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Relevant bibliographies by topics / Historical museums

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Academic literature on the topic 'Historical museums'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Historical museums"

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Smaysa, Smaysa, and Zafri Zafri. "Ketersediaan Sumber Sejarah pada Museum Adityawarman yang Relevan dengan Pembelajaran di SMA." Jurnal Kronologi 5, no. 2 (June 27, 2023): 181–95. http://dx.doi.org/10.24036/jk.v5i2.686.

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The use of museums as a source for studying history can add broad insights for students. One example is making the museum collection a source of study. The museum collection is supposed to be used to add information, insights, and to increase interest in studying history. The study is a qualitative description that aims to identify the availability of museum Adityawarman history sources. The object in this study is a historical or museum collection. Some historical sources in museums include libraries, sites/temples, relics, textbooks, encyclopedias, the Internet, maps, atlas, newspapers, historical dictionaries, archives, historiography works, and other written sources. The museum’s mollection of relics of ancient human life, the roots of Indonesian ancestors, of pre-racial cultures, and of object during the colonization of Europe.

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Danek, Jan, B. Shaushekova, and E. Ibrayeva. "Advantages of joint work of school with organizations of supplementary education at different historical stages." Bulletin of the Karaganda University. Pedagogy series 101, no. 1 (March 29, 2021): 66–72. http://dx.doi.org/10.31489/2021ped1/66-72.

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Article deals with the problem of interaction of the museum and school from the early ages. Authors give thoroughly full images of joint work of museums and schools in developed countries and analyze their experiences in conducting this way of cooperation. In the article there were listed the problems of interaction between the museum and the school and features of interaction at different historical stages. Authors describe the promising models of cooperation and the answers to question ‘How the problem of “museum and school” is solved abroad?’ Work of museums with students have been discussed in details, i.e. work with preschoolers and younger students, middle and high school students. Authors gave classification of museums of educational institutions: university museums, school museums, pedagogical museums. They have considered pedagogical museums in the period of origin and prosperity, the evolution of pedagogical museums, museums of the history of education and children's museums. Authors have analyzed the prospective of having museumschool partnership.

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Kazantseva, O. A. "MUSEUMS OF UDMURTIA IN CONDITIONS OF GLOBALIZATION." Вестник Удмуртского университета. Социология. Политология. Международные отношения 4, no. 1 (April 7, 2020): 101–9. http://dx.doi.org/10.35634/2587-9030-2020-4-1-101-109.

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The article presents some analytical results of Udmurtia museums’ work in connection with the processes of globalization. A museum, as a sociocultural institution of society, reacts and feels changes in the world that change the museum's space, and finds other forms of interaction with libraries, archives, universities and research institutes. Informatization as an integral part of globalization has changed the accounting, storage and presentation of historical, cultural and natural heritage to a visitor in domestic museums, including in Udmurtia. Public attention is focused not only on material, but also on intangible objects. Museums of the Udmurt Republic are part of the unified electronic museum space of Russia and the world, where there is an opportunity to join the great cultural achievements of all mankind. Globalization opens up new opportunities for visitors to access the museum's collections and research into the material and spiritual culture of mankind. Museums of Udmurtia are closely connected with the phenomenon of globalization. Based on the use of SHOT analyses to evaluate the activities of the state museums of the Udmurt Republic, the prospects for development are outlined. Some aspects of Udmurtia museums activities are analyzed: informatization of museum environment, new forms of communication and the role of philanthropists and patrons. Museums develop modern forms of communication, introduce multimedia resources, use interactive technologies, successfully develop and participate in projects, and provide visitors with disabilities with group and individual classes - master classes. Museum employees develop special programs for working with such visitors. Udmurtia museums strive to be open to all visitors. Museum community presents successful projects in the field of preservation and study of historical and cultural heritage to Russia and the world. In the process of globalization, museums in Russian society remain a traditional institution where you can see authentic exhibits of history and culture, feel the power of their impact on the thoughts and feelings of a person. It is this educational aspect that makes a museum different from other institutions of society.

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Tulliach, Anna. "Simmons, J.E. (2016) Museums. A History. London: Rowman & Littlefield." Museum and Society 15, no. 3 (January 10, 2018): 343–45. http://dx.doi.org/10.29311/mas.v15i3.2507.

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Museums convincingly achieves the aim of giving a general summary of the key themes of the museum’s history. The author does not fail in missing a point: he offers a comprehensive history of museums from the ancient world to contemporary times, focusing on well-known historical examples of museum collections taken from different parts of the world and on contemporary subjects of debate in the museum world, producing a valuable synthesis of this wide topic. I recommend this book to museum studies students interested in the history of museums, but also to scholars who would like to have a complete and valuable summary of the subject.

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Abbasov, Iftikhar B., and Christina Lissette Sanchez. "Design features of the Inca museum of culture." International research journal of engineering, IT & scientific research 6, no. 5 (August 19, 2020): 1–12. http://dx.doi.org/10.21744/irjeis.v6n5.970.

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The paper deals with the development of a design concept for a museum of Inca culture in Ecuador. The current trends in the organization of historical museums in Latin America are presented. An overview of the graphic support of the Latin American museums of culture, archeology, and history is made. The historical foundations of the Museum of Inca culture are presented, the iconography of the Inca civilization of various periods is analyzed. The current state of the museum, the history of its foundation, prerequisites for creating a new brand are described. Associative graphic images for creating a new logo for the museum were considered, corporate colors were substantiated, and components of the brand were developed. This will strengthen the museum's brand and increase its social significance for the popularization of the Inca culture.

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Nadraha, M., O. Turchak, and I. Huzenko. "Regulatory and legal framework for the organization of military-historical museums (rooms of combat traditions) in the Armed Forces of Ukraine." Analytical and Comparative Jurisprudence, no. 4 (November 27, 2022): 221–25. http://dx.doi.org/10.24144/2788-6018.2022.04.40.

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The article deals with the analysis of Regulatory and legal framework for the organization of military history museums (rooms of combat traditions) in the Armed Forces of Ukraine. It was established that the activity of military-historical museums is based on the laws of Ukraine, which regulate the activities of the museum business in general, normative legal acts of the Ministry of Culture and Information Policy of Ukraine, as well as the Ministry of Defense. The basic normative legal act in the field of operation of military-historical museums in Ukraine is the Law of Ukraine "On Museums and Museum Matters", though the initial version of this Law did not provide for military-historical museums as a separate type. It is recorded only in 2009. The 2019 Order of the Minister of Defense of Ukraine approving the Instruction on the organization of the activities of military museums, museums (rooms) of military traditions in the Armed Forces of Ukraine is a sectoral regulatory act in the field of operation of military-historical museums. It is noted that the approved Instruction eliminates certain unsettled aspects of the issue; however, it is not devoid of certain shortcomings. The structure and peculiarities of military museums in the Armed Forces of Ukraine, their functions and tasks have been analyzed. In particular, attention was paid to the functioning of the National Military Historical Museum of Ukraine as the main one in the system of museums of the Armed Forces. Since, as stipulated in the Instruction, the normalization of museum activity is carried out by a statute or regulation approved by an order of the Ministry of Defense, it is claimed that there is a Regulation on the Central Museum of the Armed Forces of Ukraine (in 2010 it was renamed the National Military Historical Museum of Ukraine), approved by the Order of the Minister of Defense of Ukraine in 1996, which is typical for similar founding documents of other museum institutions of the system.

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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 (October 14, 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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Korneeva, Anastasiia Aleksandrovna. "Network of literary museums in Moscow: formation and present condition in the context of the historical and cultural process." Культура и искусство, no. 1 (January 2024): 53–67. http://dx.doi.org/10.7256/2454-0625.2024.1.69565.

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The network of literary museums in Moscow is the largest in the country. The article examines the history of the formation and present condition of the network of literary museums in the capital in the context of the historical and cultural process. The chronological framework covers the period from the 19th century until now. This is due to the moment of the appearance in Moscow of the first proto-museum forms of literary museums, the first museums of this profile, as well as the formation and development of their network. Significant historical and cultural prerequisites for the emergence of museums of this profile are identified. The main periods in the history of the formation and development of the network of literary museums are considered in the context of the periodization of the history of museum affairs and the historical process in the country. Museums that also have characteristics of another profile, such as historical and literary, literary and artistic, and literary and local history, are also considered. The total number of literary museums in Moscow has been identified, including state, municipal, departmental, public, private and school. Museum-type institutions representing and popularizing literary heritage are shown. Museums of other profiles (music, art, local history and others) are indicated, the funds and exhibitions of which contain literary monuments and collections of rare books. A special place is occupied by book museums, which are not literary museums, but are close to them in that their collections also contain monuments of literature (including fiction). The total number of literary museums in the capital and their percentage in the museum network have been calculated.

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Jagodzińska, Katarzyna. "RESPONSIBLE MUSEUM? (ON THE EXAMPLE OF THE TOY MUSEUM IN CRACOW)." Muzealnictwo 63 (September 16, 2022): 150–57. http://dx.doi.org/10.5604/01.3001.0015.9923.

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The contemporary museum debate developing in the context of the need to change the museum definition carried out in ICOM is a debate on the role and responsibility of museums. Museums with a burden of tradition are faced with the challenge to meet contemporary contexts and expectations, while newly-established museums can enter the stage fully aware of the historical contexts, with an agenda reflecting contemporary tasks, and they can chart new perspectives from the very beginning. The case study in the paper focuses on a museum which begins its operation at the time of a heated debate on the new tasks of museums in social life: the Toy Museum in Cracow. The paper tackles several motifs of a very extensive issue, namely museums’ responsibility: who and what should museums show responsibility to? Does responsibility mean presence in the public debate and museum activism? The operation formula of the Toy Museum shows the possible way for private collectors: instead of aspiring to create a traditional place for the collection presentation, they can see how to activate the collection where the supreme goal is not just making the collection available to the public, but making it impact the museum’s environment, which could be caused by that presentation and other programmatic actions connected with the collection.

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Kunkel, Sönke. "Red Cross Museums as Media of Historical Communication." Journal of Humanitarian Affairs 3, no. 2 (November 11, 2021): 41–44. http://dx.doi.org/10.7227/jha.065.

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An accomplished academic, collector, and long-time Red Cross volunteer, Professor Dr Rainer Schlösser is head of the Red Cross Museum of the Red Cross Chapter Fläming-Spreewald in Luckenwalde. He has directed the museum since 2000. Since 2006, he has also served as official spokesperson of the Association of the Red Cross Museums in Germany, a group connecting thirteen Red Cross museums across Germany. I met Rainer Schlösser in his office at the Red Cross Museum in Luckenwalde. After an extended and insightful tour through the museum we sat down to discuss his ideas and his work at the museum.1

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Dissertations / Theses on the topic "Historical museums"

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Cheng, Wai-yen Selina. "The Diaspora museum of Hong Kong." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947631.

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Lau, Yuen-ping Monika. "Urban museum complex." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594597x.

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Chiu, Sai-chung Cary. "Redevelopment of San Wai." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944976.

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Essig, Timothy W. "An examination of visitor services and personnel ethics training programs for several museums in the Pennsylvania Historical and Museum Commission." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1999. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.P.A.)--Kutztown University of Pennsylvania, 1999.
Source: Masters Abstracts International, Volume: 45-06, page: 2939. Typescript. Abstract precedes thesis as preliminary leaves. Includes bibliographical references (leaves 65-68).

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Jourdan, Katherine Marie. "Demise or survival of historical house museums." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/445623.

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Today there are hundreds of historic house museums open in communities across the country. Many of these museums recognize a noted historical character or event while others are noted for their architectural styling and detail. How should these museums care for their collections and interpretations to keep their standards high and to attract visitors? The case studies look at how several museums in east central Indiana operate and manage under different types of ownership, including state, county, and city governments, foundations, and historic groups. From interviews and visitations these museums were analysed as to how they coped with finances, day to day operations, traffic, collections and maintenance policies. The histories and future goals of each site were also researched and documented. Conclusions were drawn after these case studies were finished as to what were the best methods of management in order to achieve a high quality historic house museum.
Department of Architecture

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Lee, Karen M. "The historical development of Zimbabwe's museums and monuments." Thesis, University of St Andrews, 1996. http://hdl.handle.net/10023/15127.

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The history of Zimbabwe's museums and monuments begins with the coming of British settlers to the colony of Rhodesia in 1890. By 1902 Rhodesia had one fully functional museum called the Rhodesia Museum. This museum concentrated on geology and natural history, two areas that the new colonists were anxious to explore and exploit in order to build up the country's young economy. In 1936 the Rhodesia Museum was nationalised and in the next twenty years two more museums were added to the National Museums of Southern Rhodesia organisation. Although the museums emphasised their objectivity as research and educational centres they also followed government policies that promoted white colonial culture over that of the indigenous black population. This suppression of the African heritage was more marked in the settlers' attitudes towards the country's monuments. At Great Zimbabwe and Matopos, both traditionally significant for local blacks, the white colonists supported interpretations that justified their rale over the African and rejected any involvement of the black tribes in the history of these two monuments. During the 1950s the museums and monuments conformed to the white administration's agenda and took an increasingly biased stand against the Africans, who had started to demand a greater say in the government of Rhodesia. By the time civil war broke out between black and white Rhodesians in 1966, these cultural organisations had become political tools for the colonial cause. This made their situation difficult when after fourteen years the black nationalists won the right to rule Zimbabwe. However, because of their unique ability to mirror the political, social and economic circumstances of the country the museums and monuments remain important contributors to Zimbabwe's cultural history and heritage.

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Bernard, Elisa. "Museums as Living Organisms. A Historical Perspective on Change and Continuity in Museum Institutions." Thesis, IMT Alti Studi Lucca, 2023. http://e-theses.imtlucca.it/374/1/Bernard_phdThesis.pdf.

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This dissertation engages with a question that is underrated and underexplored in the literature on museum history: how do museums respond to and/or trigger societal, political, and cultural changes? To answer this question, the research concentrates on art and archaeological museums in Italy between National Unification and the post-war period. Indeed, the history of Italian museums and theoretical debates over how to organize museums and public education in late nineteenth/early twentieth-century Italy provide paradigmatic cases. The first chapter gives an overview of the dominant avenues of research in social, political, and cultural history and role of the museum, spotlighting key historical moments and historiographical approaches. It then applies to museum institutions the Greek philosopher Plato’s well-known observation that no living organism or no piece of knowledge stays the same throughout its lifetime since the fundamental nature of human bodies and knowledge is continuous change. We can thus ask what causes a museum to be perceived as the same museum over time and analyze the conditions under which the balance between continuity and change breaks down. Combining contextual analysis and a case study approach appeared to be the most promising strategy to address these questions. For example, an analysis of the debate over the function and mission of archaeological museums in post-Unification Italy shows that museums can serve multiple purposes. These purposes, in turn, might shape museums’ collections, visions, and display and narrative strategies. The second and third chapters present the analysis of two case studies that contextualize this idea that museums never remain the same. They also outline an analytical model drafted as part of this research according to which the study of the concrete changes museums undergo or trigger in their interaction with, and in relation to, societal, political, and cultural changes enable us to identify the active fields of force in any given situation in which museums are located and act as institutions. The case studies identified and analyzed in thisdissertation are the National Museum of Palermo and Civic Museum of Padua. The analysis proposed here classifies various stimuli for change, both exogenous and endogenous, and shows how these forces can coalesce in specific moments of a museum’s life so that, viewed aposteriori, they turn into pivotal turning points. At the same time, the research presented here also takes into account museums’behavioral complexity in responding to and triggering change while maintaining continuity.

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Tivy, Mary. "THE LOCAL HISTORY MUSEUM IN ONTARIO 1851-1985: AN INTELLECTUAL HISTORY." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2821.

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This thesis is a study of the changing model of the local history museum in Ontario, Canada and the consequential changing interpretations of the past in these institutions.

Beginning in 1879, local history museums in Ontario developed largely from the energies of local historical societies bent on collecting the past. While science museums used taxonomy and classification to mirror the natural state of the world, history museums had no equivalent framework for organizing collections as real-world referents. Often organized without apparent design, by the early 20th century a deductive method was used to categorize and display history collections into functional groups based on manufacture and use.

By the mid-twentieth century an inductive approach for interpreting collections in exhibits was promoted to make these objects more meaningful and interesting to museum visitors, and to justify their collection. This approach relied on the recontextualization of the object through two methods: text-based, narrative exhibits; and verisimilitude, the recreation of the historical environment in which the artifact would have been originally used. These exhibit practices became part of the syllabus of history museum work as it professionalized during the mid-twentieth century, almost a full century after the science museum. In Ontario, recontextualizing artifacts eventually dominated the process of recreating the past at museums. Objects were consigned to placement within textual storylines in order to impart accurate meaning. At its most elaborate, artifacts were recontextualized into houses, and buildings into villages, wherein the public could fully immerse themselves in a tableau of the past. Throughout this process, the dynamic of recontextualization to enhance visitor experience subtlety shifted the historical artifact from its previous position in the museum as an autonomous relic of the past, to one subordinate to context.

Although presented as absolute, the narratives and reconstructions formed by these collecting and exhibiting practices were contingent on a multitude of shifting factors, such as accepted museum practice, physical, economic and human resources available to the museum operation, and prevailing beliefs about the past and community identity. This thesis exposes the wider field of museum practice in Ontario community history museums over a century while the case study of Doon Pioneer Village shows in detail the conditional qualities of historical reconstruction in museum exhibits and historical restoration.

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Choi, Kam-lung Franky. "Macau history museum complex." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948684.

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Cook, Bettye Alexander Contreras Gloria. "A chronological study of experiential education in the American history museum." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-5190.

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Books on the topic "Historical museums"

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Summerfield, Patricia. Historical collections classification scheme for small museums. Perth, WA: Museums Association of Australia, W.A. Branch, 1988.

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Herbst, Wolfgang. Muzeevedenie: Muzei istoricheskogo profili︠a︡. Moskva: Vysshai︠a︡ shkola, 1988.

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Milton, Don. " Is it Real?": A study of museum use and visitor attitudes regarding replicas in Canadian historical sites. [Toronto: The Author, 1986.

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Howell Historical Society (Howell, N.J.), ed. Sketchbook of Howell historical museums: MacKenzie Museum, Old Ardena Schoolhouse. Howell, NJ: Howell Historical Society, 1998.

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Marco, Piccinelli, and Poggi Nicola, eds. Dalla casa-atelier al museo: La valorizzazione museografica dei luoghi dell'artista e del collezionista. Milano: Lybra immagine, 2006.

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Jianming, Chen. Hunan Provincial Museum / editor-in-chief Chen Jianming. Hong Kong: London Editions (Hong Kong) Limited, 2011.

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Kent, Bush, and United States. National Park Service. Pacific West Region., eds. Kalaupapa National Historical Park: Museum management plan. [Seattle, Wash.]: Department of the Interior, National Park Service, Pacific West Region, 2006.

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Society, Ontario Historical. Let's get organized!: Everything you ever wanted to know about operating an historical museum, but were afraid to ask. [s.l: Ontario Historical Society, 1985.

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Gould, Stephen. Directory of Orange County historical agencies, historical societies, museums and historical libraries. Tustin, Calif: Western Association for the Advancement of Local History, 1989.

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Ohio Association of Historical Societies & Museums. Directory of historical organizations in Ohio. Columbus, Ohio: Ohio Historical Society, 1986.

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Book chapters on the topic "Historical museums"

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Whitehead, Guðrún D. "Historical distancing." In The Performance of Viking Identity in Museums, 161–66. London: Routledge, 2024. http://dx.doi.org/10.4324/9781351036023-11.

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Gibbons, Erica. "Museums and Marginalized Historical Narratives." In Research Informing the Practice of Museum Educators, 115–29. Rotterdam: SensePublishers, 2015. http://dx.doi.org/10.1007/978-94-6300-238-7_9.

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Ukielski, Paweł. "New Historical Museums in Poland." In Public History in Poland, 50–66. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003165767-5.

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Finzi, Daniela, and Monika Pessler. "Remodelling the Sigmund Freud Museum, Vienna: Memories, Museums, and Curatorial Considerations." In Mental Health in Historical Perspective, 115–35. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-22978-7_5.

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Shelby, Karen. "Historical or memorial site." In Belgian Museums of the Great War, 104–25. New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315673899-5.

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Rodney, Seph. "Historical Methods." In An Introductory Guide to Qualitative Research in Art Museums, 161–75. London: Routledge, 2024. http://dx.doi.org/10.4324/9780429262326-22.

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Polmeer, Gareth. "Historical Questions on Being and Digital Culture." In Museums and Digital Culture, 49–62. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97457-6_3.

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Pietrobruno, Sheenagh. "Tales of the Viking Helmet: Narrative Shifts from Museum Exhibitions to Personalised Search Requests." In Museum Digitisations and Emerging Curatorial Agencies Online, 39–70. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_3.

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AbstractThe stories of museum objects on YouTube can counter and support those advanced by museums. How the narratives of the Viking helmet on YouTube reflect or differ from those put forward by the Swedish History Museum’s Viking exhibitions is approached through a previous methodological study that investigated the issue of location in the personalisation of historical narratives of museum objects on YouTube search engine result pages (SERPs) (Pietrobruno 2021). This revised method combining language with location brings together two media forms—actual museum exhibitions and personalised YouTube SERPs. The philosophy behind their interconnection is rooted in how the personalised content of SERPs produce meaning and museum exhibitions employ forms of individual customisation to generate meaning by enabling visitors to personalise their exhibition experience.

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Mainstone, Madelaine, and Bryant Margaret. "The Use of Museums and Historical Sites." In Handbook for History Teachers, 163–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-15.

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Evans, Rand B. "Dividing the effort : an inventory of historical psychological instruments in America." In Scientific Instruments and Museums, 171–77. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.dda-eb.4.00781.

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Conference papers on the topic "Historical museums"

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Hervy, Benjamin, Florent Laroche, Jean-Louis Kerouanton, Alain Bernard, Christophe Courtin, Laurence D'haene, Bertrand Guillet, and Arnaud Waels. "Augmented historical scale model for museums." In VRIC '14: Virtual Reality International Conference - Laval Virtual 2014. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2617841.2617843.

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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.

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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.

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Shelegina, Olga N. "MODERN TREND IN THE DEVELOPMENT OF MUSEUMS AND MUSEOLOGY: Materials of the IV All-Russian (with International Participation) Scientific Conference." In MODERN TREND IN THE DEVELOPMENT OF MUSEUMS AND MUSEOLOGY, edited by Galina M. Zaporozhchenko. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1115-7.

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The collection of materials of the IV all-Russian scientific and practical conference «Modern trends in museums and museology» presents reports of employees of Russian research institutes, leading museums of the Russian Federation and the Republic of Belarus, the Republic of Kazakhstan, teachers of higher educational institutions, representatives of cultural institutions. They reflect a wide range of topical issues related to the development of the theory and practice of Museum business in modern conditions at the international, national and regional levels. Important attention is paid to socio-cultural practices for the development of historical and cultural heritage, digitalization of the Museum sphere and its adaptation to the conditions of the pandemic. The publication will be interesting for specialists in the field of history of science and culture, heritage management, Museum studies and cultural studies, teachers of universities, employees of museums and libraries, local historians.

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Egorova, Evgeniia Nikolaevna. "School Museum as an educational space." In International Research-to-practice conference. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-86184.

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The article deals with the organization of school museums in the aksubayevsky district of the Republic of Tatarstan. Against the background of attempts to correspond historical events in Ukraine, the countries of the near and far abroad, the issue of preserving the historical memory of the current and future generations of our country is acute. The school Museum becomes an excellent alternative to the usual history lesson, the work of students in the school Museum is of a research nature, develops patriotism, love for their small homeland, their country.

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Hookk, D. "Web Analytics as a tool for analyzing a network resource with a variety of sources on the archaeological research materials." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1837.978-5-317-06529-4/384-390.

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Despite the already introduced concept of Webometrics, the visitors counter has considered as a main indicator of the effectiveness of the museum open sources. The article presents the statistical data and observations made during the work on the start-up project “Digital Encyclopedia of the Hermitage. Vol. 1. Archaeology”, as well as during the COVID-19 quarantine period, when communication with virtual visitors became a priority in museums.

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Сазонова, В. А. "Cultural and educational activities of museums as a tool for preserving intangible cultural heritage." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.57.36.074.

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в статье рассматриваются основные подходы российских музеев к работе с нематериальным наследием в рамках культурно-образовательных проектов на примере кейсов Российского этнографического музея, Государственного музея искусства народов востока, Государственного музея изобразительных искусств имени А.С. Пушкина, Государственного исторического музея и Музея кружева в Вологде. Анализируется их значение в сохранении и популяризации нематериального культурного наследия, а также перспективы цифровой трансформации этого направления деятельности. the article examines the main approaches of Russian museums to work with intangible heritage in cultural and educational projects, using the case studies of the Russian Museum of Ethnography, the State Museum of Oriental Art, the Pushkin State Museum of Fine Arts, the State Historical Museum and Museum of Lace in Vologda. The article analyzes their importance in the preservation and popularization of intangible cultural heritage and the prospects for digital transformation of this activity.

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Pepu, Lindelwa. "Re-Imagining the Role of Female Players in the Making and Restoring of the UHADI Musical Bow." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35904.

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This paper, written from an African feminist perspective, focuses on the uhadi musical bow, a historical instrument found in museums, particularly in Museum Africa in Johannesburg. The mislabelling and lack of contextual information about the uhadi bow in the museum collection hinder the understanding of its origin and the recognition of its makers. The research highlights the role of women as the likely original makers and performers of the uhadi bow. It explores the unique features, construction, and playing techniques of the instrument. The study also profiles female uhadi players, emphasising their contribution to reviving and preserving the instrument’s cultural significance.

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Kirana, Ayu Dipta, and Fajar Aji Jiwandono. "Indonesian Museum after New Order Regime: The Representation that Never Disappears | Museum Indonesia Selepas Orde Baru: Representasi Rezim yang Tak Pernah Hilang." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-33.

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Indonesia marked a new era, known as the Reformation Era, in 1998 after the downfall of Suharto, the main face of the regime called the New Order (Orde Baru) and ran the government from 1966 to 1998. This long-run government creates certain structures in many sectors, including the museum sector in Indonesia. Suharto leads the government in a totalitarian manner, his power control over many layers, including the use of museums as regime propaganda tools. The propaganda in the museums such as a standardized storyline, the use of historical versions that are approved by the government, and the representation of violence through the military tale with the nation’s great enemy is made for the majority of museums from the west to east Indonesia at that time. Thus, after almost two-decade after the downfall of the New Order regime how Indonesian museum transform into this new era? In the new democratic era, museum management is brought back to the regional government. The museums are encouraged to writing the local history and deconstruct the storyline from the previous regime. Not only just stop there, but there are alsomany new museums open to the public with new concepts or storylines to revive the audience. Even, the new museum was also erected by the late president’s family to rewrite the narration of the hero story of Suharto in Yogyakarta. This article aims to look up the change in the Indonesian museum post-New Order regime. How they adjust curatorial narration to present the storyline, is there any change to re-write the new narrative, or they actually still represent the New-Order idea along with the violence symbolic that never will deconstruct. Indonesia menandai masa baru yang dikenal sebagai masa reformasi pada tahun 1998 dengan tumbangnya Soeharto yang menjadi wajah utama rezim yang dikenal dengan sebutan Orde Baru ini. Pemerintahan Orde Baru telah berlangsung sejak tahun 1966 hingga 1998 yang mengubah banyak tatanan kehidupan, termasuk sektor permuseum di Indonesia. Corak pemerintahan Orde Baru yang condong pada kontrol dan totalitarian mengantarkan museum sebagai kendaraan propaganda rezim Soeharto. Dimulai dari narasi storyline yang seragam di seluruh museum negeri di Indonesia hingga kekerasan simbolik lewat narasi militer dan musuh besar bangsa. Lalu setelah hampir dua dekade era reformasi di Indonesia bagaimana perubahan museum di Indonesia? Pada era demokrasi yang lebih terbuka, pengelolaan museum dikembalikan kepada pemerintah daerah dan diharapkan untuk dapat menulis kembali sejarah lokal yang baru. Tak berhenti disitu, banyak museum-museum baru yang tumbuh berdiri memberikan kesegaran baru namun juga muncul museum yang berbau rezim Orde Baru turut didirikan sebagai upaya menuliskan narasi.

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Stamatis, Kristina. "Viviendo Aquí: Youth as Cultural Curators Restorying Museums Toward Historical Activism." In AERA 2023. USA: AERA, 2023. http://dx.doi.org/10.3102/ip.23.2015475.

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Xinyan, Kang, Luo Hong, and Haoying Liu. "Design strategies for museum digital games based on emotional interaction." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003254.

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Background With the development of the digital age, museums are paying more attention to the needs of their audiences, and the relationships they build are gradually transitioning from relationships with people to relationships with everyone in order to meet the attributes of serving the public. Museums take the historical dimension as the timeline to elaborate the spiritual connotation of cultural heritage, and digitalization with its multi-dimensional experience mode becomes the necessary medium and basic condition for the development of museum traditional culture in the information age. In the process of digital expression of museum cultural heritage, the application of gamification thinking can effectively promote the efficiency of the display, people in the activities and tasks through the inner drive to drive themselves to complete the task, under the guidance of relaxing and pleasant elements through the visual, auditory and other sensory organs to effectively receive and understand the information. Therefore, the analysis and refinement of museum digital game expression, the demand for emotional interaction design based on the optimization of user pleasure in the process of museum game experience, and the highlighting of emotional interaction are the keys to the current museum digital game design. Objective In view of the development mode and design strategy of the existing museum digital display, this paper explores the design practice of emotional interaction design in museum digital games, and provides innovative design for the emotional interaction needs of museum digital games. Methodology Firstly, from the perspective of interaction design, the three levels of emotional design are used as a theoretical basis to combine the cultural heritage of museums with the transferability, interactivity and immersion characteristics of emotional interaction design, and propose digital interactive games as a carrier as an effective way of digital innovation for museum cultural heritage. Secondly, based on the case study method, graphical analysis and evaluation experiments, the museum digital games case study is analyzed to explore the main factors that affect the emotional experience of users in the games from the interaction behavior itself. Finally, the main interaction processes and methods of museum digital game design are constructed in four aspects: digital game categories, content and mechanism design, interaction and experience methods, and interface and navigation design.

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Reports on the topic "Historical museums"

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Кучерган, Єлизавета Валеріївна, and Надія Олександрівна Вєнцева. Historical educational experience of the beginning the twentieth century in the practice of the modern higher school of Ukraine. [б.в.], 2018. http://dx.doi.org/10.31812/0564/2139.

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The author of the study analyzes and determines the features of the introduction of new forms of education in the highest historical pedagogical institutions of Ukraine in the early twentieth century. In particular: colloquiums, excursions, rehearsals, the organization of scientific sections of students and societies. Colloquiums were held to discuss the creative work of students. Proseminars prepared students for participation in seminars. Excursions prepared students for scientific work and taught them to collect information about historical monuments. Interviews and rehearsals took an important place in the revitalization of academic activity of students in universities. During the interviews, students learned to express their thoughts freely. Rehearsals were used as a means of monitoring the progress of students. An important component of the preparation of the future teacher of history was the organization of scientific student sections and societies. The main forms of their work were: the discussion of scientific reports, the publication of periodicals, the creation of libraries, museums, etc. The most talented students took part in scientific sections and societies. Thus, higher education institutions created prerequisites for the education of gifted young people. The publication also reveals the specifics of the practical training of students. The practical component included not only pedagogical, but also museum practice. In addition, pedagogical institutions of higher education conducted educational excursions, literary and musical evenings, organized social, sanitary and charitable activities. The author of the publication not only explores the features of various forms of education, but also the possibility of using them in the practice of the modern higher pedagogical institution in Ukraine.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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Roca Cabau, Guillem, and Daniel Gutiérrez-Ujaque. The Historical Space as a Living Museum: A Situated and Historical View as an Axis of Teaching Innovation. Edicions de la Universitat de Lleida, 2023. http://dx.doi.org/10.21001/itma.2023.16.14.

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Gallegos de Donoso, Magdalena. The Development of Sculpture in the Quito School. Inter-American Development Bank, October 1994. http://dx.doi.org/10.18235/0007914.

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Jaramillo, Pedro. The Sustainability of Urban Heritage Preservation: The Case of Quito. Inter-American Development Bank, August 2010. http://dx.doi.org/10.18235/0006912.

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This study analyzes the Historic Center of Quito, which was declared as a World Heritage Site by UNESCO in 1978. The churches, squares, museums, and heritage monuments characterize this area and make up a fundamental part of the city's identity.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.

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Khomenko, Tetiana, and Yuriy Kolisnyk. Втрати української культури у російсько-українській війні: культурно-інформаційний спротив. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11749.

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The authors explored the activity of mass media and cultural organizations aimed at clarification of the current problematic issue – preservation of Ukrainian cultural heritage under the conditions of the full-scale invasion of Russia into Ukraine. The authors emphasize that occupants not only destroy historic buildings, i.e. material objects, but also steal art values, destroy library and archive funds; their actions are aimed at destruction of our spirituality, identity and history. It is pointed out that there are the main streams in the work of journalists, experts, and culture figures, namely: fixation of losses, propaganda of the Ukrainian culture in the world, expert evaluation of the restitution possibilities, and filling of the culture material with patriotic sense. The full-scale invasion of Russia into Ukraine on the 24th of February 2022 led to the numerous loss of life, ruination of the military, civil and infrastructure objects. But the state-aggressor destroys and robs our culture in this war. Since the beginning of the war mass media have been actively informing about the situation in the regions, which happened to be at the line of the Russian troops attack. The information was in particular about the fact that different educational establishments, libraries and their funds, museums with valuable collections, theatres, religious buildings and historic buildings had been ruined. To tell the truth the information was incomplete due to the limited opportunities to monitor the situation. However, later it has been systematized. The work of journalists and experts contributed to this since they stated the criminal acts of Russia, informing about the ruination facts of historic, sacral, cultural monuments, devastation of many museum collections, destruction of library and archive funds. Digitalization of the Russian war crimes against Ukrainian culture became one more important work aimed at preservation of the Ukrainian cultural heritage. It was done by means of interactive maps of the Ukrainian cultural losses and it enables documenting crimes of the occupant army and spreading this information at the international level. Key words: culture, cultural front, cultural losses, cultural values, cultural heritage, war, media.

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Ayala-García, Jhorland, Jaime Alfredo Bonet-Morón, and María Beatriz García-Dereix. Museo de Arte Moderno de Cartagena (MAMC), una colección con 63 años de historia. Banco de la República, July 2023. http://dx.doi.org/10.32468/chee.59.

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Los museos son importantes generadores de cultura que contribuyen a la oferta turística local, lo cual puede tener implicaciones significativas en las economías locales. Estos espacios e instituciones tienen a sufrir problemas financieros en los países en desarrollo debido a la poca importancia que se les asigna desde los sectores público y privado. Se olvidan los beneficios que trae para la economía local y regional la inversión en museos, pues estos pueden atraer nuevas inversiones por parte de quienes buscan lugares con amenidades para sus ejecutivos en un mundo globalizado. También pueden contribuir a crear una oferta turística que atrae viajeros con mayor poder de compra, lo que facilita la preservación en las ciudades con patrimonio cultural. Cartagena no es ajena a esta tendencia de escases de apoyo institucional a los museos y no ha logrado consolidar una oferta cultural sólida, a pesar de contar con un patrimonio histórico y cultural importante. En la ciudad, uno de los museos con mayor tradición es el Museo de Arte Moderno de Cartagena (MAMC), que posee una valiosa colección de arte que podría contribuir a generar esa oferta turística cultural requerida. El presente documento describe la colección actual del MAMC para dar a conocer al público su evolución y la importancia de dichas obras desde un punto de vista cronológico. Se presentan los antecedentes y la evolución de la colección haciendo énfasis en los principales artistas cuyas obras se exhiben en el museo y el contexto cultural cartagenero en las décadas de 1970 y 1980, años en que se consolidó la mayor colección del MAMC

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Martin, Kathi, Nick Jushchyshyn, and Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Chriscoe, Mackenzie, Rowan Lockwood, Justin Tweet, and Vincent Santucci. Colonial National Historical Park: Paleontological resource inventory (public version). National Park Service, February 2022. http://dx.doi.org/10.36967/nrr-2291851.

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Colonial National Historical Park (COLO) in eastern Virginia was established for its historical significance, but significant paleontological resources are also found within its boundaries. The bluffs around Yorktown are composed of sedimentary rocks and deposits of the Yorktown Formation, a marine unit deposited approximately 4.9 to 2.8 million years ago. When the Yorktown Formation was being deposited, the shallow seas were populated by many species of invertebrates, vertebrates, and micro-organisms which have left body fossils and trace fossils behind. Corals, bryozoans, bivalves, gastropods, scaphopods, worms, crabs, ostracodes, echinoids, sharks, bony fishes, whales, and others were abundant. People have long known about the fossils of the Yorktown area. Beginning in the British colonial era, fossiliferous deposits were used to make lime and construct roads, while more consolidated intervals furnished building stone. Large shells were used as plates and dippers. Collection of specimens for study began in the late 17th century, before they were even recognized as fossils. The oldest image of a fossil from North America is of a typical Yorktown Formation shell now known as Chesapecten jeffersonius, probably collected from the Yorktown area and very likely from within what is now COLO. Fossil shells were observed by participants of the 1781 siege of Yorktown, and the landmark known as “Cornwallis Cave” is carved into rock made of shell fragments. Scientific description of Yorktown Formation fossils began in the early 19th century. At least 25 fossil species have been named from specimens known to have been discovered within COLO boundaries, and at least another 96 have been named from specimens potentially discovered within COLO, but with insufficient locality information to be certain. At least a dozen external repositories and probably many more have fossils collected from lands now within COLO, but again limited locality information makes it difficult to be sure. This paleontological resource inventory is the first of its kind for Colonial National Historical Park (COLO). Although COLO fossils have been studied as part of the Northeast Coastal Barrier Network (NCBN; Tweet et al. 2014) and, to a lesser extent, as part of a thematic inventory of caves (Santucci et al. 2001), the park had not received a comprehensive paleontological inventory before this report. This inventory allows for a deeper understanding of the park’s paleontological resources and compiles information from historical papers as well as recently completed field work. In summer 2020, researchers went into the field and collected eight bulk samples from three different localities within COLO. These samples will be added to COLO’s museum collections, making their overall collection more robust. In the future, these samples may be used for educational purposes, both for the general public and for employees of the park.

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