations of war can depend on whichtypes of object are displayed, in what context they are displayed, their physicalcondition and also the way in which the objects are connected with people orindividuals (Saunders, 2004; Dudley 2010). This paper examines three approaches to displaying objects in the regimental museums of Northern Ireland. These have been termed the celebratory approach, the sanitized approach and the realistic approach.
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Choi, Kyung Hee. "A Museum"s Technological Phenomenon - Case Analysis of a New Museum to Digital Transformation -." Korean Society of Science & Art 41, no. 1 (January 31, 2023): 339–52. http://dx.doi.org/10.17548/ksaf.2023.01.30.339.
Повний текст джерела
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Wulandari, Anak Agung Ayu. "Taman Mini Indonesia Indah sebagai Bagian dari Fenomena Taman Budaya Dunia." Humaniora 3, no. 2 (October 31, 2012): 455. http://dx.doi.org/10.21512/humaniora.v3i2.3345.
Повний текст джерелаАнотація:
Cultural display in an open space or known as cultural parks appears rapidly as a worldwide phenomenon. From the European model which has a strong educational value, to the Asian parks which not only has educational function, but also has recreational purposes. So many types and characteristics of these parks, researches give them different names, thodse are Open-air museums, Ethnographic Theme Parks or even Theme Parks. Taman Mini Indonesia Indah as a part of this phenomenon was built first and foremost for educational purposes, therefore Taman Mini can be considered as an open-air museum. However, since Taman Mini also has recreational purposes, others can argue that Taman Mini is a theme park. Qualitative method will be used for this research, through observation to Taman Mini Indonesia Indah, followed by extensive literature review. With these data along with a table which points out the distinction between museum and theme parks. It can be concluded that Taman Mini is a Theme Park.
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Kildyusheva, Alina A. "The museum as a cultural universal." Herald of Omsk University 25, no. 4 (December 28, 2020): 55–64. http://dx.doi.org/10.24147/1812-3996.2020.25(4).55-64.
Повний текст джерелаАнотація:
In the era of the information society and postmodern culture, the concept of cultural heritage has changed, the discourse on the meaning and prospects of the museum has been updated. The relevance of addressing the study of the fundamental cultural foundations of the museum phenomenon is associated with crisis phenomena in culture; modern global problems of mankind stimulate the formation of new cultural universals. Despite the large number of museological literature, from a philosophical point of view, the problem of the museum was rarely considered. The sociocultural significance of the museum is obvious, but the question of its essence remains open - the abundance of museological and cultural definitions of the museum does not add clarity. The work raises the question of the possibility of analyzing the phenomenon of the museum through the problems of universals, worldview universals.
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Meng, Di, and Qing Jia. "A Probe into the English Interpretation and Education of Science Museum-Take Shanghai Astronomy Museum as an Example." Contemporary Education and Teaching Research 4, no. 4 (April 23, 2023): 153–58. http://dx.doi.org/10.47852/bonviewcetr23208930403.
Повний текст джерелаАнотація:
In this globalized era, the phenomenon of "cultural multi-element co-generation" and "cultural flow" has become increasingly prominent, and the country needs to improve its cultural soft power in an all-round way. The function of the museum is not only to display, education and collection, but also has the responsibility for the communication of foreign language. Therefore, English interpretation is an important force to help the museum develop this function. Taking the Shanghai Planetarium as an example, this paper discusses the problems in the English interpretation of science Museum, and mainly puts forward the following three suggestions: first, to attract more talents with astronomical knowledge background; second, to strengthen the astronomical knowledge training for non-astronomical professional interpreters; third, to comprehensively improve the English interpretation level of interpreters and educators by means of cooperation between museums and schools, and to build a sustainable platform for English interpretation and communication.
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Żychlińska, Monika, and Erica Fontana. "Museal Games and Emotional Truths." East European Politics and Societies: and Cultures 30, no. 2 (May 11, 2015): 235–69. http://dx.doi.org/10.1177/0888325414566198.
Повний текст джерелаАнотація:
The Warsaw Rising Museum (WRM), opened in Warsaw in 2004 to commemorate the 1944 rebellion by Polish citizen-soldiers against Nazi occupiers, is considered the first modern historical museum in Poland. During the ten years since its opening, it has had a significant influence not only on public imaginations of the Rising but also subsequent museum trends in Poland. Using Anna Wieczorkiewicz’s concept of the “museal game” in which meaning is produced jointly by the museum institution and its visitors, we address the following questions: what meanings does the WRM have for its various audiences, and how has it come to have these meanings? Drawing on analysis of the museum’s founding documents and press coverage of the museum, interviews with visitors, and a review of scholarly literature, we seek to understand the universe of meanings within which the WRM has become a sociocultural phenomenon. We argue that the strategies employed by the museum encompass interconnected political and poetical dimensions. Specifically, we discuss how the museum attempts to foster Polish national identity by evoking personal identification among visitors by appealing to their emotions. We examine the range of meanings the WRM has been given by various participants in the museal game—museum originators, “public voices” including scholars and journalists, visitors, and ourselves as researchers. In doing so, we give special attention to the notion of nostalgia—how it has been operationalized by the museum planners, and how it is received by the audience, in the service of promoting personal and emotional identification.
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Butska, Kateryna. "Kateryna Butska. Museumfication of reality as a feature оf the postmodernist worldview: the image of the museum in the novel “Flights” by O. Tokarczuk". Current issues of social sciences and history of medicine 29, № 1 (25 лютого 2021): 106–10. http://dx.doi.org/10.24061/2411-6181.1.2021.254.
Повний текст джерелаАнотація:
Active expansion of the functional area of contemporary museums allows us to speak about museumfication – of history, of culture and its particular phenomena. Collecting, inventorying, quoting, archiving, which are some of the key cultural procedures of today, are the essence of the phenomenon of museumfication that expands over our everyday culture and experience. The article is dedicated to the museumfication of reality as an artistic practice and as distinctive feature of the postmodernist worldview. The purpose of the article is to identify the peculiarities of the literary interpretation of the phenomenon of the museum in the novel “Flights” by O. Tokarczuk. Museum is one of the emblematic images of the postmodernist ideological and aesthetical paradigm. Moreover, in this paradigm museum functions as a universal metaphor and a specific model of the world. The novelty of the article is determined by the fact that the first time the image of the museum as one of the key elements of the artistic world in the works of O. Tokarczuk is analysed. Research methods: descriptive, cultural historical, analysis, synthesis of information. Conclusions. The artistic practices of the museumfication take an important place in the novel “Flights” by O. Tokarczuk. It is noteworthy that these practices are not only present at the thematic level of the novel, but the authoress herself employs them in her work, composing “Flights” as a kind of an imaginary museum, a collection of narratives. The image of the museum in the novel embodies a number of features that are distinctive for the postmodern ideological and aesthetic paradigm: the principles of fragmentariness and constellation, implementing baroque naturalistic aesthetics, formaland thematic antagonism in relation to coherent grandnarratives, artistic modeling of the world in the form of panopticon, etc.
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Бідюк, Наталя Михайлівна, Вікторія Сергіївна Церклевич, and Віталій Виталійович Третько. "THE VIRTUAL MUSEUM SPACE AS A PLATFORM FOR STUDENT RESEARCH ACTIVITIES IN THE HISTORY OF ECONOMICS." Information Technologies and Learning Tools 81, no. 1 (February 23, 2021): 167–79. http://dx.doi.org/10.33407/itlt.v81i1.3385.
Повний текст джерелаАнотація:
The article presents the results of theoretical justification and practical verification of modern possibilities of using the pictorial method (museum tours) in teaching the subject “The History of Economics and Economic Thought”. The article justifies the evolution of views on the range of sources on historical processes. A modern understanding of “a pictorial turn” in historical research was presented. The virtual museum as an informational resource, multimedia phenomenon, cost-effective model of museum space was considered. The educational experience of the EU countries in using modern methods of working with museum expositions to form economic thinking was studied. The need to turn the traditional paradigm of the museum as a center for preserving historical values into the educational interaction between the tourist student and the objects of the museum’s collection was proved. The article describes the content of the two-stage pedagogical experiment (between 2014 and 2018). The first stage explores the possibility of using educational museum tours and historically significant territories of cities as a method of studying the history of regional economics in the context of seminars. The author’s pedagogical product, that is regional thematic tours on the history of economics, was presented. The second stage develops and verifies the methodology of using online resources of Ukrainian museums (virtual tours, virtual exhibits) to organize the independent work of students in the context of this subject. The thematic catalog of online resources of Ukrainian museums for conducting research activities within this subject was created. The article presents research activities with the exposition of the virtual museum in the framework of the independent work of students. Based on the results obtained from the survey of students from higher education institutions of Ukoоpspilka, it is proved that working in the virtual museum space implies innovative, multidisciplinary, competence-oriented research activities, as well as an effective form of organizing independent work of students.
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Chlebus-Grudzień, Patrycja. "Selfie at a Museum: Defining a Paradigm for an Analysis of Taking (Self-Portrait) Photographs at Museum Exhibitions." Turyzm 28, no. 1 (June 1, 2018): 7–13. http://dx.doi.org/10.2478/tour-2018-0001.
Повний текст джерелаАнотація:
Abstract Due to the development of social media, posting one's photos is becoming increasingly popular; they often take the form of, so called, ‘selfie’. The phenomenon of photographing oneself has also occurred in cultural institutions, including museums. The museums are implementing various strategies of reacting to people taking pictures of themselves with exhibits at the background. The article presents an analysis of these reactions, and, based on that, various ways of defining the functions and role of the contemporary museum. The author also attempts to provide an answer to the following question: is posting photographs by visitors an element of creating their own image (‘the Culture of Narcissism’), or is it rather a form of interaction with heritage, of a dialogue with the presented contents (‘remix culture’)?