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Journal articles on the topic 'Historical museums'
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1
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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Rahmawati, Rahmawati, Ari Sapto, Aditya Nugroho Widiadi, and Indah Wahyu Puji Utami. "Eksplorasi Tata Pamer Museum Edukasi Universitas Negeri Malang." Fajar Historia: Jurnal Ilmu Sejarah dan Pendidikan 8, no. 1 (April 30, 2024): 129–44. http://dx.doi.org/10.29408/fhs.v8i1.25199.
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This research aims to explore comprehensive information about the display system of the State University of Malang (UM) Educational Museum collection which contains material from a collection of historical objects from the past, as well as identifying the role and potential for the sustainability of educational museums as a source of historical learning. The research method used is a qualitative approach with exploratory study analysis. Data collection through field observations, interviews, and documentation. The research results show that the UM Education Museum's display system has its characteristics and strategies for conveying effective information to visitors. In various challenges of the times, the existence of the UM educational museum can play an important role as a source of historical learning for students and the beautiful exhibition layout can have an impact on the sustainability of the UM educational museum in the future. The implications of this research provide input for the UM Education Museum and other museums in Indonesia in presenting museum exhibition arrangements that support learning and culture as a whole. Apart from that, the results of this research provide a real contribution to increasing insight into the exhibition layout of the Education Museum for visitors.
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MARKINA, LIZA. "THE ROLE OF HISTORICAL AND ARCHAEOLOGICAL MUSEUMS AS SOCIAL INSTITUTIONS IN THE FORMATION AND POPULARIZATION OF HISTORICAL AND CULTURAL MEMORY (ZHOUCOUDIAN MUSEUM, CHINA)." Skhid 2, no. 2 (September 15, 2021): 26–30. http://dx.doi.org/10.21847/1728-9343.2021.2(2(2)).239409.
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The article analyzes the role of historical and archaeological museums as public institutions in the formation and promotion of historical and cultural memory in modern conditions of constant change: from the functions of museums through technology to public expectations and needs of the audience. The historical and archaeological museum is considered a socio-cultural institution that fulfills the mission of preserving, broadcasting, and interpreting historical and cultural memory. Based on the properties of historical and cultural memory defined by the author, the functions of museums are established, which ensure its preservation, transition, and interpretation. The article analyzes the dependence of the functions of historical and archaeological museums on changes in the field of communications, technological integration, and the post-epidemic crisis. Given that education and culture are the greatest values of mankind, the author considers one of the main tasks of historical and archaeological museums in the education and cultural de-velopment of society based on historical and cultural heritage. And hence the concept of modern historical and archaeological museums is considered in the direction of scientific and socio-cultural centers.
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Andermann, Jens, and Silke Arnold-de Simine. "Museums and the Educational Turn." Journal of Educational Media, Memory, and Society 4, no. 2 (September 1, 2012): 1–7. http://dx.doi.org/10.3167/jemms.2012.040201.
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Responding to feminist, postcolonial, and memorialistic critiques, museums have over the past decades radically revised their protocols of collection and display, aiming to register in their own curatorial and pedagogical practice the open and contested nature of the historical and ethnographic narratives on which their object lessons had traditionally conferred the status of hard evidence. In this new emphasis on the “museum encounter” as a performative and intersubjective “event”—sometimes referred to as the “educational turn” in museum curatorship—a new type of “inclusive museum” has emerged in diverse geographical and political settings. The inclusive museum seeks to recover the museum’s social role as a purveyor of shared, collective meanings precisely in departing from its high-modern predecessor and in forging “open representations” that acknowledge the diversity of the interpretative community thus interpolated. Inclusive museums, in short, aim to offer a new, contemporary stage for negotiating and performing cultural citizenship.
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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.
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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.
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Mazur, Lyudmila N. "Crimean Mosaic: Spatial Analysis of the Structure and Dynamics of the Regional Museum Network." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 3 (2023): 267–85. http://dx.doi.org/10.15826/izv2.2023.25.3.055.
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Referring to the data of the author’s database of Crimean museums, this article offers a spatial analysis of the structure and dynamics of the museum network. The official digital resources (websites) of the Ministry of Culture of the Russian Federation, the Museums of Russia portal, the website of the Private and Folk Museums of Russia, and the websites of municipalities are used as the main sources of information. The database information makes it possible to reconstruct the images of the region, taking into account their geographic reference. The museum landscape of the region forms a polyphonic historical and cultural image of Crimea, which is divided into five clusters (zones): literary and historical (Southern coast of Crimea); military-historical (Sevastopol); historical and local history (steppe Crimea); historical and archaeological (Kerch Peninsula); historical and ethnographic (mountainous Crimea). Clusters differ in the structure of the museum network and the historical dynamics of its formation. The author analyses the features of the formation of each museum cluster and the images of the past it broadcasts. The image of the war is most intensively present in the museums of Sevastopol and Balaklava as the places of the deployment of the Black Sea Fleet. Literary Crimea is concentrated in cities and urban-type settlements of the southern coast of Crimea, where many famous writers rested, were treated, and created their works. Images of the Soviet past are disseminated by local history museums of the steppe Crimea. The ancient civilization and medieval Crimea are represented in the Kerch cluster and partly by the historical and archaeological museums of the South Coast and the mountainous Crimea. And, finally, the national (Crimean-Tatar) image of Crimea is preserved in the museums of Bakhchisaray and Simferopol. Such a complex mosaic of Crimean images is the result of the influence of external and internal factors — the richness and diversity of the historical and cultural heritage of the region formed over the centuries and the zigzags of the state cultural policy. The change of statehood over the twentieth century (imperial, Soviet, post-Soviet — Ukrainian and Russian — periods) has left its mark on the museum space of Crimea.
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Andermann, Jens. "Showcasing Dictatorship." Journal of Educational Media, Memory, and Society 4, no. 2 (September 1, 2012): 69–93. http://dx.doi.org/10.3167/jemms.2012.040205.
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This article compares two recently inaugurated museums dedicated to the period of dictatorial terror and repression in the Southern Cone: the Museum of Memory and Human Rights at Santiago, Chile (opened in 2009), and the Museum of Memory at Rosario, Argentina (2010). Both museums invoke in their very names the "memorial museum" as a new mode of exhibitionary remembrance of traumatic events from the past. They seek to sidestep the detachment and "objectivity" that has traditionally characterized historical museum displays in favor of soliciting active, performative empathy from visitors. Neither of the two institutions, however, complies entirely with the memorial museum's formal characteristics; rather, they reintroduce modern museographical languages of history and art, thus also challenging the emergent "global canon" of memorial museum aesthetics.
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Govekar Okoliš, Monika. "University Students' Views on the Efficacy of a Museum’s Historical School Lessons – The Case of Ancient Emona." Revija za elementarno izobraževanje 15, Spec. Iss. (August 2022): 41–58. http://dx.doi.org/10.18690/rei.15.spec.iss.41-58.2022.
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Museums today engage in a range of educational activities, including simulated museum's historical school lessons. The article uses the Slovenian School Museum as an example and describes the education it offers, especially concerning museum's historical school lessons. The purpose of this qualitative study is to explore the views and reactions of university students (n = 19) from the Faculty of Arts at the University of Ljubljana, concerning what they learned from the enactment of a historical school lesson. An open-ended type of questionnaire was given to participants in the study year 2019/20 and used to evaluate the “Ancient Emona” school lesson. The study's findings show the historical school lesson conducted in the museum to be an effective, living, and active means of education on the history of teaching for university students.
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Mayer, Gabriel. "Historical Museums in Israel: Semiotics of Culture." Journal of Arts and Humanities 6, no. 01 (January 19, 2017): 43. http://dx.doi.org/10.18533/journal.v6i01.1089.
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<p>Tiny by physical size, the State of Israel retains some of the world’s most important cultural treasures, along with many other great cultural institutions. Archeological treasures have yielded much information as far as biblical history and have been well adapted to a Zionist narrative by both the Jewish press and international news organizations, such as the New York Times whose archives are replete with reports of Jewish history being dug up by the Jewish people. Once the State of Israel gained independence in 1948, the course was set for the development of historical museums whose discourse would reflect the most significant events in Jewish history, most especially the Holocaust and the state of constant warfare that continues to imbue the cultural consciousness of its citizens. In this paper we outline, through categorization, the various historical museums, which are currently operating. Furthermore, this article hopes to shed some light upon the cultural sensibilities conveyed through these institutions. This paper is about Israeli culture, mythology, and collective needs, as formed by and informed through a variety of historical museums. The working assumption is that in a historical museum culture is partially formed and at the same time the culture is influencing the contents and narratives on display inside the museum. It should be clear from the start that the discussion is held about Israeli museums as viewed by a Jewish population and created by and for Jews. Notwithstanding the multifaceted collective of Israeli society, this work is confined to and circumscribed by this demarcation. In the following sections, I intend to provide an explanation for this viewpoint from a historical perspective and also provide a framework of what constitutes a historical museum and justify the methodology of its employ. This will be followed by a discussion of the main categorical types of historical museums present in Israel, and finally a detailed accounting of specific museums.</p>
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Damjanovic, Rebecca, and Robert Mason. "Suffering and Survivorship: Mythologies and Contested Narratives of War in Serbian Museums." Museum and Society 21, no. 1 (May 16, 2023): 74–86. http://dx.doi.org/10.29311/mas.v21i1.4086.
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Museums that commemorate war have a uniquely influential role in determining how the nation approaches its past, and navigate highly politicized issues of loss and victimhood. Far less understood is how curatorial approaches to historical conflicts can influence museum practices regarding more recent wars. In this article, we explore how three museums of national history in Serbia narrate historical wars. Each museum is focused on articulating the story of the nation, albeit with markedly differing emphases in their collecting practices and curatorial strategies. Analysing objects and narrative texts, we suggest that Serbian historical museums engage visitors in ethical questions and topics that are often otherwise silenced. We draw attention to the resurgence of deep historical narratives, emphasizing Serbs’ connection to the environment, faith, and landscape, as a means to assert the continued relevance of historical wars to contemporary national identity. In doing so, museums seek to engage in the fraught politics of memory relating to the Yugoslav Wars.
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Fairchild, Charles. "Understanding the Exhibitionary Characteristics of Popular Music Museums." Museum and Society 15, no. 1 (June 9, 2017): 87–99. http://dx.doi.org/10.29311/mas.v15i1.664.
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The literature on the popular music museum has primarily focused on the study of heritage and cultural memory with a secondary focus on tourism. Given the unprecedented expansion of the museum sector worldwide in recent decades, which has produced an increasing number of major museums dedicated to popular music, it is an opportune time to expand this range of analytical concerns. Specifically, the development of popular music museums has not yet been closely examined within the broader historical trajectory of the so-called ‘new museum.’ This article seeks to outline the range of exhibitionary types commonly used in a range of high-profile popular music museums in pursuit of this line of inquiry. The goal is not simply to produce a generic survey or typology of displays, but to place the use of different forms of museum display within the specific historical trajectory that has produced steadily larger numbers of these kinds of museums in recent years. I organize these exhibitionary types into two broad streams of museum exhibition practice implied in the historical survey presented here: a populist-vernacular stream of museum display and an institutional-educational one. I seek to place the exhibitionary practices of contemporary popular music museums in a broader and longer trajectory of similar practices in order to get a more grounded sense of the more important characteristics of these kinds of museums.
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Sauge, Birgitte. "Arkitektur og utstillinger som berører. En studie av nyere basisutstillinger i norske kunst- og kunstindustrimuseer." Nordlit, no. 36 (December 10, 2015): 293. http://dx.doi.org/10.7557/13.3695.
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<p>The intention with this article is to describe current exhibition practices at some Norwegian fine art- and design museums and to relate these practices to the visitors and their experiences, by comparing data concerning the plans and interior designs of gallery rooms and the organization of the displays.</p><p>This investigation is based on data from a survey of 19 permanent exhibitions in 12 fine arts and design museums, conducted in 2011–12; the Norwegian museum architecture and museum displays with its more than 100 year old traditions; and Charlotte Klonk’s book <em>Spaces of Experience: Art Gallery Spaces from 1800–2000</em>.</p><p>The survey shows that the purpose built museums to a large extent have kept their original layout and the organization of rooms. The non-purpose built museums tend to imitate the museums from the 1800s, within the limits of their given architecture. Different types of specially designed rooms are found in all buildings, regardless of age and purposes. Regarding the organization of displays, the most frequent principle is a combination of historically chronological types and themes. Almost as frequent are strictly historical chronological displays and thematic displays without any historical narrative.</p><p>Hence, the comparisons reveal that there are no fixed patterns regarding the historical types and the conventions concerning the relationship between the museum architecture and organization of the displays, which lead to the conclusion that today there is no general curatorial strategy in Norwegian fine art- and design museums with regard to the visitors’ experiences.</p>
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Misbah, M. Ma'ruf, and Faizal Arifin. "Doing Historical Research in Museum and Digital Museum." Socio Historica: Journal of Islamic Social History 1, no. 2 (December 26, 2022): 188–206. http://dx.doi.org/10.15408/sh.v1i2.26075.
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This article discusses the role of museums and digital museums as scientific research destinations in history. Not only physical visits to museums but the Covid-19 pandemic has also accelerated the transformation of scientific destinations through digital museums. This study aimed to identify the role and contribution of the museum and digital museum as a destination for historical researchers to carry out scientific research activities in the field of history by analyzing material culture as a historical source collected by the museum. The Rijksmuseum is an example of a digital museum provider that provides a huge collection of museums for historical research. This article used qualitative research methods with historical science approaches, especially historical research methods, archaeological approaches, and sociocultural approaches. The results indicate that there are opportunities for historical researchers to write history comprehensively, which are not only based on historical sources in oral and written form but can also be supplemented with historical information obtained from analysis of historical sources in the form of material culture which is a legacy from the past collected by the museum and digital museum. Thus, it appears that the museum which collects material culture has a significant role significant research destination in the field of history. As an impact of the existence of this material culture, historical researchers can obtain historical information from the analysis of that material culture to complement historical information obtained from the analysis of historical sources in other forms.Artikel ini membahas tentang peran museum sebagai tujuan penelitian ilmiah di bidang sejarah. Bukan hanya kunjungan fisik ke museum, pandemi Covid-19, mempercepat transformasi destinasi ilmiah sejarah melalui museum digital. Tujuan dari penelitian ini adalah untuk mengidentifikasi peran dan kontribusi museum serta museum digital sebagai tujuan peneliti sejarah untuk melakukan kegiatan penelitian ilmiah di bidang sejarah dengan menganalisis budaya material sebagai sumber sejarah yang dikumpulkan oleh museum. Rijksmuseum merupakan contoh penyedia digital museum yang menyajikan banyak koleksi museum bagi penelitian sejarah. Artikel ini menggunakan metode penelitian kualitatif dengan pendekatan ilmu sejarah, khususnya mengenai metode penelitian sejarah, pendekatan arkeologi, dan pendekatan sosiokultural. Hasil penelitian menunjukkan bahwa terdapat peluang bagi peneliti sejarah untuk menulis sejarah secara komprehensif, yang tidak hanya didasarkan pada sumber sejarah dalam bentuk lisan dan tulisan tetapi juga dapat dilengkapi dengan informasi sejarah yang diperoleh dari analisis sumber sejarah berupa kebudayaan material yang warisan dari masa lalu yang dikumpulkan oleh museum. Dengan demikian, tampak bahwa museum yang mengkoleksi material memiliki peran yang signifikan sebagai tujuan penelitian di bidang sejarah. Sebagai dampak dari keberadaan kebudayaan material ini, peneliti sejarah dapat memperoleh informasi sejarah dari analisis budaya material tersebut untuk melengkapi informasi sejarah yang diperoleh dari analisis sumber sejarah dalam bentuk lain.
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Zubanova, Nadezda A. "Museums of a “manufacturing type” in the USSR: Emergence, experience and liquidation. The history of museum development in the USSR in the 1920s–1930s." Issues of Museology 11, no. 2 (2020): 197–209. http://dx.doi.org/10.21638/11701/spbu27.2020.205.
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The article examines the experience of the museums of a “manufacturing type” that appeared in Soviet Russia in the 1920s. References to the existence of such museums are repeatedly found in official reports, museums’ documentation and periodicals of those years. At the same time, we note that up to now there is no definition of this type of museum in the national historiography of the history of museums. The reference to the experience of their work remains on the periphery of the research interest. The article explores the example of two Moscow’s museums — the Museum of Porcelain and the Museum of Furniture — to describe the history of the creation of museums, to find out the socio-cultural factors that contributed to their formation as a “manufacturing type” museums, and to analyze the reasons that led to the closure (in the case of the Museum of Furniture) or a change of their profile. The emergence and activity of manufacturing museums was associated with a special historical moment — the time of the active creation of the Soviet museum network and experiments in the field of museum business. If earlier museums in their activities were focused on storage and scientific functions, then at the new historical stage the role of museums in society was rethought: the educational functions were placed at the forefront of their activities. At this time, there was still the opportunity to implement certain creative experiments. In the activities of “manufacturing museums”, such types of museum work with a visitor were already successfully practiced and some approaches in expositional activities that were relevant in modern museology and in demand by modern museum institutions were implemented.
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Jagodzińska, Katarzyna. "Historyczne mury dla nowych muzeów. Muzealna moda na początku XXI wieku." Kultura i Społeczeństwo 55, no. 4 (November 22, 2011): 171–90. http://dx.doi.org/10.35757/kis.2011.55.4.9.
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The Author considers a trend, which comes from the west, to use post-industrial developments for museums. The article includes issues concerning adaptation of post-industrial developments for museum functions, references to history and identity of the building concerned, as well as relations of an institution — which is hosted within the historical construction — with the surroundings. The museums which have been selected for the analysis are representative for a boom observed in Poland since the beginning of the 21st century — the majority of newly-established museums are located in adapted old buildings, the museums representing almost exclusively only two categories: historical museums and contemporary art museums. The Author seeks an answer to a question whether museums must follow current trends. She concludes that a quest for success translating to a good image and high attendance is and certainly shall remain an important goal of a museum. She warns, however, of dangers related with a museum trying to be a “trendy” place to attend, especially in the times of public life commercialization, which is more and more common.
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Addy, Shadrick. "History Re-Experienced: Implementing Mixed Reality Systems into Historic House Museums." International Journal of Machine Learning and Computing 11, no. 4 (August 2021): 311–16. http://dx.doi.org/10.18178/ijmlc.2021.11.4.1053.
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As immersive technologies have become ubiquitous today, traditional museums are finding success augmenting existing exhibits to increase visitors’ satisfaction. However, due to the immutable nature of house museums, and their tendency to place visitors in direct contact with historical artifacts, museum managers are seeking original approaches to cultural preservation. Implementing mixed reality systems into historic house museums is one such approach. The goal of this study is to develop and test a conceptual matrix that guides how designers use the affordances of mixed reality systems to create experiences that align with the range of historical narratives found in house museums. Experiences that can contribute to improving visitors’ satisfaction, self-interpretation, and understanding of the homeowner’s life and the community within which they lived. Building on human-centered design methods, the researcher developed and tested a prototype of an augmented reality (AR) mobile application centered on the Pope House Museum in Raleigh, North Carolina. The outcome of the research suggests house museum visitors should have agency in deciding the lens through which they experience the variety of historical narratives present in the home.
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Hu, Wangming, Hyunsuk Han, Gulong Wang, Tao Peng, and Zhiqiang Yang. "Interactive Design and Implementation of a Digital Museum under the Background of AR and Blockchain Technology." Applied Sciences 13, no. 8 (April 8, 2023): 4714. http://dx.doi.org/10.3390/app13084714.
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A museum is the destination of the crystallization of history and culture, and a museum is the center for the development of heritage culture. The display and exhibition of historical relics can promote the harmonious development of society. However, there are many defects in traditional museums. The collection in the museum is scattered. The exhibition needs a specific time and place to open, and the exhibition mode is boring and lacks entertainment, which seriously limits the museum’s dissemination of history and culture. In order to improve the public’s number of visits, museums need to keep pace with the times. Using augmented reality technology can digitize the information in the museum and integrate it with the user’s real environment, which solves the limitation of time and space for most users to visit the museum, and greatly increases the entertainment of users to visit the museum. In addition, the application of blockchain technology in digital museums can effectively ensure the security of museum cultural relics data and quickly restore the lost cultural relics information. The digital museum can help tourists realize cross-region viewing. Through multimedia software and hardware, it can greatly stimulate tourists’ interest and attract tourists of different ages to visit. This article uses digital technology to present physical museums in a digital form on the network, but it is difficult for digital museums to conduct targeted analysis on tourists of different ages. This article will analyze the attraction ability of digital museums to tourists of different ages, thereby attracting tourists of different ages to visit. This paper compared traditional museums with digital museums based on augmented reality technology and blockchain technology. The experimental results showed that from the perspective of young people, the average interactivity of traditional museums and digital museums was 47.20% and 78.20%, respectively; from the perspective of the elderly, the average interactivity of traditional museums and digital museums was 59.04% and 70.36%, respectively. Therefore, the digital museum built by using augmented reality technology and blockchain technology can effectively improve the interaction with users. The digital museum can improve the interaction with tourists of different ages, attract a large number of tourists for virtual visits, and improve the cultural transmission and economic development of the digital museum.
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Anisimova, Margarita Vyacheslavovna. "The Phenomenon of Leningrad Military Museum in the first decades of the Soviet era." Исторический журнал: научные исследования, no. 5 (May 2023): 127–37. http://dx.doi.org/10.7256/2454-0609.2023.5.43662.
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After 1917, historical everyday life museums became widespread, but there were also projects of military everyday life museums, which are the subject of this article. In 1919–1927 in Petrograd (Leningrad) there was the Military museums Section of the People's Commissariat of Education. Its activities were aimed at conservation the military museum property and developing projects for the creation of a unified military museum, which involved the creation of an everyday life department. However, the proposed ideas were not timely, and the Section was dissolved. But already in 1930, the Military-historical-everyday life museum was organized in the Military department, which existed for 7 years, and then became part of the Artillery Museum. For the first time, the composition and activities of the Leningrad Military museums section are considered, whose employees were officers of the Imperial Russian Army, founders of regimental museums, military historians, archivists, writers, collectors who tried to save the memory of the First World War and contribute to the preservation of pre-revolutionary military history. The continuation of the development of these ideas falls on the 1930s due to the new generation of the military, who realized the importance of museumification of the historical and cultural heritage, and the creation of the Military-historical-everyday life museum. Based on the analysis of some exhibits introduced into scientific circulation for the first time, conclusions can be drawn about the features of the collections. Based on archival sources, the article analyzes how the history of museum work reflects sociocultural changes in the country.
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Салимурзаев, Т. М. "Features of the Formation of the Petrograd–Leningrad Museum Network (1917–1940)." Nasledie Vekov, no. 4(36) (December 31, 2023): 76–98. http://dx.doi.org/10.36343/sb.2023.36.4.006.
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Работа служит целям установления количественного и качественного состава музейной сети Петрограда–Ленинграда в 1917–1940 гг., определения динамики ее развития и выявления изменений, происходивших в системе управления музеями в этот период. Использованы документы и законодательные акты, работы исследователей истории музейного дела, данные сайтов ныне действующих музеев. Проанализированы процессы, характерные для развития музейной сферы северной столицы в рассматриваемый период. Подчеркивается отсутствие у некоторых музеев четкой тематической профилизации. Создана классификация в виде таблиц, разработанных преимущественно на материале 1930-х гг. и отражающих, в частности, функциональное назначение музеев и их место в структуре управления. Анализируются изменения в системе управления музейной сетью Петрограда–Ленинграда. Установлено, что в течение изучаемого периода происходил процесс идеологической трансформации музейной отрасли и превращения музеев в орудие политической пропаганды. The work serves the aim of establishing the quantitative and qualitative composition of the museum network of Petrograd–Leningrad in 1917–1940, determining the dynamics of its development, and identifying changes that took place in the museum management system during this period. Documents and legislative acts, research on the history of museum affairs, data from Internet sites of current museums that operated or emerged during the period described were used. The research optics is based on the use of classical methods of historical research (diachronic, comparative-historical, historical-genetic, typological, etc.), applied on the basis of a systemic-historical approach; the use of structural-functional analysis was also significant. The processes characteristic of the development of the museum sphere of the northern capital during the period under review are considered. The lack of a clear thematic profile in some museums is emphasized. The author classifies museums in the form of tables, developed mainly on the material of the 1930s and reflecting, in particular, the functional purpose of museums and their place in the management structure. Changes in the management system of the Petrograd-Leningrad museum network are analyzed. The city’s museum network in the 1920s was mainly represented by museums of landowner life, which were used to contrast the lifestyle of the former elite with the interests and aspirations of the people, as well as a material confirmation of the need for revolutionary changes. In the 1930s, the largest in terms of quantity, quality and attention from the Soviet government during museum construction was the group of historical and revolutionary museums, represented by memorial apartments of Lenin and other leaders of the revolution. The second largest group was natural history (natural science) and techno-economic museums; the third largest group was history and everyday life museums. Thus, during the period under study, the museum network was developing in a historical-revolutionary direction, the city’s museum industry was ideologically transforming and becoming an instrument of political propaganda. The museum management system was constantly reorganized; its features were the collapse of the museum management apparatus created in the 1920s, the ignorance of museum specifics, personnel repressions, and the outflow of management personnel from museums to various departments.
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MAKHANOV, N. I. "THE MUSEUM IS A MEDIUM OF SPIRITUAL KNOWLEDGE, COLLECTING EXHIBITS OF ANCIENT HISTORY." Ethnography of Altai and Adjacent Territories 11 (2023): 305–8. http://dx.doi.org/10.37386/2687-0592-2023-11-305-308.
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The purpose of the article is to conduct a scientifc analysis of the history of the development of the Turkic peoples through the exhibits of the State Historical and Cultural Reserve - Museum “Otyrar”, one of the largest historical monuments of Kazakhstan. In addition, to show an original approach to the spiritual and social aspects of the current activities of this museum. One of the tasks of the research work is to determine the essence of the historical and spiritual reasons that determine the signifcance of the formation and development of the museum. Today, the assessment of the museum’s role in state and public spaces is relevant. We set ourselves the task of analyzing the statistical data of museum visitors and developing a general judgment. As the relevance of the research work, we would call the inadmissibility of the stagnation of the consequences of spiritual and cultural consciousness in modern information and global movements. We especially promote the activities of museums as one of the sources of education of the younger generation in order to protect themselves from the fow of information waves and not lose their national and cultural identity. It is obvious that the ability to properly convey the historical and cultural resources of the “Otrar” Museum to the consciousness of the younger generation enriches their spiritual values. As a result of the research, a comprehensive analysis of the historical ways of formation and development of the «Otrar» Museum was carried out. At the same time, on the basis of various examples, an assessment of the historical and spiritual activities of the museum today is given. Opinions were expressed on the future signifcance of the development of museums.
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de Rosset, Tomasz F. "MIECZYSŁAW TRETER, CONTEMPORARY MUSEUMS." Muzealnictwo 60 (July 9, 2019): 103–7. http://dx.doi.org/10.5604/01.3001.0013.2802.
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In 2019, the National Institute for Museums and Public Collections in cooperation with the Państwowy Instytut Wydawniczy published the 1917 book by Mieczysław Treter titled Contemporary Museums as the first volume in the Monuments of Polish Museology Series. The study consists of two parts originally released in ‘Muzeum Polskie’ published by Treter in Kiev; it was an ephemeral periodical associated with the Society for the Protection of Monuments of the Past, active predominantly in the Kingdom of Poland, but also boasting numerous branches in Polish communities throughout Russia. The Author opens the first part of a theoretical format with a synthesized presentation of the genesis of the museum institution (also on the territory of the Polish-Lithuanian Commonwealth), to later follow to its analysis in view of its collecting and displaying character, classification according to the typical factual areas it covers, chronology, and territory (general natural history museums, general history ones, technological ones, ethnographic ones, historical-social ones, historical-artistic ones); moreover, he tackles questions like a museum exhibition, management, a museum building. In Treter’s view the museum’s mission is not to provide simple entertainment, neither is it to create autonomous beauty (realm of art), but it is of a strictly scientific character, meant to serve science and its promotion, though through this museums become elitist: by serving mainly science, they cannot provide entertainment and excitement to every amateur, neither are they, as such, works of art to which purely aesthetical criteria could be applied. The second part of Treter’s study is an extensive outline of the situation of Polish museums on the eve of WWI, in a way overshadowed by the first congress of Polish museologists, and in the perspective of the ‘museum world’ of the Second Polish Republic. It is an outline for the monograph on Polish museums, a kind of a report on their condition as in 1914 with some references to later years. Through this it becomes as if a closure of the first period of their history, which the Author, when involved in writing his study, could obviously only instinctively anticipate.
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Бідюк, Наталя Михайлівна, Вікторія Сергіївна Церклевич, and Віталій Виталійович Третько. "THE VIRTUAL MUSEUM SPACE AS A PLATFORM FOR STUDENT RESEARCH ACTIVITIES IN THE HISTORY OF ECONOMICS." Information Technologies and Learning Tools 81, no. 1 (February 23, 2021): 167–79. http://dx.doi.org/10.33407/itlt.v81i1.3385.
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The article presents the results of theoretical justification and practical verification of modern possibilities of using the pictorial method (museum tours) in teaching the subject “The History of Economics and Economic Thought”. The article justifies the evolution of views on the range of sources on historical processes. A modern understanding of “a pictorial turn” in historical research was presented. The virtual museum as an informational resource, multimedia phenomenon, cost-effective model of museum space was considered. The educational experience of the EU countries in using modern methods of working with museum expositions to form economic thinking was studied. The need to turn the traditional paradigm of the museum as a center for preserving historical values into the educational interaction between the tourist student and the objects of the museum’s collection was proved. The article describes the content of the two-stage pedagogical experiment (between 2014 and 2018). The first stage explores the possibility of using educational museum tours and historically significant territories of cities as a method of studying the history of regional economics in the context of seminars. The author’s pedagogical product, that is regional thematic tours on the history of economics, was presented. The second stage develops and verifies the methodology of using online resources of Ukrainian museums (virtual tours, virtual exhibits) to organize the independent work of students in the context of this subject. The thematic catalog of online resources of Ukrainian museums for conducting research activities within this subject was created. The article presents research activities with the exposition of the virtual museum in the framework of the independent work of students. Based on the results obtained from the survey of students from higher education institutions of Ukoоpspilka, it is proved that working in the virtual museum space implies innovative, multidisciplinary, competence-oriented research activities, as well as an effective form of organizing independent work of students.
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Litvin, Tatiana A. "Museum sociology in the context of socio-historical changes." Vestnik of Saint Petersburg University. Sociology 15, no. 2 (2022): 63–77. http://dx.doi.org/10.21638/spbu12.2022.104.
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The urgent need to study museum visitors in Russia usually arose during periods of qualitative reforms in the museum sphere, shortly after cardinal social changes. Such milestones in Russia were the 1920s–1930s, the 1960s–1970s, and the 1990s–2000s. Research at this time had significant results. The purpose of the study is to describe the historical context to explain the activation of the audience analysis. The novelty of this approach consists in substantiating the need for sociological research and indicates ways to improve them through interdisciplinary cooperation of sociologists, museologists, historians, art historians and other specialists. The first breakthrough was aimed at attracting the proletariat that won the revolution to the museum for its elementary education. This helped to retain the museum in the USSR as a type of institution. The museum boom of the 1960s pushed the state to more carefully calculate the results of the work of museums and monitor them. During this period, the museum began to be perceived as one of the tools for educating a Soviet citizen. The third period coincided with a wave of commercialization, and museums entered into a struggle for their audience through the planning of exhibition and teaching activities, and the Internet. The analyzed material proves that sociological research is activated when museums become the arena of revolutionary or communication experiments, and they need to be considered in a historical context.
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Figueiró, Belisa. "Museus e ciência: revisão dos estudos históricos e das instituições na Espanha." Transições 1, no. 2 (December 14, 2020): 195–214. http://dx.doi.org/10.56344/2675-4398.v1n2a202010.
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Este artigo propõe uma análise dos estudos históricos de pesquisadores espanhóis sobre a criação dos museus científicos na Espanha. Como método, aplica a revisão bibliográfica dos trabalhos publicados pela revista Arbor, os quais examinam o papel da ciência e da tecnologia não apenas no propósito de instauração das próprias instituições, mas também na restauração de obras e peças museológicas, com especial atenção ao Museu de Ciência e Tecnologia de Madri e ao Instituto San Isidro. Da mesma forma, este texto aborda a interação entre o público e os museus espanhóis, reconhecendo a perspectiva da museologia crítica como uma possibilidade de aproximação entre as escolas, os visitantes e os museus.
Abstract: This article analyzes the historical studies of Spanish researchers on the creation of science museums in Spain. As a method, it applies the bibliographic review of the works published by Arbor scientific journal, which examine the role of science and technology not only in the purpose of establishing this kind of institutions, but also in the restoration of works and museum pieces, with special attention on the National Museum of Science and Technology (Madrid) and San Isidro Institute. Likewise, this text talks about the interaction between the museums and its audience, recognizing the critical museology perspective as a possibility of bringing schools, visitors and museums together.
Keywords: Science museums. Critical museology. Spain. Restoration. History.
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Zhang, Hongsuli. "Representing China in the British Museum: Do Museums Perpetuate Historical Biases?" Communications in Humanities Research 6, no. 1 (September 14, 2023): 1–7. http://dx.doi.org/10.54254/2753-7064/6/20230004.
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Museums have never been neutral. Public museums and exhibitions that originated in colonial times are accused of passing on biases that feature Euro-centric interpretations of history. This paper investigates the nature of bias and the history of museums and their biases, and then focuses on the representation of China in the British Museum as an elaborate case study. The paper argues that from the British Museums virtual collections and public resources, the descriptive text and collection highlights in the China galleries reflect implicit and biased historical perspectives of China in the UK, exhibiting a contrast between the British appreciation of exotic Chinese art and contempt towards Chinas social status arising from colonial trade. This paper provides a specific statement and analysis of western biases for colonial discussions and could contribute to decolonization actions taken in museums.
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Komova, O. S. "Conceptual basis of state policy in the sphere of museum affair." Вісник Київського національного лінгвістичного університету. Серія Історія, економіка, філософія, no. 28 (June 7, 2023): 73–82. http://dx.doi.org/10.32589/2412-9321.28.2023.280615.
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The purpose of the study is the analysis of the conceptual bases and directions of implementation of state policy in the museum sphere, as well as the definition of practical state management concepts in the sphere of museum affairs in Ukraine. The methodology is based on the use of problem-oriented approaches, which are based on the systematic and legal analysis of normative legal acts with the aim of improving state-management decisions as the main direction of the state’s regulatory activity. The following methods were used: interpretative-analytical, comparative-historical analysis, theoretical generalization, historical-comparative, historical-typological, historical-legal, statistical. Scientific novely. The article, based on the analysis of existing scientific works, defines the main directions of state policy in the museum sphere in general, and in the direction of preservation of monuments of material culture in particular. Prospects for improving state support for the educational activities of modern museums are also determined; attention is also focused on the positive experience of organizing cultural and educational activities of foreign museums in the context of preserving the cultural self-identification of society. Conclusions. It is emphasized that in order to ensure state management of socio-cultural processes in the context of museum development, Ukraine should focus on the implementation of innovative forms and methods of state management of the museum industry, which are based on world experience. The conceptual foundations of state policy in the field of museum affairs should be: analysis of the work of museum institutions with the determination of measures to improve their activities; development of measures to ensure the protection of monuments of museum funds; prevention of theft of historical and cultural values located in museums; replacement of security guards with technical ones; provision of financial resources for the creation of new exhibitions in museums; equipping museums with alarm systems and video surveillance; creation of a list of measures regarding the initiative of new expositions and exhibitions that will show the heroism of the defenders of the sovereignty of Ukraine.
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Ильвицкая, Светлана,, and Анна Поян. "The cultural heritage of Chisinau in 1930–1950." Arta 30, no. 1 (August 2021): 63–68. http://dx.doi.org/10.52603/arta.2021.30-1.10.
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One of the trends in the development of tourism is the appearance of open-air museums, which are the hallmark of a museum and tourist destination. On the example of the central quarters of Chisinau, the exhibits of the open-air museum can be architectural monuments of the interwar period – preserved urban villas of 1930-40, which combine the characteristic features of Art Nouveau, functionalism, modernism and Neo-Romanian architecture. As world experience shows, the best results in the popularization of historical and cultural heritage are achieved by specially protected historical territories, where new types of museums are organized – air museums or open-air museums. Such an example is the unrealized projects of the 1980s “The Ethnographic Museum of the Moldavian village” and “The Historical Quarter “Pushkinskaya Gorka”. The article examines the three-axis method of “triluchya” as a cultural heritage of urbanism, which was addressed in the post-war years (1945-1948) by the Academician of Architecture A. Shchusev when working on a project proposal - the scheme of the general plan for the development of the city of Chisinau. His idea of enriching the expressiveness of the city was to synthesize the planning traditions of historical neighborhoods while solving the problem of preserving the plasticity of the existing building and its further development.
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Amirullah and Patahuddin. "Museum-Based History Learning Innovation With Outing Class Model." Technium Social Sciences Journal 50 (November 1, 2023): 466–74. http://dx.doi.org/10.47577/tssj.v50i1.9928.
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The historical learning approach is strengthened by students seeking, discovering, observing and developing historical events as a dynamic science through a methodological approach, bringing objects closer, or student learning spaces in the learning process, so it is necessary to study with historical object approaches such as museums so that students are able to find creativity and their innovation is even wider. Strengthening Indonesian history learning materials, apart from teachers, teaching materials in the form of books, articles or modules with museum objects by developing the Outing Class model, where museums are the main attraction opening space and horizons for students' thinking and creativity by not only showing historical objects which are displayed in museums, but are able to think critically, observe, study and find the origins of these historical sources. Museums as learning resources are able to increase understanding, study facts, concepts, principles, laws, theories and ideas, ideas and innovations at the memory level, students are able to apply them effectively in solving them so as to acquire creative and innovative historical thinking skills and foster historical awareness for students.
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Burakov, Yurii, and Liliya Pytlovana. "Regional features of building museum exhibits on history of the modern Russo-Ukrainian War." Skhid 5, no. 1 (June 30, 2023): 16–22. http://dx.doi.org/10.21847/2411-3093.2023.5(1).282361.
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Various aspects of constructing stationary and mobile museum expositions of Ukraine in different regions of the country are analyzed, with the purpose of creating permanent exhibitions on the history of the modern Russo-Ukrainian War. The positive experience in organizing the preservation and popularization of the Russo-Ukrainian War monuments in the capital and regional museums of Ukraine is summarized, as well as the processes of their exposition and exhibition activity transformation at the current stage are studied. It is noted that the significance of constructing expositions on the modern history of Ukraine and the exhibition activities of national museums increased in connection with the Russia-Ukraine war of 2014 - 2023, when exposition materials became not only a means of forming historical memory, but also a source of patriotism and loyalty to national priorities, an important factor in formation of the Ukrainian nation. Individual exhibitions are studied in the “National Museum on the History of Ukraine in the Second World War”, “Memorial Complex”, "National Museum of the History of Ukraine", "National Military Historical Museum", regional local history museums, museums of higher military educational institutions, garrison museums. The study emphasizes the relevance of creating virtual means of presenting the historical past and present. The opening of virtual exhibitions and expositions in Ukraine is promising, as it connects a large audience both in our country and abroad with the exhibition ma-terial and unique funds. Foreign presentations have become an important field in modern expositions presentations. This applies both to the work of individual museums and individual foundations, European and global press centers, individual foundations, etc. A conclusion is made about the accumulated rich experience of the museums of Ukraine in all spheres of activity and, primarily, the active use of museum collections in the national and patriotic education of our country’s youth.
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Kutsevich, Vadym. "MODERN TRENDS IN THE FORMATION OF MULTIFUNCTIONAL MUSEUMS." Current problems of architecture and urban planning, no. 63 (April 14, 2022): 290–99. http://dx.doi.org/10.32347/2077-3455.2022.63.290-299.
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The article discusses the historical background and progressive processes of universalization and expansion of exclusively museum functions and the transformation of museums into a hub, similar to a transport hub that combines objects of different functions.
According to the World Council of Museums (ICOM), there are more than 55 thousand museums in the world. The leaders among them are art museums – the Louvre (Paris, France), the Metropolitan (New York, USA) and the British Museum (London, UK).
Ukrainian museums also have great cultural potential and are among the top ten countries in Europe in terms of the number of works of art available. At the same time, more than 90% of the cultural and creative artistic component of Ukraine is without the possibility of use and exposure.
It has been revealed that a modern museum should strive for development, not be afraid to go beyond the existing museum space, and also expand its functional scope through the use of a modern architectural and planning organization with flexible structures.
Consistently considering the features of the functioning of museums in different historical periods, it was revealed that the dependence of strategies for relating to the past has changed the perception of a museum object and museum structure. Accordingly, the typology of museum spaces was made or destroyed.
So, it is determined that starting from the 70s of the XX century. there was a rethinking of the approaches to the formation of the space of museums, which contributed to the solution of social and communication problems and the transformation of the role of museums in society.
The given examples from domestic and foreign experience in designing, building, operating museums refer to the continuous process of architectural creativity.
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Oreshina, Yulia. "Useful Sites of Memory: Jewish Museums in Belgrade and Sarajevo." Tirosh. Jewish, Slavic & Oriental Studies 18 (2018): 237–49. http://dx.doi.org/10.31168/2658-3380.2018.18.5.2.
Full textAbstract:
Understanding museum as a tool of mediation, premediation and remediation of cultural memory, I focus in this article on two case studies — the Jewish Museum in Sarajevo and Jewish Historical Museum in Belgrade. While the Jewish Museum in Sarajevo positiones the city of Sarajevo as the first center of Jewish life in Balkans, the Jewish Historical Museum in Belgrade claims to be the only museum in ex-Yugoslavia presenting the history of Jews in the entire region. Both museums, therefore, claim to be the most important museums on this topic in the region, and certainly in a way compete to each other. What are the real stories hidden under these narratives, and which political and historical circumstances influence the fact that these two museums represent such contrasting stories? With the help of content analysis of the museum exhibitions, I detalize the narratives presented in the both case studies. In the focus of my interest is contextualization of Jewish history in the region and juxtaposition of the ways it is presented in the chosen museums. Obviously, Jewish Historical Museum in Belgrade still represents the unifying Yugoslavian narrative, serving as an umbrella museum for the entire region. In case of Sarajevo, close connection between ongoing process of victimization of the recent past of the city and mythologization of preYugoslavian life in Sarajevo, together with idealization of Bosnian-Jewish relations can be observed. Additionally, I look into the way of representation of the topic of the Holocaust. In the both case studies, the way of narration of the Holocaust is closely linked to the dominant historical narrative of the country, and the museum exposition serves as yet another justification of it. In both cases, the narrative of the Holocaust is shadowed by the previously existing historical tradition — in Yugoslavian times, the Holocaust was predominantly connected to the Ustasha regime and was symbolized by Jasenovac. Nevertheless, within current political realities, the Holocaust memory and the memory of Jewish life in Serbia and in Bosnia and Herzegovina undergoes certain changes and becomes instrumentalized in many contexts.
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Bulanova, Nataliia. "The Case of the Director of the Kamіanskе museum of revolution I. Gavrilov in the context of soviet memory policy in the 1930s." Universum Historiae et Archeologiae 4, no. 2 (July 19, 2022): 109. http://dx.doi.org/10.15421/26210424.
Full textAbstract:
The aim of the article. On the basis of the archival investigative case of the director of the Dniprodzerzhynsk Museum of Revolution, I. I. Gavrilov, who was repressed in 1936, the formation of a memorial discourse about the revolutionary events of 1917 in the museums of revolution is investigated. Methods. In the course of the study, general scientific, historical and special methods are used. The first category is represented by historical, terminological, cognitive methods and axiological approach. Comparatively-historical, historical-typological, historical-systemic methods are used for historical methods. Special methods in the work are presented by methods of scientific critique of sources, textual and social psychology. The scientific novelty of the study is that for the first time the subject of historical research is the process of forming the historical memory of the October revolution of 1917 in the museum discourse of the 1930s. Main results. The archival and investigative case of the director of the Dniprodzerzhynsk Museum of the Revolution was put into scientific circulation, which made it possible to complete the picture of the repressions of the 1930s in Dnipropetrovsk region, to reveal the challenges facing museum workers during the terror. It is proved that in order to form historical memory of the revolutionary events of 1917, restrictions were imposed on the source base for the research and popularization of museums, records of oral history were strictly controlled, and expositions were checked. The basis of the Revolution Museums was the concept of the Great October and the Civil War, aimed at creating mythologized historical memory in order to legitimize Bolshevik power. It is established that with the onset of great terror, museums were faced with new challenges and prohibitions when the interpretation of events and the presentation of particular persons in the exposition required an urgent correction of museum work. On the example of the fate of the director of the Dniprodzerzhynsk Museum of Revolution, the formation of the ideological foundations of a totalitarian state is illuminated, when any deviation from the basic tenets was severely punished. The article is recommended for use in writing works on both the history of the repression of the 1930s and the history of museum work. Type of article: descriptive.
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Kurbatova, M. S., E. Y. Dunaevskiy, and А. V. Dunaievska. "EVOLUTION AND DEVELOPMENT OF MUSEUM BUILDINGS." Regional problems of architecture and urban planning, no. 17 (October 17, 2023): 251–63. http://dx.doi.org/10.31650/2707-403x-2023-17-251-263.
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Museums are not just places where valuable artifacts of historical significance are stored and exhibited. They are true masterpieces of architectural art and places that win the hearts of visitors with their internal organization and aesthetic expression. The article examines the phenomenon of spectacular buildings, focusing on museums that fascinate with their architectural solutions and interior design. The author examines the emergence of the first museums as institutions that store and display artifacts of historical significance. The author reveals how over time museums have become not only places of preservation of valuable things, but also cultural centers that reflect social and intellectual achievements. The further evolution of museums has led to the emergence of incredible architectural creations that have become real spectacles of the museum world. The article explores various concepts used in the creation of modern museums. The functionality of the museum and the basic principles of museum interior design are considered. The importance of the aesthetic components of the museum interior is highlighted, showing how lighting and colors play an important role in creating an atmosphere and mood that support the goals and ideas of the museum. Attention is paid to the establishment of the art of museum exposition in recent years as an independent and valuable genre of creativity. All of these aspects allow museums to remain relevant and engaging for audiences. They fulfill an important mission of preserving cultural heritage and provide an opportunity to enjoy art and history in a unique way. Museums continue to amaze us with their beauty and intellectual richness, revealing to us the greatness and diversity of the world.
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Sone, Enongene Mirabeau. "THE INTERRELATIONSHIP BETWEEN ORAL LITERATURE AND MUSEUM STUDIES." Imbizo 7, no. 1 (February 24, 2017): 4–14. http://dx.doi.org/10.25159/2078-9785/1850.
Full textAbstract:
Oral literature and museums are intimately related to each other. While the former is an academic discipline, the latter is an institution. This article examines the historical background of the study of oral literature and the historical development of the museum so that the relationship between the two can be easily appreciated. The article argues that oral literature, as a form of folklore, can help to create good museums and that the museum, on the other hand, can contribute to the study of oral literature. This interrelationship, once appreciated by both oral literature scholars (folklorists) and museologists (museum scholars), will be of tremendous benefit to the study of oral literature as an academic discipline and to the development of more thematic museums, especially in Africa where oral literature is a dynamic aspect of societal life.
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Hanendya, Seruni Inas, and Nur Rahmawati Syamsiyah. "Sustainability and friendly circulation path in Sangiran museum, Sragen Indonesia." Applied Research and Smart Technology (ARSTech) 2, no. 2 (July 25, 2022): 80–95. http://dx.doi.org/10.23917/arstech.v2i2.440.
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Museums are windows into a country's past. Museums can tell stories about history and life. Sangiran Museum is one of the world's heritages that tell the story of human evolution from prehistoric times to the present. The presence of historical or other information in the museum is heavily reliant on the zoning of space and the presence of circulation paths. The circulation of visitor movements between spaces and buildings significantly impacts the museum's function. Submission of historical information to visitors will be easier to understand if there is good circulation, which supports visitor movement activities. In the observations, the movement of visitors at the Sangiran museum has not been comfortable for users. This study aimed to assess the circulation path's compliance with government standards. The research method not only used the literature review, observation, and questionnaires but also applied a descriptive qualitative approach. The study discovered three types of circulation paths that were not user-friendly, namely ram, stairs, and hallways, and did not meet Indonesian government and international data architecture standards. This study proposes an easy-to-implement design to ensure the long-term function and sustainability of the circulation pathway.
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Komova, О. "The role of museums in the functioning system of at higher education institutions of Ukraine." Вісник Київського національного лінгвістичного університету. Серія Історія, економіка, філософія, no. 25 (December 28, 2020): 5–19. http://dx.doi.org/10.32589/2412-9321.25.2020.264179.
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The article research the main tendencies of the development of museums of higher educational establishments in Ukraine. Museums, as a storage of memory and places of national consciousness shaping construct their exposition through narratives – a certain story about historical events. Determined that the despite the fact some documented collections were formed in the Kyiv-Mohyla Academy and the University of Lviv (period of the Polish-Lithuanian Commonwealth), the greatest fl owering of university museums and collections took place on all Ukrainian territories in XIXth century. Based on the analysis of the existing research emphasized that the museums of history were the most affected by the transformation, because ceased to be an instrument of ideological and patriotic upbringing. The features of this period are the creation of memorial museums devoted to fi gures, which could not be presented through existing stamps in the Soviet period, the growth of the number of historical, art and branch “temples of muses”. Instead, there was a decrease of the number and staff of natural museums. Itcoincides with the European tendencies of the university museums development. In addition, we analysed the experience of the Universitys in the introduction of educational courses on Museology and Protection of historical and cultural heritage. The expediency of introducing the international experience of the formation of the national museum network for activating the excursion activity in the tourist market is substantiated. The author concludes that the need to use modern technology in the organization of storage, registration, interpretation and use of museum collections. As it seems, it is time to introduce reforms in teaching of museum studies.
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Suciu, Silvia. "De la muzeul-templlu la muzeul forum - evoluția muzeului în spațiul public." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 224–44. http://dx.doi.org/10.47802/amet.2017.31.12.
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A nu arăta o operă de artă înseamnă a nu-i permite să fiinţeze. (Boris Groys) Museums and their public haven’t always been as we know them today. In 17th century, curiosity cabinets (mirabilia) have been realized by nobles and aristocrats; the only public of these cabinets was the collector and his fellows, belonging to the same social class. The first museums as public institutions appear in 18th century, continuing to develop during 19th century, but their image and accessibility is very different from nowadays. The situation changes after the World War II, when appear a lot of theoretical studies about museums and their public. The Museum-Temple is transforming into Museum-Forum, where every member of the community must feel represented. In the second part of the article we realized a classification of the museums and a description of each specific class which form this cultural diversity: art museums, history museums, anthropology museum, natural history museums, technical museums, monetary museums. Historical and contemporary examples of museums can be found through this study.
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Mazur, Ludmila N. "MUSEUMS OF SMALL TOWNS IN RUSSIA. FEATURES OF LOCAL HISTORY MEDIATION." History and Archives 5, no. 3 (2023): 71–88. http://dx.doi.org/10.28995/2658-6541-2023-5-3-71-88.
Full textAbstract:
The museum functions as an institution of memory, constructing images of the past and transmitting them to new generations. They are based on scientific ideas, social order and visitor requests, i.e. they differ from historical reality. This process is defined by the term “mediation”, which correlates with the concepts of “communication” and “interpretation”. Taking into account the specifics of the museum (historical, memorial, art), the features of mediation, the images of the past have their own differences and complement each other, constructing a unique image of the place. A special role in this process is played by local history museums aimed at comprehensive modeling and presentation of the local past. The image of the local history created by historical museums is reflected in the exposition and has some specifics. It has a space-time dimension, often supplemented by “action” (interactivity), and is also characterized by abstractness and conventionality, which is directly related to the language of description (scientific and / or literary). The current trend is characterized by active visualization and mythologization of the historical image, which is especially typical for museums in small towns. The article is based on the materials of a historical and sociological survey of 12 small towns in Russia using interview, observation, mind map methods (RSF grant No. 21-18-00418 “Museum of a small town. Tthe multiplicity of cultures of memory”). The program included the study of not only museums (state, municipal, school, home, folk, private), but also archives, libraries, media, i.e. all institutions of memory. Such an integrated approach made it possible to clarify the specifics of the museum “genre” of memorization.
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Murawska, Agnieszka, Jarosław M. Fraś, Ewa Frąckowiak, and Andrzej Rybicki. "PROFESSION OF A ‘MUSEUM CURATOR’. ON LEGAL CHANGES IN THE CONTEXT OF THE EROSION OF THE ROLE PLAYED BY MUSEUM CURATORS." Muzealnictwo 61 (July 24, 2020): 145–53. http://dx.doi.org/10.5604/01.3001.0014.3323.
Full textAbstract:
Changes in the legislation related to museum curators and museology, introduced with small steps in harmony with the Overton Window concept, are discussed; they are leading away from the letter and spirit of the Act on Museums of 21 Nov 1996 and the traditions of Polish museology based on creating collections of museum objects and working on them in various manners. Regulations and legal opinions on the museum curator profession are presented, pointing to the fact that the initially cohesive definitions and provisions are becoming blurred, to the extent of losing their initial sense, and threatening the identity of this professional group, as well as the identity of museums as heritage-preserving organizations. Furthermore, attempts to extend the concept of museum curator to encompass also the institution’s executives or the entire museum staff undertaken in order to depreciate this professional group and deprive it of the impact on the institution’s management have been signalled. A tendency has been observed to deprive the employees fulfilling the museum’s basic activity, museum curators included, of the influence on shaping state policies with respect to museology, this clearly illustrated by the composition of the Council for Museums and National Memorial Sites. Provisions of the labour legislation as regards professions of public trust museum curators aspire to join have been quoted. Mention has also been made of certain activities they have undertaken to prevent the process of de-professionalising the profession of a museum curator in the museum-related legislation, and to subsequently reverse it. The 2016 Bill on Museum Collections and on Museums prepared by the National Section for Museums and Institutions for the Preservation of Historical Monuments of the Solidarity Trade Union has been presented. The main demands of the Bill have been pointed to: the consolidation of the status of museum collections as the main purpose of the museum’s raison d’être, the status of a museum curator as a profession of public trust, and the shift in museum management from technocratic (New Public Management) to modern, aiming to serve the national heritage and people in harmony with the principles of the New Public Service.
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Semenova, Olga S., Irina A. Sizova, and Oksana S. Khruleva. "JOURNAL “ICOM NEWS” AS THE SOURCE FOR STUDYING OF THE MUSEUM CULTURAL AND EDUCATIONAL ACTIVITIES." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 169–84. http://dx.doi.org/10.28995/2686-7249-2022-7-169-184.
Full textAbstract:
Periodical press as a historical source is actively used by researchers in various fields. Professional periodicals can be a key source of research. This article shows that the professional journal “ICOM News” can be considered a quality historical source for studying the development of cultural and educational activities of museums. The purpose of the article is to determine the main formats of work with visitors in museums in the 1940s - 1980s, identifying the stages and reasons for the modernization of these work formats with the museum audience based on the materials of “ICOM News”. The publications in this journal have a global geographical outreach and cover a specialized variety of museums, elucidating both the inner working of a museum as a historical and cultural unit and its evolving place within the broader societal mozaic. The publications in the journal were subjected to textual analysis based on the study of special texts as carriers of professional knowledge. In our case, these are articles devoted to various ways of interacting with the museum audience. Having studied the available data array, 367 articles were identified on the topic of interest to us, amounting to 4.2% of the total number of all publications in this journal. To sum up, we argue that the professional museum journal “ICOM News” is the full-fledged source for the study of museums globally and for the invaluable regional insights into cultural and educational activities of national museums. It goes without saying that this source works best in combination with other sources, including archival and museographic materials.
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Sobkin, Vladimir S., Ekaterina A. Kalashnikova, and Tatyana A. Lykova. "Toward a scienti5c concept for the Museum of Childhood." National Psychological Journal 47, no. 3 (2023): 89–96. http://dx.doi.org/10.11621/npj.2022.0311.
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Background. Despite a number of large-scale projects focused on the study of childhood, there is an urgent need to preserve modern and historical examples of children culture. Psychological and pedagogical ideas on the age speciZcs ofchild development, elaborated within the framework of cultural-historical approach, serve as a solid foundation for the Russian Museum of Childhood. Objective. [e aim of the article is to present an outline of possible activities and scientiZc approaches to the development of the Russian Museum of Childhood. Methods. [e available data on the activities of Childhood Museums in Russia and abroad are profoundly analysed. Results. [e study of the experience in creating museums devoted to the culture of childhood has shown that children’s toys constitute the dominant feature of collections. At the same time, practically no museums represent various aspects of the social situation of a child’s development nor re\ect they the peculiarities of child’s daily and cultural life. [e idea of preservation and exhibition of cultural samples of children’s life forms the basis for investigating possible directions of scientiZc and practical work of the Russian Museum of Childhood. It is suggested to assemble thematic museum collections re\ecting the socio-cultural components of children at di]erent ages in di]erent historical periods. [e museum’s target audience includes children, parents, and teachers. In addition to exhibition and excursion activities, the museum is supposed to serve as a place of children’s leisure and creativity, a space of communication and education for parents and teachers. ScientiZc life of the Russian Museum of Childhood will be based on deep research into the history of toys and play traditions as well as the history of childhood in an interdisciplinary context. Both, the contemporary culture of childhood, and the historical aspect of psychological and pedagogical research on childhood will be analysed. Conclusion. Creation of such a cultural space will contribute to the preservation and maintenance of intergenerational relationships and continuity in the family. It will also promote educational culture of parents and professional development of teachers. Conducting scientiZc research in the Russian Museum of Childhood will make it possible to develop science-intensive and culture-intensive innovative psychological and educational projects.