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1
Johnston, Ewan. "Reinventing Fiji at 19th-century and early 20th-century exhibitions." Journal of Pacific History 40, no. 1 (2005): 23–44. http://dx.doi.org/10.1080/00223340500082459.
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Zychowicz, Karolina. "The Exhibition-Organising Activity of the Committee for Cultural Cooperation with Foreign Countries (1950–1956) Based on the Example of Selected Exhibitions at the Zachęta Central Bureau of Art Exhibitions." Ikonotheka 26 (June 26, 2017): 63–94. http://dx.doi.org/10.5604/01.3001.0010.1673.
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The documentation of the Committee for Cultural Cooperation with Foreign Countries, which was an offi cial agency active in the years 1950–1956, is currently deposited at the Central Archives of Modern Records in Warsaw and constitutes an invaluable source for any Polish scholar interested in the history of exhibitions. It contains large amounts of interesting data which make it possible to ascertain the character of Polish exhibitionorganising activity in the fi rst half of the 1950s. In the six years of its existence the Committee organised ca. one hundred exhibitions. The essay concerns exhibitions hosted in the main building of the Central Bureau of Art Exhibitions, i.e. the Zachęta. Foreign exhibitions prepared by the Committee were intended to justify the state’s cultural strategy based on promoting the aesthetics of Socialist Realism, which programmatically referred to 19th-century Realism and its historical traditions. Exhibitions of art produced in the countries of the Eastern bloc presented the local version of Social Realism plus 19th-century painting that could be described as “Critical Realism”. Bringing to Poland exhibitions of folk art from the “brotherly” countries of the Eastern bloc was an important element of the Committee’s policy, as in the years 1949–1956 attempts were made to use folk art in the process of remodelling the country in the Socialist spirit. The Committee for Cultural Cooperation with Foreign Countries was established in 1950 in order to centralise, expand and politicise artistic exchange. On the whole, however, the idea to centralise all of the cultural exchange with foreign countries turned out to be a utopia. In 1955, just as the so-called thaw was beginning, the Ministry of Culture and Art offered the proposal to decentralise the exchange and to dissolve the Committee.
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Cuypers, Constant. "A computerised compilation of contemporary art at Dutch exhibitions in the 19th century (CADENS)." Art Libraries Journal 12, no. 1 (1987): 42–44. http://dx.doi.org/10.1017/s0307472200005058.
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CADENS is a project based at the Institute of Art History at the University of Nijmegen. The intention is to provide comprehensive access to information on contemporary art contained in all Dutch 19th century art exhibition catalogues, by means of a computer database. Two publications, a directory of artists and a keyword index, are envisaged.
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Martínez, Miriam Velázquez. "The Franz Mayer Collection and the Rogerio Casas-Alatriste H. Library." Art Libraries Journal 37, no. 4 (2012): 27–30. http://dx.doi.org/10.1017/s0307472200017715.
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The existence of the Franz Mayer Museum is due to the German philanthropist and naturalized Mexican, Franz Gabriel Mayer Traumann Altschul (1882-1975), who bequeathed to the Mexican people his library and decorative arts collection. Considered the most important of its kind in the country, it includes works from the 16th through the 19th centuries, from America, Europe and Asia. It is located in Mexico City, in a building dating from the second half of the 16th century, and celebrated its 25th anniversary in 2011. The Library, which is open to researchers, is currently made up of around 22,000 volumes, and specializes in decorative arts and the history of Mexico in the 19th century, among other subjects. As well as displaying the Mayer Collection the Museum also presents temporary exhibitions on decorative arts, contemporary design and photography, while the library holds two exhibitions a year highlighting the bibliographic collections.
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Raffai, Judit, and Ferenc Németh. "Representation of 19th century Serbian folk architecture from Banat in the ethnographic village of the Hungarian Millennium Exhibition (1896)." Zbornik Matice srpske za drustvene nauke, no. 166 (2018): 281–94. http://dx.doi.org/10.2298/zmsdn1866281r.
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In the last quarter of the 19th century, national exhibitions had become popular in Hungary as well, following the examples of world exhibitions around Europe. A part of this process was the Hungarian Millennium Exhibition set up in 1896, which mobilised enormous energy and presented the ethnographic values of the region with special emphasis. In the Ethnographic Village of the exhibition, the counties of the country set up valid copies of 24 furnished farmhouses from their regions. Twelve of these houses were intended to present the folk culture of national minorities living in Hungary. The Toront?l County, among other things, exhibited a Serbian house type from Crepaja village and a copy of its furniture, as well as Serbian folk costumes from villages Melenci and Crepaja. A research preceded the exhibition. J?nos Jank?, an ethnographer from Budapest, conducted a fieldwork in the above mentioned settlements in 1894, with the support of the Toront?l County. During his trip, he made notes, photos and drawings. He summarised the results of his research on several occasions. After the closing of the exhibition, the objects were placed in the collection of the then-formed Museum of Ethnography in Budapest, where they can be found even today. In our work, we would like to publish the results of this research and exhibition in a wider context, since these data, drawings and photos, which are mostly unknown for the ethnography and cultural history of the region, originate from the earliest stage of professional ethnographic research in Banat.
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de Ceglia, Francesco Paolo. "The Importance of Being Florentine: A Journey around the World for Wax Anatomical Venuses." Nuncius 26, no. 1 (2011): 83–108. http://dx.doi.org/10.1163/182539111x569775.
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AbstractThis article reconstructs the 19th century history of events regarding a few female wax anatomical models made in Florence. More or less faithful copies of those housed in Florence's Museum of Physics and Natural History, these models were destined for display in temporary exhibitions. In their travels through Europe and the United States, they transformed the expression "Florentine Venus" into a sort of brand name used to label and offer respectability to pieces of widely varying quality.
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Brenni, Paolo. "Prizes, Medals and Honourable Mentions." Nuncius 34, no. 2 (2019): 392–420. http://dx.doi.org/10.1163/18253911-03402010.
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Abstract Ever since antiquity, medals that were often also remarkable works of art were used to mark the achievements and testify to the glory of a person or his bravery on the battlefield, or to celebrate or commemorate a particular event. Sovereigns and nobles wore medals as symbols of their power, wealth and achievements or distributed them as exceptional gifts in order to maintain or garner support. In the 19th century the use of medals increased dramatically. In fact, with the machine age a new class of heroes was born. These were the engineers, the technicians and the manufacturers who were industrializing the Western world. And these pioneers of technological progress became the new recipients of a tide of medals, diplomas and awards which were primarily distributed at the national, international and universal exhibitions and fairs which abounded during the last decades of the 19th and the first decades of the 20th centuries. This essay will focus on instrument makers, whose activities bridged science and industry. Their products represented the high technology of their day in the sector of precision instruments, and the most outstanding ones, judged to be deserving of an award, were selected following examination by a jury composed of specialists. But what were the criteria adopted by the jurors? Did political considerations influence their judgments? What were the importance and the significance of these awards? Did they have an impact on the instrument maker’s trade or were they just attractive souvenirs to be taken home from the exhibitions? Based on an analysis of many documents (reports, lists of medallists, catalogues, specialized articles, etc.) relating to industrial exhibitions held in Europe and the United States during the 19th century, the present essay provides an answer to these questions.
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.
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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Shevtsov, N. V. "Magazine «Otechestvennye Zapiski » in the History of Russian Culture of the 19th Century." Concept: philosophy, religion, culture, no. 3 (November 17, 2019): 132–42. http://dx.doi.org/10.24833/2541-8831-2019-3-11-132-142.
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The literary magazine «Otechestvennye Zapiski» legitimately belongs to the realm of the most known and reputable periodicals in the history of Russian journalism. Its publishers did everything possible to refine the journalistic style of its content and to turn each issue or, a book, as they used to call them, into high-quality classical thick literary magazines. The magazine published articles and stories of various genres. All of them stood out in terms of the high-quality writing. Both, up-and-coming and established authors dreamed of a publication there. At the same time, all of them realized that it was crucial to write something special for «Otechestvennye Zapiski», something not to be found in any other magazine. For many years, the magazine had a reputation of journalism training school. Yet, not only had it shaped outstanding journalists. Many up-and-coming writers became famous after the magazine featured their first works. Those, who we call today the classics of Russian literature, were among them. The magazine discovered Mikhail Lermontov to the world by being the first publisher of his short novels «Bela», «Fatalist», and «Taman» which later became parts of the novel «A Hero of Our Time». Many poems of Lermontov found the readers through «Otechestvennye Zapiski». Some of the early works of Nikolay Gogol and Fyodor Dostoyevsky were first featured there. It was this magazine, where young Turgenev gave his early poems as well. Plays of Alexander Ostrovsky went to the stages of the leading theaters shortly after being published in «Otechestvennye Zapiski». Taking advantage of the glory of a brilliant literary and artistic magazine, “Otechestvennye Zapiski” made a great contribution to the Russian culture. From the first years of its existence, articles on the newly opened private art galleries, numismatic collections, libraries, and various art exhibitions began to appear on its pages. From the very beginning of its publication and up to its closure, the journal carried out an important educational mission.
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Apostolos-Cappadona, Diane. "Religion and the Arts: History and Method." Brill Research Perspectives in Religion and the Arts 1, no. 1 (2017): 1–80. http://dx.doi.org/10.1163/24688878-12340001.
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AbstractIn Religion and the Arts: History and Method, Diane Apostolos-Cappadona presents an overview of the 19th century origins of this discrete field of study and its methodological journey to the present-day through issues of repatriation, museum exhibitions, and globalization. Apostolos-Cappadona suggests that the fluidity and flexibility of the study of religion and the arts has expanded like an umbrella since the 1970s—and the understanding that art was simply a visual exegesis of texts—to now support the study of material, popular, and visual culture, as well as gender. She also delivers a careful analysis of the evolution of thought from traditional iconographies to the transformations once scholars were influenced by response theory and challenged by globalization and technology. Religion and the Arts: History and Method offers an indispensable introduction to the questions and perspectives essential to the study of this field.
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Počs, Kārlis. "A VIEW ON THE HISTORY OF LATVIAN-FRENCH CULTURAL RELATIONS BEFORE WORLD WAR II." Via Latgalica, no. 1 (December 31, 2008): 75. http://dx.doi.org/10.17770/latg2008.1.1598.
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Because of the geographic location of the Latvian and the French nations and of different trends in the development of their histories contacts between them were established relatively late. This in turn slowed down the development of their cultural relations. In this development, we can distinguish two stages: before the formation of the Latvian state (from the second half of the 19th century until 1918), and during the Latvian state until the Soviet occupation (1920–1940). The objective of this paper is to determine the place and the role of the Latvian-French cultural relations in the development of the Latvian culture before World War II. For this purpose, archive materials, memoirs, reference materials and available studies were used. For the main part of the research, the retrospective and historico-genetic methods were mostly used. The descriptive method was mainly used for sorting the material before the main analysis. The analysis of the material revealed that the first contacts of the Latvians with French culture were recorded in the second half of the 19th century via fine arts and French literature translated into Latvian. By the end of the century, these relations became more intense, only to decrease again a little in the beginning of the 20th century, especially in the field of translations of the French belles-lettres. The events of 1905 strengthened Latvian political emigration to France. The emigrants became acquainted with French culture directly, and part of them added French culture to their previous knowledge. The outcome of World War I and the revolution in Russia then shaped the ground for the formation of the Latvian state. This dramatically changed the nature and the intensity of the Latvian-French cultural relations. To the early trends in the cooperation, the sphere of education was added, with French schools in Latvia and Latvian students in France. In the sphere of culture, relations in theater, music and arts were established. It should be noted that also an official introduction of the French into Latvian art began at that time. As a matter of fact, such an introduction had already been started by Karlis Huns, Voldemars Matvejs, and Vilhelms Purvitis, who successfully participated in the Paris art exhibitions before the formation of the Latvian state. In the period of the Latvian state, artists would arrange their personal exhibitions in France, and general shows supported by the state would be arranged. The most notable of them were the following: - In 1928, the Latvian Ministry of Education supported the participation of all Latvian artists’ unions in the exhibition dedicated to the 10th anniversary of the state. General shows were organized in Warsaw, Budapest, Copenhagen, Paris, London, etc. (Jaunākās Ziņas, 1928: Nr. 262, 266); - in the summer of 1935, an exhibition of folk art from the Baltic states, including textiles, clothes, paintings, sculptures, and ceramics was opened in Paris; - the largest exhibition of Latvian artists in Paris took place from January 27 to February 28, 1939, with presidents of both states being in charge of its organization. It can be concluded that the Latvian-French cultural relations were an important factor in the development of Latvian culture, especially in the spheres of fine arts and literature until the Soviet occupation.
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Saburova, Tatiana. "Geographical Imagination, Anthropology, and Political Exiles." Sibirica 19, no. 1 (2020): 57–84. http://dx.doi.org/10.3167/sib.2020.190105.
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This article is focused on several themes connected with the history of photography, political exile in Imperial Russia, exploration and representations of Siberia in the late 19th–early 20th centuries. Photography became an essential tool in numerous geographic, topographic and ethnographic expeditions to Siberia in the late 19th century; well-known scientists started to master photography or were accompanied by professional photographers in their expeditions, including ones organized by the Russian Imperial Geographic Society, which resulted in the photographic records, reports, publications and exhibitions. Photography was rapidly spreading across Asian Russia and by the end of the 19th century there was a photo studio (or several ones) in almost every Siberian town. Political exiles were often among Siberian photographers, making photography their new profession, business, a way of getting a social status in the local society, and a means of surviving financially as well as intellectually and emotionally. They contributed significantly to the museum’s collections by photographing indigenous people in Siberia and even traveling to Mongolia and China, displaying “types” as a part of anthropological research in Asia and presenting “views” of the Russian empire’s borderlands. The visual representation of Siberia corresponded with general perceptions of an exotic East, populated by “primitive” peoples devoid of civilization, a trope reinforced by numerous photographs and depictions of Siberia as an untamed natural world, later transformed and modernized by the railroads construction.
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Allen, Nancy S. "History of Western sources on Japanese art." Art Libraries Journal 11, no. 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.
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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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Tyszkiewicz, Adam. "MANAGING THE COLLECTIONS OF THE MEDICAL UNIVERSITY OF WARSAW VERSUS THE EXPERIENCE OF THE HUMBOLDT UNIVERSITY AND THE UNIVERSITY OF VIENNA." Muzealnictwo 60 (July 24, 2019): 163–73. http://dx.doi.org/10.5604/01.3001.0013.3012.
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The Medical History Museum founded in 2011 within the structure of the Medical University of Warsaw (WUM), following the solutions introduced at the Humboldt University in Berlin and the University of Vienna, is planning to shortly introduce coordination of protection and display of the historic tangible heritage of the school. In both Berlin and Vienna in the early 21st century the project of university collection inventory was launched. Just over several years it yielded a large-scale digitizing process, foundation of theme websites, publications, and organization of temporary exhibitions promoting the historic university collections. The Association of University Museums established in Poland in 2014 has for several years been drawing inspiration from the German and Austrian models. The WUM Medical History Museum, resorting to the experience of the Berlin and Vienna universities, has applied numerous ideas for the integration of the historic collections, their identification, and recreation. Following the history of medical collections in Warsaw from the 1st half of the 19th century up to contemporary times, the Author analyses the model for this museum strategy, while also presenting examples of dangers resulting from the mismanagement of university historic heritage.
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Kościuczuk, Krzysztof. "Looking Back at Looking Forward: Art Exhibitions in Poland for the 1975 AICA Congress." Ikonotheka 26 (June 26, 2017): 277–90. http://dx.doi.org/10.5604/01.3001.0010.1690.
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The above text examines the 11th Congress of the International Association of Art Critics (AICA) organised in the People’s Republic of Poland in September of 1975 upon the initiative of Professor Juliusz Starzyński, who was the head of the organisation’s Polish Section. The congress, whose offi cial theme was “Art – Science – Technology as Elements of the Development of our Epoch”, marked the second AICA event in history to be held in Poland, and while Starzyński himself did not live to see the result of his efforts, the intent to commission a number of collateral exhibitions across the country – meant to serve as surveys of Polish art – was successful. Those attending the congress had the occasion to visit the cities of Cracow, Łódź, Warsaw, and Wrocław. The text takes a closer look at two of these exhibitions: Voir et Conçevoir (Widzieć i rozumieć) which was developed for Cracow’s historic Cloth Hall, a part of the city’s National Museum, by Mieczysław Porębski in collaboration with Andrzej Pawłowski, and the exhibition that came to be known as Critics’ Picks (Krytycy sztuki proponują), which was held at the Central Bureau of Art Exhibitions, known as the Zachęta, in Warsaw. The concept of each, it is argued, was driven by a need for experiment. While the former exhibition came to be remembered as an innovative, if not radical, way of engaging the permanent museum display in which the highlights of Polish 19th-century art were juxtaposed with several new commissions by contemporary artists, the latter – the result of no less an experimental concept in which a group presentation was based on a survey conducted among local critics – remains largely forgotten – the upshot of a series of compromises, largely enforced by the political situation of the time. Exploring Voir et Conçevoir and Critics’ Picks as exhibitions in state institutions within the context of an international event, the paper seeks to shed light on the intersection of offi cial artistic practices and politics in the People’s Republic of Poland in the mid-1970s in an attempt to identify the key agents that were active in the fi eld as well as the defi ning conditions of their activity – or, in other words, to ask the question as to what kind of offi cial statements were made possible at the time and how they were motivated.
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Jay, Mike. "2 The history of psychedelics in psychiatry." Journal of Neurology, Neurosurgery & Psychiatry 91, no. 8 (2020): e1.3-e1. http://dx.doi.org/10.1136/jnnp-2020-bnpa.2.
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Mike Jay has written widely on the history of science and medicine, and particularly on the discovery of psychoactive drugs during the 18th and 19th centuries. His books on the subject include Emperors of Dreams: drugs in the nineteenth century (2000, revised edition 2011) and most recently High Society: mind-altering drugs in history and culture (2010), which accompanied the exhibition he curated at Wellcome Collection in London. The Atmosphere of Heaven is also the third book in his series of biographical narratives of political reformers in 1790s Britain. It follows The Air Loom Gang (2003, revised edition forthcoming 2012) and The Unfortunate Colonel Despard (2004).The history of psychedelics in psychiatry is longer than usually recognised. The potential of psychedelic drugs to effect mental cures, and the difficulty of managing their powerful effects, were both recognised over a century ago. Since 1962 the research protocols for demonstrating drug efficacy have posed particular problems for psychedelic-assisted therapy.
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Brizon, Claire. "Collections coloniales?" TSANTSA – Journal of the Swiss Anthropological Association 24 (May 1, 2019): 24–38. http://dx.doi.org/10.36950/tsantsa.2019.24.6888.
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Based on three case studies of artifacts from 18th century collections preserved in Swiss cultural institutions, I attempt to rethink the use of the word "colonial" before the 19th century, and to apply it to describe collections from the modern period. I attempt to shed light on how these collections could be exhibited to provide critical perspective on these artefacts and the stories they are allowed to tell, in view of the upcoming exhibition entitled Exotic Switzerland? A Global History of the Enlightenment to open in 2020 at the Palais de Rumine in Lausanne.
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Martins, Luciana. "Skin, paper, tiles: A cross-cultural history of Kadiwéu art." Journal of Material Culture 23, no. 3 (2018): 344–67. http://dx.doi.org/10.1177/1359183518782713.
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This article focuses on the global traffic in images relating to Kadiwéu culture in South America, analysing the extent to which they are entangled in the group’s continuing sense of presence. It begins with Kadiwéu designs as they appeared in the sketchbook of the artist–explorer Guido Boggiani in the late 19th century. It then explores the mapping of Kadiwéu territory and the practices and protocols informing a politics of land rights, cultural property and economic survival, looking in particular at the commissioning of Kadiwéu designs for a housing estate and an associated exhibition in Berlin early in the 21st century. By developing a cross-cultural history of Kadiwéu art that considers the transnational networks across different times and spaces, including the case of a transcultural history of copyright, the article seeks to contribute to the ongoing re-thinking of the colonial visual archive and its afterlife.
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Khartanovich, Margarita F., and Maria V. Khartanovich. "Museum of Classical Archeology of the 19th-century Imperial Academy of Sciences: The history of organizing and transferring collections to the Imperial Hermitage." Issues of Museology 12, no. 1 (2021): 13–27. http://dx.doi.org/10.21638/spbu27.2021.102.
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The Museum of Classical Archeology of the Imperial Academy of Sciences is the successor to the 18th-century Kunstkamera of the Academy of Sciences in term of collections of classical antiquities. This article discusses in detail the stages of development of the Museum of Classical Archaeology as an institution within the structure of the Academy of Sciences through the Cabinet of Medals and Rarities, Numismatic Museum, and the Museum of Classical Archaeology. The fund of the museum consisted of ancient Greek and Roman coins, ancient Russian coins, coins from oriental cultures, ancient Greek vases, antiquities from ornamental stone, glass, precious metals, impressions of medals and coins, items from archaeological excavations and treasures, manuscripts, drawings of objects and photographs. Special attention is paid to the correlation of the possibilities of museum collections of the Academy of Sciences and the Imperial Hermitage in terms of storage, exhibition, research, and promotion of archaeological collections in the second half of the 19th century. The reasons for the very active transfer of the Academy of Sciences’ archaeological collections to the Hermitage in the 19th century and the types of compensation received by the Academy for the collections are discussed. The first archaeological collections donated from the Academy of Sciences to the Hermitage on the initiative of the chairman of the Imperial Archaeological Commission S. G. Stroganov were the “Siberian collection” of Peter I and the Melgunov treasure. The collection of the Museum of Classical Archeology also attracted the attention of art critic I. V. Tsvetaev when arranging funds for the new Museum of Fine Arts at Moscow University. The article introduces into scientific circulation archival documents, showing the state of the museum work in the 19th century in the institution of the Academy of Sciences, documents depicting the structure of the Museum of Classical Archaeology, and the composition of collections.
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Vogel, Melanie. "The new Rijksmuseum library: how a 21st-century research library became an exhibition room." Art Libraries Journal 39, no. 1 (2014): 24–28. http://dx.doi.org/10.1017/s0307472200018149.
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The greatest art library in the Netherlands returned to its original rooms inside the Rijksmuseum Amsterdam. How can this library with its own rich history serve the demands of a 21st-century user? What might be the appropriate measures to counter the struggles of the first weeks after the grand re-opening? After more than a decade of reconstruction and renovation the Rijksmuseum Amsterdam was reopened on 13 April 2013. The inside of the museum has been completely transformed and the building itself has been restored to its original splendour. The largest art research library in the Netherlands has become accessible to the general public, seven days a week from 10 am to 5 pm. More then 10,000 visitors a day are eager to explore the museum as well as its unique 19th-century reading room designed by P.J.H Cuypers. But how can the original concept be adapted to present day demands?
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Borozan, Igor. "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini." Ars Adriatica 9 (February 28, 2020): 133–50. http://dx.doi.org/10.15291/ars.2928.
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The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.
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Lakner, Lajos. "Egy református prédikátor, egy főhadnagy és a Magyar Füvész Könyv." Kaleidoscope history 11, no. 22 (2021): 211–20. http://dx.doi.org/10.17107/kh.2021.22.211-220.
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A specific part of local history permanent exhibition of the Déri Museum in Debrecen is named The Garden. Here the visitors can learn about two significant gardens of the city and may have a look into its botanical environment. The first Hungarian scientific plant identification book of Sámuel Diószegi and Mihály Fazekas, The Hungarian Herbal is also displayed here. This study presents a number of interesting details about the book’s origin, the authors' objectives and the public reception of this work, which also reveal the role this book played in the professional activities of the two authors and provide an insight into the assessment of botanical science in Debrecen during the early 19th century.
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Capp, Jean-Pascal. "Cancer Stem Cells: From Historical Roots to a New Perspective." Journal of Oncology 2019 (June 11, 2019): 1–10. http://dx.doi.org/10.1155/2019/5189232.
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The relationships between cancer and stemness have a long history that is traced here. From the mid-19th century when the first theory on the embryonic origin of cancer was formulated to works on embryonal carcinoma cells in the mid-20th century, many steps have been crossed leading to the current cancer stem cell theory postulating that tumor growth is supported by a small fraction of the tumoral cells that have stem-like properties. However, in the last fifteen years, many works regularly encourage us to revise the concept of cancer stem cell. This article mentions key results that lead to a new perspective where cancer stem cells are primarily seen as cells exhibiting increased epigenetic plasticity and increased gene expression variability. This perspective suggests new therapeutical interventions consisting in stabilizing gene expression to control cancer cell proliferation and prevent stochastic gene expression variations that could lead to therapeutic resistance.
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Mederos Martín, Alfredo, and Gabriel Escribano Cobo. "Descubrimientos y exhibición de momias guanches en la primera mitad del siglo xix. Museos europeos (Montpellier, Göttingen, San Petesburgo, Ginebra) y gabinetes científicos insulares de Saviñón y Megliorini." Revista de Historia Canaria, no. 203 (2021): 125–60. http://dx.doi.org/10.25145/j.histcan.2021.203.05.
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The exhibition of two mummies in the Natural History cabinet in Paris aroused the interest of various scientific expeditions that made a stopover in Tenerife in the first half of the 19th century. Nicolas Baudin’s expedition in 1800 coincided with the discovery of a cave with mummies in El Sauzal and three ended up in the university museums of Montpellier and Göttingen and one in the cabinet of Saviñón. Another mummy was given to von Krusenstern’s Russian expedition of 1803, currently in the museum of Saint Petersburg. A new cave with mummies was discovered ca. 1815 in Tacoronte, which ended up in the scientific cabinet of Megliorini. Another mummy located in Valleseco, Santa Cruz, around 1823, was sold in Puerto de la Cruz to a Swiss merchant for the Geneva museum.
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Anna, Mallek. "Pedagogika muzealna. Cele, idea, kierunek rozwoju i zastosowanie w praktyce na przykładzie „lekcji muzealnej” w polskim muzeum historycznym." Problemy Wczesnej Edukacji 28, no. 1 (2015): 114–27. http://dx.doi.org/10.5604/01.3001.0008.5676.
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Museum education is a subdiscipline of Pedagogy which has been changing rapidly during the current century. The beginning of such education was inevitably related to the origin of the museum. The richest royal men as kings, princes and priests set up their own individual collections which were displayed only to chosen people. The fi rst museums are claimed to have existed during the Italian Renaissance, for instance Pope Sixtus IV hired Michaelangelo Buonarrotti to create a special place for ancient collections. During the French Revolution it was believed that art had got an unique ability to rehabilitate those members of society who suffered from alcoholism and other kinds of pathology. The Louvre was opened to the public in 1793 and, since that time, art collections have started to be organised in special exhibition form. At the end of the 19th century two German art historians and educationists Alfred Lichtwark and Georg Kerchensteiner started to form a special educational programme for children and young people, concerning the museum collection. In the history of Pedagogy they are claimed to be the forerunners of museum education which has been developing into one of the most infl uential and potential kinds of cultural education in the 21st century. Among history studies, I would like to present museum education in the context of one selected Polish historical museum and then analyze and interpret the ‘museum lesson’ in comparison with contemporary movements in museology and critical, progressive pedagogy.
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BRENNI, PAOLO. "IL METEOROGRAFO DI PADRE ANGELO SECCHI." Nuncius 8, no. 1 (1993): 197–247. http://dx.doi.org/10.1163/182539183x00082.
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Abstract<title> SUMMARY </title>During the 19th Century the systematic collecting of meteorological data became a general practice. Several scientists and instrument makers invented new meteorological instruments and improved the existing ones. Probably the most impressive and sophisticated recording apparatus was the meteorograph devised between 1855 and 1865 by the Italian astronomer Padre Angelo Secchi (1818-1878). This huge and complicated machine was presented to the 1867 Paris Universal Exhibition where it was considered the technological masterpiece. The instrument worked in Rome for several years and then, partially dismanteled, was finally stored in the Osservatorio Astronomico di Monte Porzio (Rome). Recently carried to Florence, the meteorograph is now beeing restored in the laboratories of the Opificio delle Pietre Dure under the supervision of the Istituto e Museo di Storia della Scienza. My paper will trace the history of this ingeniuos instrument which represented a technological achievement but an economic failure.
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Budai, G., and N. D. Afanasieva. "Teaching the Russian Language in Hungary: History of Cultural Interactions." Concept: philosophy, religion, culture 5, no. 1 (2021): 121–31. http://dx.doi.org/10.24833/2541-8831-2021-1-17-121-131.
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The paper is dedicated to outlining the main specific features of the spread and reception of Russian language in Hungary, with attention paid to the chronological perspective and the current situation. The text aims at revealing the factors, institutional and personal agents that fuel the interest to studying and teaching Russian in the atmosphere of Hungary. Russian history, culture, literature, traditions, and, consequently, the Russian language have always been of interest in Hungary. The Hungarian national culture developed in parallel with the rise of enthusiasm toward Russia — and in 1849 the Department of Slavic Philology was introduced at the University of Pest. Russian was popularized and spread in Hungary by textbooks and translations of famous oeuvres of Russian writers. The turn of the 19th century and the beginning of the 20th marked the growing interest of students to Russian, with the First World War, the October revolution in Russia and the subsequent Russian exodus intensifying mundane interactions. The Second World War, its outcomes and the split of Europe into two zones showed the clout that the Russian language acquired. In 1949, Russian became the only compulsory foreign language at school; Russian was introduced in higher educational institutions on a broader basis, including pedagogical institutes which were training Russian teachers for middle schools. After 1989, Hungary, like other Central and Eastern European countries, saw a sharp decline in the number of Russian language learners due to geopolitical reasons. The current stage of the spread of the Russian language in Hungary is characterized by positive changes: strengthening of economic relations between the countries, expansion of cultural and educational ties that is gradually leading to an increase in emphasis on the Russian language. In particular, it is owed to the liberalization of book industry and publishing of new Russian textbooks, digital promotion via Internet, construction of the Baksi nuclear power plant, and numerous exhibitions and festivals. What can be concluded is that cultural bonds connecting the Hungarians and the Russian language have a long path dependency relative to the post-1917 diaspora, the period of socialism and favourable relations with the USSR. Their effect is maintained by modern funds and associations. Economic ties that have foundation in both historical industrial cooperation and modern projects also foster attention to maintaining closer cultural interactions — and, thus, to studying Russian.
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Põllo, Helgi. "Toidukultuur Hiiumaa Muuseumis: kogumine, uurimine, vahendamine." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 116–35. http://dx.doi.org/10.33302/ermar-2017-005.
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Alimentary Culture at Hiiumaa Museum: Collection, Research, Exhibition and Outreach We have reached an age when museums’ collections, having rapidly increased in size, require substantive discussion on the need to continue acquisitions. Increasingly often we also encounter the question of whether cultural history museums that chronicle everyday life should devote more attention to aspects that affect practically all people, such as the topic of food and eating. We would do well to consider Maslow’s hierarchy of needs. To this point, museums’ focus has been more on art, achievements or decidedly material aspects. The article provides a concise overview of what the Hiiumaa Museum has been up to in the context of food and eating over its 50-year history. In the years following the establishment of the museum, attention in both exhibitions and collections was focused mainly on the tableware and utensils used for consumption or preservation of food, most of which originated in the 19th century. As time went on, activities were characterized by an increasing element of play enriched with knowledge (Soviet-era New Year’s exhibitions, “baron’s days”, Christmaslands and other visitor-oriented programmes). The exhibitions themselves grew and changed, even if their titles remained simple: Millest räägivad nõud? (What does tableware have to say? 2000) or Köök (Kitchen, 2015). Over the years, the museum became a place to spend free time in, but also turned into a centre of expertise for the small local community on the matter of regional food traditions. This need for better knowledge on the subject also spurred the development of the museum’s own research, surveys, and documentary efforts. As one example, we can cite the recorded responses to the question “What foods were on your Christmas table?”, around the time of the first free Christmas celebrations in 1990. A problem related to the food topic, revealed during the preparation of the Hiiumaa compilation in 2015, was the paucity (or at least the one-dimensional nature) of images in the museum’s collections. As the museum grew and life changed, new programmatic events such as salon evenings and café days were devised. All these major undertakings required volunteer assistance, because the museum’s own small team was not capable of covering the staffing needs of all these events. Outreach with students took place in all age groups – from nursery school to secondary school. Some of the assignments in the popular cooperation project involving upper secondary schoolers, “Becoming a Hiiumaa islander through tradition”, also tied in with food. The more stringent food safety codes of more recent years have reduced the museum’s possibilities for actually handing food or serving it to visitors. Still, a thing or two has changed over time, and in 2015, we organized a black pudding and white pudding preparation workshop in the museum’s classroom. As interest in the food topic has risen among the locals and Estonia-wide, new topics keep on accruing in the museum’s research sphere: e.g., drying of sheepshanks, making of head cheese. The best and most characteristic examples make their way, with the museum’s help, on to the UNESCO list of intangible heritage, but above all, they end up in the local museum’s collections. Certainly many important topics require much analysis within the museum to make better sense of acquisition policies as well as the museum’s mission and role in society as a whole. Once again, taking up the topic of food and eating has given impetus for this process.
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Rasche, Adelheid. "The culture of clothing: On the history of the Fashion Image Collection – Lipperheide Costume Library in Berlin." Art Libraries Journal 42, no. 3 (2017): 162–68. http://dx.doi.org/10.1017/alj.2017.23.
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In the last third of the 19th century, Berlin was the undisputed capital of the German clothing and fashion industry on an international scale. Several publishing houses specialized in the production of fashion magazines for different target groups. One of the success stories in this context is that of the publisher Franz Lipperheide and his wife Frieda. In 1865, they founded their own company, publishing the journal Die Modenwelt: Illustrirte Zeitung für Toilette und Handarbeiten. This journal quickly became the most-read fashion journal in Berlin. By the company's 25th anniversary in 1890, a total of 12 international editions of the journal was published with around 500,000 subscribers. The economic success of their company allowed the Lipperheides to create extensive private collections that reflected their deep interest in cultural-historical topics as well as textile art.This paper focuses on their collection of source material for costume studies, which is now known as the ‘Sammlung Modebild—Lipperheidesche Kostümbibliothek’ (Fashion Image Collection—Lipperheide Costume Library), a department of the Kunstbibliothek at the Staatliche Museen zu Berlin. The paper presents its history, some collection highlights and the various means of access (catalogues, exhibition catalogues and online access).
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Budrina, Ludmila A. "THE RUSSIAN DEPARTMENT’S CARVED STONE AT THE 1893 WORLD’S COLUMBIAN EXPOSITION: RECONSTRUCTION OF THE COLLECTION." Ural Historical Journal 71, no. 2 (2021): 17–24. http://dx.doi.org/10.30759/1728-9718-2021-2(71)-17-24.
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In the 19th century stone-cutting art has become one of the brightest elements in the representation of the Russian Empire. World’s fairs provided ample opportunities for this representation. The article examines the structure of the collections and the list of the exhibitors at one of the largest fairs — The World’s Columbian Exposition of 1893. The paper draws upon both published and archival documents, including those which have not yet been used for the examination of the representation of Russia’s stone art at this exhibition. It reconstructs mineralogical, technical and typological diversity of the exhibited items and the principle of reciprocal completing of the exhibitors. It also analyzes the items presented by the imperial Petergof, Ekaterinburg lapidary and Kolyvan grinding factories, by Carl Woerffel’s enterprise and a wide range of small Ural producers as well. Due to discovering of archival materials, a number of items, exhibited in Chicago, was identified in themuseum collections in Russia and abroad. Some attributional details for the exhibited Woerffel items are offered which made it possible to propose the authorship and dating for the items from Russian and foreign collections. The author is also the first to analyze the collection, purchased at the exhibition from the Russian stonecutters for The Field Museum of Natural History in Chicago. A conclusion is drawn about the role of the colored stones items and the importance of their presentation for the formation of the Russian Empire’s image as one of the most important world centers of the decorative stones development.
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Kosmala, Gerard, and Dagmara Chylińska. "SCIENCE TOURISM. ABOUT THE ORIGINS AND SCOPE OF THE PHENOMENA." Folia Turistica 43 (June 30, 2017): 167–88. http://dx.doi.org/10.5604/01.3001.0010.7889.
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Purpose. Critical analysis of the “science tourism” concept described in Polish and foreign scientific literature on tourism, a overview and description of its phenomenon and to point out the place of science tourism within the general typology of tourism. Method. Analysis of scientific works and likewise information and data from institutions offering science tourism tourist attractions. Synthesis and systematization of final findings/results. Findings. Science tourism (knowledge and science tourism) means travels to get to know, to experience and practise as well as and encounter its results. In contrast to the prevalent economical approach, the proposed definition represents a functional approach and negates consideration of professional and business travels as tourism. Origins of science tourism reach the 19th century world exhibitions. Nowadays, knowledge and science tourism are used for the popularization of knowledge and scientific inventions and not only in the high-tech industry. They provide the opportunity to get to know the history of science, significant researchers and investigators and also places where “science” is created and inventions take place. Research and conclusion limitations. In our opinion, science tourism (knowledge and science tourism) significantly differs from the common definition/understanding of this term in the analysed scientific literature. Practical implications. Understanding and organizing issues related to science tourism in discussion about the ambiguous and questionable phenomenon. An introduction to further quantitative and qualitative analysis. Originality. The paper is an attempt to order knowledge of science tourism in foreign and Polish scientific literature, to propose other definitions anchored in the functional approach, which eliminates most doubts appearing within the economical and statistical approaches. Type of paper. Theoretical, critical, review.
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Sapfirova, N. "AN ECLECTIC TREND IN PRODUCTS OF JOZEPH MARSHAK'S JEWELRY FACTORY ON EXAMPLE OF A SILVER TEA AND COFFEE SET, EXIBITED AT THE ALL-RUSSIAN EXIBITION IN KIEV IN 1913." Innovative Solution in Modern Science 6, no. 42 (2021): 204. http://dx.doi.org/10.26886/2414-634x.6(42)2020.12.
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The subject of research is the legacy of Joseph Abramovich Marshak – famous Kiev jeweler and owner of a jewelry enterprise, whose period of activity covers 1878–1918. Among the large number of jewelry made during the forty years of the factory's operation, it should be noted products that correspond to the stylistic trends of the era of historicism, in particular, the silver tea and coffee set, exhibited at the All-Russian Exhibition in Kiev in 1913. The main task of this work is to investigate artful language of eclecticism, expressiveness of which allowed artists of J. Marshak's era to combine decorative heritage and semantic interpretation from Antiquity to beginning of the 20th century. Methodology of this work is based on general scientific principles of historicism and an art history approach. They were realized through the use of following general scientific research methods: otnological, hermeneutic, semiotic, cultural, cross-cultural, iconographic, typologization and art history analysis. Scope of results application outlines teaching activities in specialized educational institutions in formation of plans for art and cultural disciplines, jewelry attribution by Kiev jewelers of marked period, writing scientific and popular scientific works, reference books, encyclopedias, textbooks. Main conclusion: features of jewelry artistic language, which were presented in the tea and coffee set, produced in eclectic style at the Joseph Marshak's factory are revealed. Importance of active exhibition activity and its connection with improvement of stylistic solutions in the jewelry production is displayed. It has been established that eclecticism was given priority in comparison with other stylistic directions at the basis of creative developments at J. Marshak's factory.Key words: jewelry, eclecticism, Joseph Marshak, late 19th – early 20th century.
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Терновая, Ирина Ивановна. "“Irkutsk annals” as a source for studying the history of the Irkutsk Regional Art Museum at the end of 19th – the first third of the 20th century." Искусство Евразии, no. 2(17) (June 27, 2020): 278–90. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.018.
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В 2020 году Иркутский областной художественный музей им. В.П. Сукачева празднует свое 150-летие. По богатству и разнообразию своих коллекций он стал одним из крупнейших музеев не только в Сибири, но и России в целом. В данной статье автор представляет «Иркутские летописи» в качестве источника изучения истории Иркутского художественного музея, опираясь на хронологическую точность приведенных фактов. В результате введены в научный оборот и систематизированы обширные документальные материалы об организации музея, становлении его коллекции и выставочной деятельности, уточнены некоторые факты. Сведения, полученные в ходе изучения «Иркутских летописей», значимы для искусствоведов и историков. In 2020, the Sukachev Irkutsk Regional Art Museum celebrates its 150th birthday. In terms of the richness and diversity of its collections, it has become one of the largest museums not only in Siberia, but also in Russia as a whole. In this article, the author presents “Irkutsk annals” as a source for studying the history of the Irkutsk Regional Art Museum, based on the chronological accuracy of the facts contained in it. As a result, extensive documentary materials about the organization of the museum, the establishment of its collection and exhibition activities were introduced and systematized, some facts were clarified. The information obtained during the study of the “Irkutsk annals” is significant for art historians.
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Júlia, Papp. "Adatok Ii. Lajos magyar király páncélos ábrázolásaihoz." Művészettörténeti Értesítő 69, no. 2 (2021): 269–302. http://dx.doi.org/10.1556/080.2020.00013.
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Most of the posthumous portraits of Louis II, who died in the battle of Mohács in 1526, show him in armour. In some pictures he is wearing fictitious armour, but in other portraits he is clad in the armour which until 1939 was believed to had once been his, but actually had been made in 1533 for the Polish king Sigismund II Augustus and is currently kept in the Hungarian National Museum. The author of the study has examined the latter group of artworks. She describes the armours of Louis II, some only mentioned in archival sources or historical works. Some items that can certainly or presumably be attributed to him are kept in museums abroad. The first paintings in which Louis II is wearing the gilded ornamental armour were painted by István Dorffmeister in the mid-1780s. Since at that time the armour was on display in one of the gala rooms fitted out in Vienna’s Kaiserliches Zeughaus in the 1760s, the study discusses the history of the imperial armour and weapon collections and the conception of the arms exhibition in the Zeughaus at that time. After the demolition of the Zeughaus in 1856, the armour was transferred, together with the rest of the imperial collection of armours and weapons, to the war museum wing of the newly built Arsenal. The armour was presented by the Austrian catalogues of the museum as belonging to Louis II, and some items had illustrations added to them. The armour was introduced in Pest in 1876 at a historical exhibition for charitable purposes, and later in 1896 at the Millennial Exhibition. The Hungarian press also devoted articles to it, and several scholarly papers were written about the armour.The prototypes for some of the 19th century artworks depicting Louis II in the Viennese armour – most of them local monuments preserving the memory of the battle – were István Dorffmeister’s paintings. His battle scene showing the death of Louis II appears in a sketch of an unrealized monument, dated 1846; in the picture painted on metal that adorned the monument in Mohács in the 1860s and on the bronze relief replacing it in the late 1890s. The antecedents to another group of representations must have been the 19th century Austrian and Hungarian descriptions and illustrations of the armour attributed to Louis II. The ruler wears this armour in several book illustrations and on the statue by Ferenc Vasadi on the Danubian facade of the Hungarian Parliament building.Although these artworks presenting Louis II in Sigismund II Augustus’ armour do not satisfy the iconographic criteria of historical authenticity, they were up-to-date for their time, for instead of depicting the fictitious, often waywardly fantastic armours of earlier centuries, they presented the portrayed person in an existing armour made in his own era, that is, with a historically authentic appearance.
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Balyunov, I. V. "Archaeological Collections of the Medieval Hillfort Isker from the Funds of the Tobolsk Provincial Museum." Archaeology and Ethnography 18, no. 3 (2019): 24–34. http://dx.doi.org/10.25205/1818-7919-2019-18-3-24-34.
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Purpose. The hillfort of Isker is a unique medieval site in the history and archaeology of Siberia, which used to be the center of a large political association, the Siberian Khanate. The purpose of the article is to describe the history of its archaeological collections stored in the funds of the Tobolsk provincial museum. At the same time, we aim at showing how these materials were used in the exposition, research and educational activities of the museum in the late 19th – early 20th century. Results. At the stage of the museum being founded, few artifacts from the hillfort of Isker were stored in its funds. At that time, the famous Tobolsk artist M. S. Znamensky, who also worked at the museum, contributed to the replenishment of its funds. He was the author of the book “Isker”, which was published in 1891. Due to unclear circumstances, only a small part of the archaeological collection devoted to this hillfort and belonging to M. S. Znamensky remained in Tobolsk. In subsequent years, the museum regularly replenished its funds with the artifacts discovered on the territory of the hillfort. If we look at the list of the donators, we can see that active collectors of finds were the museum staff. According to the data available, the number of items obtained from the hillfort of Isker at those times exceeded the number of all other materials of the archaeological department. The artifacts were constantly shown to the public in the exhibition halls and occupied an important place in the exposition display. The continuation of this activity was connected with the first excavations on the site, which were conducted by the museum conservator V. N. Pignatti in 1915. In addition, V. N. Pignatti worked with the materials stored in the collections and described them. He published the results of his research in “Isker (Kuchumovo gorodishche)” and “The Catalogue of Finds on Isker Belonging to the Tobolsk Provincial Museum”. A little later, they organized an impressive showcase in the exhibition halls which showed a complete collection of the finds from the hillfort of Isker. The collection included about 1400 items. Thus, V. N. Pignatti summarized all historical and archaeological materials available at those times and presented them to the public and researchers, both readers of his works and visitors to the museum. Conclusion. In the late 19th – early 20th century, the museum was the central institution which collected and popularized the medieval hillfort of Isker as an important archaeological site. During those times, an impressive collection was gathered, which was analyzed, described and put into scientific circulation. During a long period, researchers learnt about the events and processes from the history of the Siberian Khanate based on the notes by M. S. Znamensky and V. N. Pignatti. As a result of our study, a fairly detailed history of forming the collection of the Isker at the Tobolsk provincial museum is presented, and the circle of persons involved in its creation is specified.
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Guze, Justyna. "CATALOGUES OF ENGRAVINGS – ITALIAN ONES FROM THE NATIONAL MUSEUM IN WROCŁAW AND FRENCH ONES FROM THE NATIONAL MUSEUM IN SZCZECIN." Muzealnictwo 59 (June 26, 2018): 93–97. http://dx.doi.org/10.5604/01.3001.0012.1437.
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At the turn of 2017 and 2018, with the date 2017 printed in the colophon, two catalogues of engravings’ collections were published: old Italian prints from the collection of the National Museum in Wrocław, and French prints from the National Museum in Szczecin. The collection of Wrocław contains groups of artworks by the best Italian engravers from the Renaissance to the 18th century, and a small representation of the 19th century. An introduction to the catalogue gives the history, the scope and the contents of the collection as well as the brief history of the engraving art on the Apennine Peninsula. The catalogue itself is glossed, giving references to the latest research, preceded by biographical notes of encyclopaedic character. This well illustrated and thoroughly edited catalogue, organised in a user-friendly alphabetical order, is a compendium useful not only for art historians. The catalogue published by the National Museum in Szczecin has the same title as the exhibition of French engravings from its collection. It is a combination of both the exhibition and the collection catalogue. Hence its specific layout corresponding rather with the narration of an exhibition than a catalogue’s criteria. Both the encyclopaedic profiles of artists and the following glosses are accompanied by selected bibliography; its full version together with extensive academic references can be found at the end of the volume. The collection of over 600 prints has been divided not in alphabetical or chronological order but in accordance with an academic hierarchy of subjects. Engravings for art reproduction purposes prevail in Szczecin collection although original works of famous artists are also included. The publication of both catalogues allows us to learn more about the engravings in Polish public collections, i.e. the ones of national museum in Szczecin and Wrocław. It also gives the history of Polish collections after 1945, affected by the previous losses of the World War II. Undoubtedly, the sign of the times and the presence of Poland in the united Europe is the publication of the Italian engravings’ collection from Wrocław, which was kept before in the Academy of Arts in Berlin. Great care has been taken to prepare both catalogues in terms of their typography, although the illustrations in the French engravings’ catalogue would be of more benefit if were somewhat larger.
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van der Wateren, Jan. "National Library Provision for Art in the United Kingdom: The Role of the National Art Library." Alexandria: The Journal of National and International Library and Information Issues 6, no. 3 (1994): 173–92. http://dx.doi.org/10.1177/095574909400600303.
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From its beginnings in 1836 as the library of the Government School of Design, the National Art Library (NAL) in the UK was intended to have an impact on design in the country. After the Great Exhibition of 1851 it former part of what was to become known as the Victoria and Albert Museum (V & A). By the 1850s it had already adopted the title of National Art Library, although it was called the V & A Museum Library between 1908 and 1985. By 1853 collections aimed to cover the arts and trades comprehensively, and by 1869 the NAL aimed also at comprehensive access to individual objects created in the course of history. By 1852, the library was open to all, although a charge was made at first. Various forms of subject indexing have been used; from 1877 to 1895 subject lists were prepared for internal use and sold to the public, and from 1869 to 1889 a remarkable Universal catalogue of books on art was produced. The present mission statement of the NAL focuses on collecting, documenting and making available information on the history and practice of art, craft and design, and the library aims its services at both the national and international community. However, its great 19th century contribution to published subject control of art materials has been almost completely absent in the 20th century. During 1994 the NAL will contribute records to the British Library (BL) Conspectus database, though there is little formal cooperation between the two libraries. As a specialist library it can organize its collections and index them in ways that are impossible for a comprehensive library such as the BL, and it therefore has an important part to play in the national library scene.
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Jahnke, Marlene, Edward C. Holmes, Peter J. Kerr, John D. Wright, and Tanja Strive. "Evolution and Phylogeography of the Nonpathogenic Calicivirus RCV-A1 in Wild Rabbits in Australia." Journal of Virology 84, no. 23 (2010): 12397–404. http://dx.doi.org/10.1128/jvi.00777-10.
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ABSTRACT Despite its potential importance for the biological control of European rabbits, relatively little is known about the evolution and molecular epidemiology of rabbit calicivirus Australia 1 (RCV-A1). To address this issue we undertook an extensive evolutionary analysis of 36 RCV-A1 samples collected from wild rabbit populations in southeast Australia between 2007 and 2009. Based on phylogenetic analysis of the entire capsid sequence, six clades of RCV-A1 were defined, each exhibiting strong population subdivision. Strikingly, our estimates of the time to the most recent common ancestor of RCV-A1 coincide with the introduction of rabbits to Australia in the mid-19th century. Subsequent divergence events visible in the RCV-A1 phylogenies likely reflect key moments in the history of the European rabbit in Australia, most notably the bottlenecks in rabbit populations induced by the two viral biocontrol agents used on the Australian continent, myxoma virus and rabbit hemorrhagic disease virus (RHDV). RCV-A1 strains therefore exhibit strong phylogeographic separation and may constitute a useful tool to study recent host population dynamics and migration patterns, which in turn could be used to monitor rabbit control in Australia.
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Loos, Helmut. "Beethoven — the Zeus of Modernity." Culturology Ideas, no. 18 (2'2020) (2020): 66–84. http://dx.doi.org/10.37627/2311-9489-18-2020-2.66-84.
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A large part of German musicology sees itself as a science of art in the emphatic sense and is committed to quite different principles than historical-critical approaches in the discipline. The latter seek to gain a realistic picture of the history of music, including contemporary ways of thinking, and allow for historical actors to make meaningful, free will decisions within anthropologically determined circumstances. The emphatic science of art, on the other hand, claims to be able to prove and scientifically determine the objects of great art music and their nature. It originated during the Enlightenment, when philosophy took the place of religion and created ever new theoretical constructs of thought presented as scientifically proven and binding. In music, Beethoven rose to the ideal of the ingenious creator, who embodied the progress and achievements of mankind on the path toward perfection. Thus, in the course of the 19th century, a Beethoven cult developed using philosophy as its guide in selecting and evaluating historical sources, gladly accepting literary testimonies as historical fact. Historical criticism, which revealed this construction of a romantic image of Beethoven, was suppressed for a long time. Society’s broad acceptance of the notion of the evolutionary progress of mankind, one to which modernity adhered, proved too powerful, and belief in it took the form of an art religion. Beethoven as Zeus of the Third Reich, as the god of modernity, was the program and message of the 14th Secession Exhibition in Vienna in 1902. This image was destructed in the late 20th century.
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.
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All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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Defraeye, Piet. "Lumumba’s Bike." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (2014): 28. http://dx.doi.org/10.21992/t9jk84.
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Sven Augustijnen is a Belgian film maker and visual artist. In 2012 he contributed a piece called AWB 082-3317 7922 to the Track exhibition in the city of Gent (Belgium). Track invited artists to provide art installations that were site-specific, and engaged with local narratives, history, and situations. Augustijnen had an old bike chain-locked against a park tree, with a bunch of charcoal on its baggage rack; it stood in the vicinity of the so-called “Moorken” monument, a memorial for the heroic adventures of the brothers Van de Velde in Congo Free State, erected in Gent’s prominent Citadelpark at the end of the 19th century. The idea of AWB 082-3317 7922 came about during the shooting of his film Spectres (2011), in which Augustijnen goes in search for the location of Patrice Lumumba’s assassination in Katanga, Congo, in January 1961. While the theme of the bike installation is the (only partially resolved) murder of Patrice Lumumba, first Prime Minister of the newly independent Congo, the piece spawns a spatial and historical cartography of events and developments within the park landscape as well as the greater urban, and global scope. It is the kind of street art that needs its environment for any chance of meaning, which derive from the contiguities it allows and creates.
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Pylypchuk, Oleh, Oleh Strelko, and Yuliia Berdnychenko. "PREFACE." History of science and technology 11, no. 1 (2021): 7–9. http://dx.doi.org/10.32703/2415-7422-2021-11-1-7-9.
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In the new issue, our scientific journal offers you thirteen scientific articles. As always, we try to offer a wide variety of topics and areas and follow current trends in the history of science and technology. In the article by Olha Chumachenko, оn the basis of a wide base of sources, the article highlights and analyzes the development of research work of aircraft engine companies in Zaporizhzhia during the 1970s. The existence of a single system of functioning of the Zaporizhzhia production association “Motorobudivnyk” (now the Public Joint Stock Company “Motor Sich”) and the Zaporizhzhia Machine-Building Design Bureau “Progress” (now the State Enterprise “Ivchenko – Progress”) has been taken into account. Leonid Griffen and Nadiia Ryzheva present their vision of the essence of technology as a socio-historical phenomenon. The article reveals the authors' vision of the essence of the technology as a sociohistorical phenomenon. It is based on the idea that technology is not only a set of technical devices but a segment of the general system – a society – located between a social medium and its natural surroundings in the form of a peculiar social technosphere, which simultaneously separates and connects them. Definitely the article by Denis Kislov, which examines the period from the end of the XVII century to the beginning of the XIX century, is also of interest, when on the basis of deep philosophical concepts, a new vision of the development of statehood and human values raised. At this time, a certain re-thinking of the management and communication ideas of Antiquity and the Renaissance took place, which outlined the main promising trends in the statehood evolution, which to one degree or another were embodied in practice in the 19th and 20th centuries. A systematic approach and a comparative analysis of the causes and consequences of those years’ achievements for the present and the immediate future of the 21st century served as the methodological basis for a comprehensive review of the studies of that period. The article by Serhii Paliienko is devoted to an exploration of archaeological theory issues at the Institute of archaeology AS UkrSSR in the 1960s. This period is one of the worst studied in the history of Soviet archaeology. But it was the time when in the USSR archaeological researches reached the summit, quantitative methods and methods of natural sciences were applied and interest in theoretical issues had grown in archaeology. Now there are a lot of publications dedicated to theoretical discussions between archaeologists from Leningrad but the same researches about Kyiv scholars are still unknown The legacy of St. Luke in medical science, authors from Greece - this study aims to highlight key elements of the life of Valentyn Feliksovych Voino-Yasenetskyi and his scientific contribution to medicine. Among the scientists of European greatness, who at the turn of the XIX and XX centuries showed interest to the folklore of Galicia (Halychyna) and Galician Ukrainians, contributed to their national and cultural revival, one of the leading places is occupied by the outstanding Ukrainian scientist Ivan Verkhratskyi. He was both naturalist and philologist, as well as folklorist and ethnographer, organizer of scientific work, publisher and popularizer of Ukrainian literature, translator, publicist and famous public figure. I. H. Verkhratskyi was also an outstanding researcher of plants and animals of Eastern Galicia, a connoisseur of insects, especially butterflies, the author of the first school textbooks on natural science written in Ukrainian. A new emerging field that has seen the application of the drone technology is the healthcare sector. Over the years, the health sector has increasingly relied on the device for timely transportation of essential articles across the globe. Since its introduction in health, scholars have attempted to address the impact of drones on healthcare across Africa and the world at large. Among other things, it has been reported by scholars that the device has the ability to overcome the menace of weather constraints, inadequate personnel and inaccessible roads within the healthcare sector. This notwithstanding, data on drones and drone application in Ghana and her healthcare sector in particular appears to be little within the drone literature. Also, little attempt has been made by scholars to highlight the use of drones in African countries. By using a narrative review approach, the current study attempts to address the gap above. By this approach, a thorough literature search was performed to locate and assess scientific materials involving the application of drones in the military field and in the medical systems of Africans and Ghanaians in particular. The paper by Artemii Bernatskyi and Vladyslav Khaskin is devoted to the analysis of the history of the laser creation as one of the greatest technical inventions of the 20th century. This paper focuses on establishing a relation between the periodization of the stages of creation and implementation of certain types of lasers, with their influence on the invention of certain types of equipment and industrial technologies for processing the materials, the development of certain branches of the economy, and scientific-technological progress as a whole. The paper discusses the stages of: invention of the first laser; creation of the first commercial lasers; development of the first applications of lasers in industrial technologies for processing the materials. Special attention is paid to the “patent wars” that accompanied different stages of the creation of lasers. A comparative analysis of the market development for laser technology from the stage of creation to the present has been carried out. Nineteenth-century world exhibitions were platforms to demonstrate technical and technological changes that witnessed the modernization and industrialization of the world. World exhibitions have contributed to the promotion of new inventions and the popularization of already known, as well as the emergence of art objects of world importance. One of the most important world events at the turn of the century was the 1900 World's Fair in Paris. Thus, the author has tried to analyze the participation of representatives of the sugar industry in the World's Fair in 1900 and to define the role of exhibitions as indicators of economic development, to show the importance and influence of private entrepreneurs, especially from Ukraine, on the sugar industry and international contacts. The article by Viktor Verhunov highlights the life and creative path of the outstanding domestic scientist, theorist, methodologist and practitioner of agricultural engineering K. G. Schindler, associated with the formation of agricultural mechanics in Ukraine. The methodological foundation of the research is the principles of historicism, scientific nature and objectivity in reproducing the phenomena of the past based on the complex use of general scientific, special, interdisciplinary methods. For the first time a number of documents from Russian and Ukrainian archives, which reflect some facts of the professional biography of the scientist, were introduced into scientific circulation. The authors from Kremenchuk National University named after Mykhailo Ostrohradskyi presented a fascinating study of a bayonet fragment with severe damages of metal found in the city Kremenchuk (Ukraine) in one of the canals on the outskirts of the city, near the Dnipro River. Theoretical research to study blade weapons of the World War I period and the typology of the bayonets of that period, which made it possible to put forward an assumption about the possible identification of the object as a modified bayonet to the Mauser rifle has been carried out. Metal science expert examination was based on X-ray fluorescence spectrometry to determine the concentration of elements in the sample from the cleaned part of the blade. In the article by Mykola Ruban and Vadym Ponomarenko on the basis of the complex analysis of sources and scientific literature the attempt to investigate historical circumstances of development and construction of shunting electric locomotives at the Dnipropetrovsk electric locomotive plant has been made. The next scientific article continues the series of publications devoted to the assessment of activities of the heads of the Ministry of Railways of the Russian Empire. In this article, the authors have attempted to systematize and analyze historical data on the activities of Klavdii Semyonovych Nemeshaev as the Minister of Railways of the Russian Empire. The article also assesses the development and construction of railway network in the Russian Empire during Nemeshaev's office, in particular, of the Amur Line and Moscow Encircle Railway, as well as the increase in the capacity of the Trans-Siberian Railway. The article discusses K. S. Nemeshaev's contribution to the development of technology and the introduction of a new type of freight steam locomotive for state-owned railways. We hope that everyone will find interesting useful information in the new issue. And, of course, we welcome your new submissions.
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Mleziva, Jindřich. "Asijské umění a umělecké řemeslo ve sbírce Západočeského muzea v Plzni." Muzeum Muzejní a vlastivedná práce 57, no. 1 (2020): 3–14. http://dx.doi.org/10.37520/mmvp.2019.002.
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The collection of the West Bohemian Museum in Pilsen includes significant examples of artworks and decorative arts from Asia. The history of this collection dates back to the last quarter of the 19th century, when these items were a part of a collection of the West Bohemian Museum of Decorative Arts in Pilsen. The first director of the museum, architect Josef Škorpil (1856–1931), contributed to the creation of the decorative arts collection and the acquisition of objects from the Far and Middle East. Thanks to its acquisition activities throughout Europe, a significant decorative arts collection was established in Pilsen. Its importance goes beyond the Pilsen region. The concept of creating this collection was in accordance with the emergence of decorative arts museums in Europe. The collection, together with the Asian objects, was presented to the public as a part of an exposition opened in 1913. Today, the Asian collection consists of Chinese and Korean objects, mainly ceramics and porcelain, as well as exceptionally well-preserved textiles from the late Qing Dynasty. The Japanese portable Buddhist altar zushi or a set of Japanese woodblock prints of the ukiyo-e style are among the most unique acquisitions. A relatively modest set of items from the Middle East includes typical examples of decorative arts from Iran, Turkey or Syria. The objects are still a popular subject of research and have also become a part of the new decorative arts permanent exhibition of the museum that was opened in 2017.
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Roberts, Kyle B. "Rediscovering Physical Collections through the Digital Archive: The Jesuit Libraries Provenance Project." Collections: A Journal for Museum and Archives Professionals 12, no. 4 (2016): 445–57. http://dx.doi.org/10.1177/155019061601200409.
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Historic library collections offer a rich and underexplored resource for teaching undergraduate and graduate students about new digital approaches, methodologies, and platforms. Their scope and scale can make them difficult to analyze in their physical form, but remediated onto a digital platform, they offer valuable insights into the process of archive creation and the importance of making their content available to audiences that cannot normally access it. The Jesuit Libraries Provenance Project (JLPP) was launched by students, faculty, and library professionals in 2014 to create an online archive of marks of ownership—bookplates, stamps, inscriptions—contained within books from the original library collection of St. Ignatius College, precursor to Loyola University Chicago. The project grew out of student work for a university museum exhibition commemorating the bi-centennial of the restoration of the Society of Jesus (more commonly known as the Jesuits). Utilizing the popular social media image-sharing site Flickr, the JLPP seeks to foster a participatory community of students, scholars, collectors, and the broader public interested in the history of early and modern Catholic print and the intellectual framework and approach of 19th-century Jesuit education. Initially intended to provide students with the chance to learn how to conceptualize, plan, and build a digital archive, the JLPP has proven equally effective for teaching about digital scholarship, shared authority, and, rather unexpectedly, about the materiality of collections in the digital age
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Matyjaszek, Konrad. "Mur i okno. Gruz getta warszawskiego jako przestrzeń narracyjna Muzeum Historii Żydów Polskich POLIN [Wall and window: the rubble of the Warsaw Ghetto as the narrative space of the POLIN Museum of the History of Polish Jews]." Studia Litteraria et Historica, no. 5 (December 28, 2016): 1–36. http://dx.doi.org/10.11649/slh.2016.004.
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Wall and window: the rubble of the Warsaw Ghetto as the narrative space of the POLIN Museum of the History of Polish JewsOpened in 2013, the Warsaw-based POLIN Museum of the History of Polish Jews is situated in the center of the former Nazi Warsaw ghetto, which was destroyed during its liquidation in 1943. The museum is also located opposite to the Monument to the Ghetto Heroes and Martyrs, built in 1948, as well as in between of the area of the former 19th-century Jewish district, and of the post-war modernist residential district of Muranów, designed as a district-memorial of the destroyed ghetto. Constructed on such site, the Museum was however narrated as a “museum of life”, telling the “thousand-year old history” of Polish Jews, and not focused directly on the history of the Holocaust or the history of Polish antisemitism.The paper offers a critical analysis of the curatorial and architectural strategies assumed by the Museum’s designers in the process of employing the urban location of the Museum in the narratives communicated by the building and its main exhibition. In this analysis, two key architectural interiors are examined in detail in terms of their correspondence with the context of the site: the Museum’s entrance lobby and the space of the “Jewish street,” incorporated into the main exhibition’s sub-galleries presenting the interwar period of Polish-Jewish history and the history of the Holocaust. The analysis of the design structure of these two interiors allows to raise a research question about physical and symbolic role of the material substance of the destroyed ghetto in construction of a historical narrative that is separated from the history of the destruction, as well as one about the designers’ responsibilities arising from the decision to present a given history on the physical site where it took place.Mur i okno. Gruz getta warszawskiego jako przestrzeń narracyjna Muzeum Historii Żydów Polskich POLINOtwarte w 2013 roku warszawskie Muzeum Historii Żydów Polskich POLIN stanęło pośrodku terenu dawnego nazistowskiego getta warszawskiego, zburzonego podczas jego likwidacji w 1943 roku, naprzeciwko powstałego w roku 1948 Pomnika Bohaterów i Męczenników Getta; jednocześnie pośrodku obszaru dawnej, dziewiętnastowiecznej warszawskiej dzielnicy żydowskiej i powojennego modernistycznego osiedla Muranów, zaplanowanego jako osiedle-pomnik zburzonego getta. Zlokalizowane w takim miejscu Muzeum przedstawia się jako „muzeum życia”, opowiadające „tysiącletnią historię” polskich Żydów, niebędące instytucją skoncentrowaną na historii Zagłady Żydów i historii polskiego antysemityzmu.Artykuł zawiera krytyczną analizę kuratorskich i architektonicznych strategii przyjętych przez twórców Muzeum w procesie umieszczania środowiska miejskiego w roli elementu narracji historycznej, komunikowanej przez budynek Muzeum i przez jego wystawę główną. Szczegółowej analizie poddawane są dwa kluczowe dla projektu Muzeum wnętrza architektoniczne: główny hall wejściowy oraz przestrzeń „żydowskiej ulicy” stanowiąca fragment dwóch galerii wystawy głównej, poświęconych historii Żydów w Polsce międzywojennej oraz historii Zagłady. Analiza struktury projektowej tych dwóch wnętrz służy próbie sformułowania odpowiedzi na pytanie badawcze dotyczące właściwości fizyczno-symbolicznych materialnej substancji zniszczonego getta w odniesieniu do narracji abstrahującej od historii jego zniszczenia oraz odpowiedzialności projektantów wynikającej z decyzji o umieszczeniu narracji historycznej w fizycznej przestrzeni, w której wydarzyła się historia będąca tej narracji przedmiotem.
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Chen, Chih Ho, and Sheng-Min Hsieh. "The Research of Aesthetics of Type as Image in Motion-Targeting Video Poetics at Type Motion: Type as Image in Motion Exhibition in Taiwan." Advances in Social Sciences Research Journal 7, no. 6 (2020): 190–207. http://dx.doi.org/10.14738/assrj.76.8387.
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Characters are signs and symbols that record our thoughts and feelings and allow the documentation of events and history. Later, the appearance of motion images marked a new milestone in the use and application of characters. Not only were the original function of characters improved and enhanced, text that integrate sound and images are also able to communicate much more diverse and abundant information. This technique is commonly found in cinema, television, advertisement, and animation. Thanks to technological advances, the combination of characters, texts, or types and images once again changed how we read. It has also created new meaning for our time. Today, type image seems to have achieved an aesthetic autonomy of their own. This has a profound impact on image and art creation and human communication.
 The emergence of cinema art in the late 19th century brought motion into written media and greatly expanded the possibilities of art. In today’s world of instant communication media, text and images face unprecedented changes. Chinese characters are one of the most ancient writing systems in human history. Unlike western alphabet, each Chinese character has its own form, sound, and meaning. Chinese characters are a highly figurative cultural element. This essay takes Chinese characters and the works featured in the concrete poetry/sound poetry and fragment poetry categories in the National Taiwan Museum of Fine Arts “Type Motion: Type as Image in Motion” exhibition as the subject of study to examine the history of text and media and changes in the way we deliver information and communicate. This essay also provides an analysis of the relationship between text and motion image and the interdependency between culture and technology and media. The connections and differences between Chinese characters in different time and space is also investigated to highlight the uniqueness of the characters as a medium, its application in motion writing techniques and aesthetic forms.
 This essay focuses on the following four topics:
 
 Artistic expression and styles related to the development of type as image in motion.
 Video poetics: the association between poetics and video images, poetic framework, and analysis of film poetry.
 Structure, format, characteristics, and presentation of meaning in concrete poetry/sound poetry, and fragment poetry.
 how Chinese characters are used in Taiwan and the aesthetic features of type through the exhibited works.
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Kirby, Sarah. "Prisms of the musical past: British international exhibitions and ‘ancient instruments’, 1885–1890." Early Music 47, no. 3 (2019): 393–407. http://dx.doi.org/10.1093/em/caz043.
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Abstract Nineteenth-century international exhibitions were monumental attempts to represent modernity, ‘progress’ and ‘invention’ through displays of material objects. In materially illustrating a narrative of cultural ‘progress’, these exhibitions sometimes engaged vividly with the past, incorporating displays of historical objects shown in striking contrast to the new manufactures that were their core focus. This article examines musical displays at exhibitions held in London in 1885 and Edinburgh in 1890, where large exhibits of ‘ancient’ musical instruments, scores and related objects were presented. I argue that the display of ‘ancient’ instruments and objects, in blatant contrast to the exhibitions’ theme of modern invention, demonstrates a conceptual breach between past and present, examination of which can reveal larger trends in the late 19th-century’s ambivalent relationship with the past.
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Ridgway, David. "J. Christiansen: The Rediscovery of Greece. Denmark and Greece in the 19th Century. Exhibition at the Ny Carlsberg Glyptotek, Oct. 4th 2000–Jan. 28th 2001. Pp. 124, maps, ills. Copenhagen: Ny Carlsberg Glyptotek, 2000. Paper. ISBN: 87-7425-248-5." Classical Review 52, no. 1 (2002): 192. http://dx.doi.org/10.1093/cr/52.1.192.
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Driel, Lodewijk van. "19th-century linguistics." Historiographia Linguistica 15, no. 1-2 (1988): 155–85. http://dx.doi.org/10.1075/hl.15.1-2.09dri.
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Summary In this paper an attempt has been made to draw a picture of linguistics in the Netherlands during the 19th century. The aim of this survey is to make clear that the influence of German linguistics on Dutch works of the period is characteristic of the development of Dutch linguistics in that century. Emphasis has been placed on the period 1800–1870; three traditions are distinguished: First of all there is the tradition of prescriptive grammar and language instruction. Next attention is drawn to the tradition of historical-comparative linguistics. Finally, by about the middle of the century, the linguistic views of German representatives of general grammar become prominent in Dutch school grammars. Successively we point to the reception by the schoolmasters of K. F. Becker’s (1775–1849) work; then Taco Roorda (1801–1874) is discussed, and the relationship between L. A. te Winkel (1809–1868) and H. Steinthal (1823–1899) is presented. In conjunction with Roorda’s work on Javanese the analysis of the so-called exotic languages is mentioned, an aspect of Dutch linguistics in the 19th century closely connected with the Dutch East Indies. It is obvious that the German theme is one of the most conspicuous common elements in 19th-century Dutch linguistics, as Dutch intellectuals in many respects took German culture as a model.