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Journal articles on the topic 'History of museums'
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1
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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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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Stroja, Jessica. "My history, your history, our history: Developing meaningful community engagement within historic sites and museums." Queensland Review 25, no. 2 (December 2018): 300–321. http://dx.doi.org/10.1017/qre.2018.29.
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AbstractVarying models of community engagement provide methods for museums to build valuable relationships with communities. These relationships hold the potential to become ongoing, dynamic opportunities for active community participation and engagement with museums. Nevertheless, the nuances of this engagement continue to remain a unique process that requires delicate balancing of museum obligations and community needs in order to ensure meaningful outcomes are achieved. This article discusses how community engagement can be an active, participatory process for visitors to museums. Research projects that utilise aspects of community-driven engagement models allow museums to encourage a sense of ownership and active participation with the museum. Indeed museums can balance obligations of education and representation of the past with long-term, meaningful community needs via projects that utilise aspects of community-driven engagement models. Using an oral history project at Historic Ormiston House as a case study,1 the article argues that museums and historic sites can encourage ongoing engagement through active community participation in museum projects. While this approach carries both challenges and opportunities for the museum, it opens doors to meaningful and long-term community engagement, allowing visitors to embrace the museum and its stories as active participants rather than as passive consumers.
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Bezrukova, Nataliya B. "THE FIFTH PROLETARIAN MUSEUM. HISTORY OF CREATION AND ACTIVITIES OF THE MOSCOW ART MUSEUM IN THE 1920S." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 52–65. http://dx.doi.org/10.28995/2686-7249-2020-8-52-65.
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The article highlights the history of the so-called proletarian museums that opened in Moscow’s working-class suburbs in the 1920s. The study of their activities seems relevant, since it opens up the opportunity for a deeper study of the history of art museums in Moscow in the 1920s. Special attention is given to the Fifth Proletarian museum, which was a part of the State Tretyakov Gallery. More archival documents have survived on this museum than on any other of the proletarian museums. After studying some unpublished documents in Russia’s major archives, the author has discovered some important, previously unknown facts about these museums. This article takes a close look at how the paperwork was handled at the museum, how the items were registered, accounted for and taken care of and how the collections were accumulated and organized. Also thoroughly described in the article is the history of the museum’s closure as the author analyzes why it was eventually shut down. Moscow’s proletarian museums went down in history as an original new form of art institutions targeting “uncultured” visitors. Unfortunately, these museums were short-lived as they fell victim to the lack of funding and shortage of trained staff during the New Economic Policy era (1921–1928).
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Ferraro, José Luís Schifino, Adam Goldwater, Caroline McDonald, Melissa Guerra Simões Pires, Janet Stott, Jessica A. Suess, and M. Paul Smith. "Connecting Museums: a case study in leadership, innovation and education in university science museums leading internationalisation projects." Educação 42, no. 1 (May 6, 2019): 77. http://dx.doi.org/10.15448/1981-2582.2019.1.29526.
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This article reports on Connecting Museums: leadership, innovation and education in Science Museums, an international conference involving three university museums: Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), the Great North Museum: Hancock (GNM), at Newcastle University (NU), and the Oxford University Museum of Natural History (OUMNH). The partnership started with a project to develop a joint exhibition on the theme of evolution organised by MCT-PUCRS and GNM, supported by the British Council’s Newton Fund (Institutional Skills 2016). The two museums shared the project at the UK University Museums Group (UMG) conference in 2016, where it came to the attention of colleagues at OUMNH. Following the UMG conference, the leadership and education teams of the three museums opened a dialogue to exchange knowledge and experience on leadership, innovation and education in science museums. This culminated in the first Connecting Museums conference in Porto Alegre, Brazil in October 2017. The conference was attended by 81 professionals, researchers, undergraduate and graduate students with interests in museology, the natural sciences and related areas. *** Connecting Museums: um estudo de caso sobre liderança, inovação e educação em museus de ciências universitários liderando projetos de internacionalização ***Este artigo constitui-se de um relato sobre o Connecting Museums: liderança, inovação e educação em Museus de Ciências, uma conferência internacional envolvendo três museus universitários: o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: Hancock (GNM), da Newcastle University (NU) e o Oxford University Museum of Natural History (OUMNH). A parceria entre as instituições iniciou-se a partir de um projeto para o desenvolvimento de uma exposição conjunta, organizada pelo MCT-PUCRS e pelo GNM financiada pelo Newton Fund por meio do edital Institutional Skills 2016 promovido pelo British Council. Os dois museus apresentaram o projeto na conferência do University Museum Group (UMG) em 2016 no Reino Unido, despertando a atenção de colegas do OUMNH. Após a conferência, as equipes de gestão e de educação dos três museus iniciaram um diálogo que culminou na troca de conhecimentos e experiências nas áreas de liderança, inovação e educação em museus de ciências. Este diálogo resultou na primeira edição da conferência Connecting Museums em Porto Alegre, Brasil, em outubro de 2017. Participaram do evento 81 profissionais, entre pesquisadores e alunos de graduação e pós-graduação, cujo interesse estava relacionado à museologia, ciências naturais e áreas correlatas.Palavras-chave: Museus de ciência. Liderança. Inovação. Educação em ciências. Internacionalização.
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Balash, Aleksandra N. "Literary museums: new discussions." Issues of Museology 11, no. 2 (2020): 157–67. http://dx.doi.org/10.21638/11701/spbu27.2020.202.
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The author of the article reviews the proceedings of a scientific conference held in 2018 by the Association of Literary Museums at the Union of Museums of Russia (with the participation of the V. I. Dahl State Museum of History of Russian literature). The conference proceedings are considered as an important step made by Russian Literary museums toward defining the venues for their further development, as well as an attempt to coordinate intellectual contributions by the employees involved in practical museum work and museum researchers. The author stresses the unanimity of the proceeding’s contributors in their approach to the history of literary museums, to the determination of the specific features of their fund’s collections and the principles of their acquisition. Going beyond traditional museographic descriptions is analyzed in the discussion of methods and forms of a museum’s interpretation of the biography and work of the writer, presentation of the author’s texts by means of museum expositions and in museum educational programs. It is important to raise the question of the role of museums in the dynamics of the modern literary process and artistic culture. The author analyzes the concepts of literary heritage, both its material and intangible parts, which the contributors to the proceedings regard as a resource for further development and exploration of new formats for presentation and intercommunication with the museum audience. It is shown that overcoming the local institutional experience is a necessary stage in the development of literary museums. The Association of Literary museums can play a positive role in such development, in particular, by coordinating research.
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Mihalache, Irina. "Art Museum Dining: The History of Eating Out at the Art Gallery of Ontario." Museum and Society 15, no. 3 (January 6, 2018): 287–300. http://dx.doi.org/10.29311/mas.v15i3.2543.
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Using archival materials from the Art Gallery of Ontario (AGO), this article recreates the culinary history of the art museum and advocates for the inclusion of food in the literature on art museum history and practice. The AGO, like many other North American art museums, has a rich culinary history, which started with dining events organized by volunteer women’s committees since the 1940s. These culinary programs generated a culinary culture grounded in gourmet ideologies, which became the grounds for the first official eating spaces in the museum in the mid-1970s. Awareness of the museum’s culinary history offers an opportunity to liberate the museum from prescriptive theoretical models which are not anchored in institutional realities; these hide aspects of gender and class which become visible through food narratives.KeywordsArt museum restaurants, culinary programming, women’s committees, multisensorial museums, Art Gallery of Ontario
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Grebennikova, Tatiana G. "The History of Museum Specialisation in Russia." Observatory of Culture, no. 6 (December 28, 2014): 60–65. http://dx.doi.org/10.25281/2072-3156-2014-0-6-60-65.
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Deals with the Russian museum practices mainly of the 18th and the 19th century. The author analyses a gradual specialisation in private collection building and museums' development, reveals the role of the highly specialised collections and analyses the trend of establishing museums of the complex character exemplified by the Kunstkammer, the Imperial Hermitage Museum, the Fine Arts Academy Museum, the Rumyantsev Museum, and the Russian Museum. In the 19th century, a trend of gradual differentiation and specialisation became obvious which led to establishing dedicated museums and developing a more focused approach to collection building in Russia.
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Burgess, Chris. "The Development of Labor History in UK Museums and the People's History Museum." International Labor and Working-Class History 76, no. 1 (2009): 26–35. http://dx.doi.org/10.1017/s0147547909990044.
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Labor history in UK museums is constantly in a state of change. A hundred-year-old tradition of displaying and interpreting the history of the common people has seen a shift from the folk life museum to a much more all-encompassing model. The academic trend for and acceptance of working-class history began this process, and museums followed, albeit at a much slower pace. Young curators actively involved in the History Workshop, Oral History, and Women's History movements brought their new philosophies into the museum sphere. This internally driven change in museums has been matched with demand for change from above. Museums have been given a central role in the current Labour government's wide-ranging strategies to promote an understanding of diversity, citizenship, cultural identity, and lifelong learning as part of a broader social inclusion policy. The zenith of this plan would be a museum devoted to British national history, though whether this will take place is yet to be seen. The transformation of the People's History Museum makes an interesting case study. The museum, originally an institution on the fringes of academic labor history and actively outside the museum community, is now at the forefront of labor history display, interpretation, textile conservation, and working-class historical research.
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Haymond, John A. "The Muted Voice: The Limitations of Museums and the Depiction of Controversial History." Museum and Society 13, no. 4 (November 1, 2015): 462–68. http://dx.doi.org/10.29311/mas.v13i4.347.
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In a thorough discussion of military museums – and in this particular instance, theNational Army Museum – there must be a frank and realistic assessment of thelimitations that factor into how military history can be depicted. This perspectivepaper considers two specific aspects of this process. First, it discusses thechallenges confronting the National Army Museum when the history it coverscannot be fully depicted in the sterility of a museum setting. Second, it considershow the museum should deal with controversial histories. After all, the historyof the British Army is to a large degree a history of war and imperialism, and anentire range of ethical and political perspectives are inevitably involved in theportrayal of that history. This paper examines these challenges – the limitationswhich can mute the museum’s voice – and concludes that once these factorsare acknowledged, the National Army Museum’s strengths and successes canbe clearly understood and better appreciated.
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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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Lewis, Catherine, Jennifer Dickey, Samir El Azhar, and Julia Brock. "Exploring Identities: Public History in a Cross-Cultural Context." Public Historian 34, no. 4 (2012): 9–29. http://dx.doi.org/10.1525/tph.2012.34.4.9.
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Abstract The Museums Connect program, funded by the U.S. State Department's Bureau of Educational and Cultural Affairs and administered by the American Alliance of Museums, is a relatively new effort to connect international museums; the grant is set apart by its objective to sponsor projects that foster cross-cultural professional development and civic engagement in global communities. The following roundtable includes perspectives on the Museums Connect project Identities: Understanding Islam in a Cross-Cultural Context, undertaken by the Museum of History and Holocaust Education, Kennesaw State University (Georgia), and the Ben M'sik Community Museum, Université Hassan II Mohammedia, Ben M'sik (Casablanca, Morocco).
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Qafarova, Gunay N. "The history of the creation of the Azerbaijan State Museum (Azgosmusey)." Issues of Museology 11, no. 2 (2020): 183–96. http://dx.doi.org/10.21638/11701/spbu27.2020.204.
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The history of museums in Azerbaijan is only a hundred years old, but the path traveled over the years has been very difficult. The development of museums was directly affected by the political course of the Soviet country. Museums were supposed to reflect the politics and ideology of the country, and everything that did not correspond to this was gathering dust in storage or even worse destroyed. The names of the owners of the collections were not mentioned in any public publication. Their names preserved only the basic documents of museums, acts and books of receipts, which were available to a very narrow circle of people. Often, collections mercilessly broken into small groups and transferred to various museums in the country. Namely, the property of many representatives of the national bourgeoisie enriched our museums. Nevertheless, in the first years of Soviet power, the museums created in Azerbaijan managed to assemble a rich collection, despite the obvious distortions in the reflection of historical truth. It was these works that formed the basis of the collections of modern National Museums, and, of course, the Azgosmuzey laid their foundation. It was the first museum to systematically and consistently assemble a collection. Azgosmuzey organized expeditions and conducted archaeological excavations. Excavations on the territory of Azerbaijan have always been carried out officially and unofficially, unfortunately, many discovered artifacts were exported outside of our country, but after the establishment of Soviet power, the situation in this area changed somewhat, and it should be noted for the better. On the initiative of the museum’s management, various exhibits were transferred to our museums from Moscow, and then from Leningrad, enriching the repositories of Western European and Russian art. Many materials cited in the article are not known to a wide circle of researchers.
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Ferraro, José Luís Schifino, Caroline McDonald, and Paul Smith. "Connecting museums." Revista Internacional de Educação Superior 7 (April 11, 2020): e021009. http://dx.doi.org/10.20396/riesup.v7i0.8658203.
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O presente ensaio se constitui em um relato sobre a experiência de internacionalização entre o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: John Hancock (GNM), da Newcastle University, e o Oxford University Museum of Natural History (OUMNH), da University of Oxford. Trata-se da constituição de uma rede entre estas instituições que discute educação, gestão e liderança em museus universitários de ciências. Desde a criação desta rede, denominada Connecting Museums, em 2016, foram realizados encontros internacionais entre pesquisadores, profissionais da área e público interessado. Como ações da rede em ensino, pesquisa e extensão – desde então –, foram organizadas formações para professores de escolas públicas e privadas em ciências, bem como a troca de expertise entre profissionais da área no que tange a gestão de museus universitários de ciências. Publicações como artigos, trabalhos científicos apresentados em conferências nacionais e internacionais e, ainda, um livro são os primeiros frutos do Connecting Museums. Todas as atividades foram fomentadas e tiveram apoio do British Council. A ampliação da rede inicia-se este ano com uma mudança na configuração do tradicional evento que leva seu nome, que pela primeira vez ocorrerá fora do MCT-PUCRS em Porto Alegre, com atividades planejadas e orientadas pelo Museum Leaders’ Report, produzido pela Saïd Business School, da University of Oxford, visando a formação de futuros líderes para os museus brasileiros.
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Jiang, Hao, and Si Jia Jiang. "The Architecture of Daniel Libeskind’s Jewish Museums." Applied Mechanics and Materials 174-177 (May 2012): 1812–19. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1812.
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Memorial architecture faces the special challenge of commemorating the absent; Jewish museums deal with an extra problematic history of high sensitivity. This paper examines and compares Daniel Libeskind’s architectural solutions to the cultural and political challenges in each of the three Jewish museums that he designed in Berlin, San Francisco and Copenhagen. The focus is on how the architecture institutionalizes the web of political relationships attached to the particular museum and delivers the museum’s message. It will be concluded that Libeskind has used space to address visitors bodily and affectively, control their behavior and help them see what the museums want them to see; the museums’ spatial existence can never really be independent of their contents. Light will be shed on the future of museum architecture: the trend is for museums designed for an expressive experience, involving movement, rather than the static enjoyment of single works of art.
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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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Labrum, Bronwyn. "Women “Making History” in Museums." Museum Worlds 6, no. 1 (July 1, 2018): 74–93. http://dx.doi.org/10.3167/armw.2018.060107.
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This article examines three remarkable New Zealand women, Nancy Adams, Rose Reynolds, and Edna Stephenson, who, as honorary or part-time staff, each began the systematic collecting and display of colonial history at museums in Wellington, Christchurch, and Auckland in the 1950s. Noting how little research has been published on women workers in museums, let alone women history curators, it offers an important correction to the usual story of the heroic, scientific endeavors of male museum directors and managers. Focusing largely on female interests in everyday domestic life, textiles, and clothing, their activities conformed to contemporary gendered norms and mirrored women’s contemporary household role with its emphasis on housekeeping, domestic interiors, and shopping and clothing. This article lays bare the often ad hoc process of “making history” in these museums, and adds complexity and a greater fluidity to the interpretations we have to date of women workers in postwar museums.
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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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Lozic, Vanja. "(Re)Shaping History in Bosnian and Herzegovinian Museums." Culture Unbound 7, no. 2 (June 11, 2015): 307–29. http://dx.doi.org/10.3384/cu.2000.1525.1572307.
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The current article explores how political changes in the past 130 years have shaped and reshaped three major museums in Bosnia and Herzegovina (BiH). The overall aim is to describe structural processes of national museum building in BiH and the ways the museological representation of history is connected to state and nation making and to political transitions and crises. The analysed museums are the National Museum of BiH, the History Museum of BiH, and the Museum of the Republic of Srpska. The source material analysed consists of the directories and the titles of exhibitions; secondary material, which describes previous exhibitions; and virtual museum tours. The article illustrates that during the Austrian-Hungarian Empire, which established the National Museum in 1888, the museum played an important part in the representation of Bosnian identity (bosnjastvo). After World War II, in the Socialist Federal Republic of Yugoslavia, all three analysed museums were summoned to interpret the past in accordance with the guidelines of the communist regime. Since the 1990s, a highly ethnicized process of identity building and of the musealization of heritage, and history permeates all three museums analysed here. When it comes to the central exhibition-themes following the 1990s war, one could conclude that whereas the National Museum and the History Museum highlight the recent creation of an independent BiH and ostracize BIH-Serbs, the Museum of the Republic of Srpska asserts the ostensible distinctiveness of the Republic of Srpska and excludes the narratives about BiH as a unified and independent nation-state. If an agreement about the future of BiH and its history is to be reached, a step towards multi-vocal historical narratives has to be made from both sides.
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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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Anisimova, Margarita Vyacheslavovna. "The section of history and everyday life in the Russian Museum: establishment, development, and liquidation." Исторический журнал: научные исследования, no. 4 (April 2020): 108–17. http://dx.doi.org/10.7256/2454-0609.2020.4.33047.
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The subject of this research is activity of the section of history and everyday life of the State Russian Museum established in 1918. The department devised a new theme – history of everyday life and its visualization in museum expositions, which was natural development of the Russian historical science. Intended to preserve and actualize the history of everyday life of different social classes, it shared fate of multiple national museums of everyday life: exhibitions that tool place in the 1920s were cancelled; in the late 1930s, the collections were transferred to museums of different categories, such as the State Museum of Revolution, the State Museum of Ethnography of the Peoples of the USSR. However, the section of history and everyday life did not cease to exist, and in 1941 merged into the State Hermitage Museum as an independent structural department of the history of Russian culture. Leaning on the new archival sources, an attempt was made to elucidate the work of the department of history and everyday life along with its branches in conditions of difficult political situation in the country during the 1920s – 1930s. Initially, the primary task of the department consisted procurement of the funds with the items from nationalized manor houses; later in consisted in exposition of the collection; and then due to the absence of the unified state institution for regulation of questions of preservation of historical and cultural heritage, the activity was focused on preventing scattering of the collections. After the First Museum Congress in 1930, the museums were recognized as the means of political-educational propaganda, which let to countrywide stagnation of expositional and exhibition activity of the museums. The museums of history and everyday life, being the mixed type museums, were incapable of resisting new realities, and thus re-specialized into museums of history and art or liquidated completely.
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Weiss, Nancy E. "Lifting Every Voice Throughout the Nation." Public Historian 40, no. 3 (August 1, 2018): 142–62. http://dx.doi.org/10.1525/tph.2018.40.3.142.
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The National Museum of African American History and Culture Act authorized the Institute of Museum and Library Services (IMLS) to establish grant programs for museums of African American history and culture. Through its Museum Grants for African American History and Culture program, IMLS helps these museums improve operations, enhance stewardship of collections, engage in professional development, and attract new professionals to the field. The Act has fostered a national ecosystem that leverages the collective resources of the National Museum and African American museums throughout the United States to preserve and share the strength and breadth of the African American experience.
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Povroznik, N. G. "WEB ARCHIVES IN RECONSTRUCTING HISTORY OF VIRTUAL MUSEUMS: POTENTIAL AND LIMITATIONS." Вестник Пермского университета. История, no. 4(51) (2020): 95–105. http://dx.doi.org/10.17072/2219-3111-2020-4-95-105.
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Web archives are repositories of unique sources on the history of the information society, including the cultural segment of the World Wide Web. The relevance of studying the web history of museum information resources refers to the need to understand the past and contemporary processes of the development of the museum's digital environment in order to more effectively build strategies for future advancement with a valuable impact on society. The article, for the first time, attempts to assess the information potential of web archives for studying the web history of virtual museums and discusses the limitations that prevent the reconstruction of their web history. Web archives are designed to observe web pages and web sites saved at a certain point in time; they analyze the structure and content of the museum web, interpret the visual aids and sections' titles, and track statistics of publication activity. Tracing changes in the role and significance of the digital environment in museum activities, as well as trends in the development of museums, and predicting future trajectories are possible based on the analysis of the dynamics of museums' web content. At the same time, the peculiarities of search engines in web archives, technical restrictions, incompatibility of modern software with earlier formats, limits on scanning information on the World Wide Web to save it, uneven preservation by domain zones in the Internet Archive, and the lack of specialized web preservation programs at national and regional levels restraint the possibility of a comprehensive study of the history of virtual museums. The author concludes that it is necessary to expand national web archiving programs in favour of a more detailed preservation of the cultural segment of the web as a digital cultural heritage, as well as the content of social networks and mobile applications, for future use by researchers.
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Chen, Yu-Lin, Ting-Sheng Lai, Takami Yasuda, and Shigeki Yokoi. "A museum exhibits support system based on history and culture literacy." International Journal of Humanities and Arts Computing 6, no. 1-2 (March 2012): 148–59. http://dx.doi.org/10.3366/ijhac.2012.0045.
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Museums need an interactive data collection and visualisation tool for their artefacts. This paper describes a study in which we enable access to Chinese and Japanese cultural heritage information from two history museums, the National Palace Museum in Taiwan and the Tokugawa Art Museum in Japan. Results from these museum databases were used to develop a prototype system to demonstrate advanced cultural learning and historical timeline functionalities for foreigners. This system is based on temporal data from the museums’ databases, and provided the user with powerful data manipulation and graphical visualisation tools. It might become a basis of an interactive digital museum system for Chinese and Japanese heritages especially for foreign users.
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Li, Na. "Museums and the Public." Public Historian 42, no. 1 (February 1, 2020): 29–53. http://dx.doi.org/10.1525/tph.2020.42.1.29.
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Museums have grown exponentially in China in the span of approximately 110 years. How does one design an exhibit for a better-informed public? What kind of interpretive space is needed to engage the public? How do museums function as sites of public history? This article traces the genealogy of museum development in China, and argues that the birth of the modern museum in China is a product of the radicalism of the late nineteenth and the early twentieth centuries. Embedded in the subsequent one hundred years of development are a changing definition of “public,” a remodeled idea of “history,” and an evolving relationship between museums and their public. Within this context, the “Museums and the Public: Urban Landscape and Memory” project explores how the public interprets history and landscapes through exhibits, and if or how the exhibits reflect their memories. The analysis raises three possibilities for museums in China.
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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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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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Yermagambetova, K. S. "Museums in the cultural and educational space of the Eurasian National University." BULLETIN of L.N. Gumilyov Eurasian National University. HISTORICAL SCIENCES. PHILOSOPHY. RELIGION Series 135, no. 2 (2021): 111–22. http://dx.doi.org/10.32523/2616-7255-2021-135-2-111-122.
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Why do we need a museum? What role does the museum play in the system of education and upbringing? Why do you need a museum in the university space? How useful is it in the education system? « Such questions are often found in society. To answer these questions, a cultural-philosophical and anthropological analysis of the history and function of museums in the cultural and educational space of the university is made on the example of the L. N. Gumilyov Eurasian National University. The article examines the history and functions of the university museums in the cultural and educational space, the role of museums in the education and training of young people. University museums belong to the type of specialized educational museums of various types. They are formed as research units and become the basis for scientific research. They store rich information about the university and its achievements. The museums of the Eurasian National University are competitive museums in the field of development of education, culture, science, creativity, and preservation of historical and cultural heritage. The article describes the features of the museums of the Eurasian National University, such as» The History of Turkic writing»,» The Museum-cabinet of L. N. Gumilyov «and «The History of Education of Kazakhstan». The formation of these museums is related to the strategic development, mission and vision of the university, and the strategic development of the country. University museums are one of the areas of implementation of the projects of the First President of the Republic of Kazakhstan N. Nazarbayev «A look into the future: spiritual modernization», «Seven facets of the Great Steppe» and «Sacred Geography of Kazakhstan». The museum is also one of the main institutions that stores the cultural code. Therefore, the role of university museums in the development of education, culture and science is very important.
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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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Elias, Megan. "Summoning the Food Ghosts: Food History as Public History." Public Historian 34, no. 2 (2012): 13–29. http://dx.doi.org/10.1525/tph.2012.34.2.13.
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Abstract Although historic homes are increasingly popular sites for exploration of the past, such museums seldom, and for practical reasons, are able to give visitors an actual taste of the past. The desire for just such a taste, however, is part of what brings many people to historic homes. An interest in how people lived in the past often begins with questions of what and how they ate. This article explores ways in which what I term the “food ghosts” can be summoned up in historic house museums. Based on research for the New York Tenement Museum, this study explores methods for making food history powerfully present in public history sites.
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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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Kaiser, Wolfram. "From Great Men to Ordinary Citizens? The Biographical Approach to Narrating European Integration in Museums." Culture Unbound 3, no. 3 (October 25, 2011): 385–400. http://dx.doi.org/10.3384/cu.2000.1525.113385.
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The history of European integration is not easy to tell – in books or, for that matter, in museums. Most importantly, it appears to lack drama. This lack of drama creates a dilemma for museum practitioners who wish to tell stories about the contemporary history of Europé as shared history. In these circumstances, one prominent way of telling stories about European integration history in museums, and the focus of this article, is the biographical approach. Drawing upon research in all of the museums mentioned in this article and many more, and some 60 interviews with museum practitioners from across Europé, this article first discusses three biographical approaches to narrating European integration history in museums. It proceeds to draw out general conclusions about the prospects of mainstreaming European integration in history museums, and about the particular opportunities and pitfalls of the biographical approach and its different varieties.
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Banjeglav, Tamara. "Exhibiting Memories of a Besieged City. The (Uncertain) Role of Museums in Constructing Public Memory of the 1992-1995 Siege of Sarajevo." Südosteuropa 67, no. 1 (March 26, 2018): 1–23. http://dx.doi.org/10.1515/soeu-2019-0001.
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Abstract The author examines museums in Sarajevo, the capital of Bosnia and Herzegovina, and their exhibitions dealing with the city’s most traumatic event in recent history—the 1992-1995 siege. She analyses how the interpretations and re-interpretations of history in these museums have been affected by social, political, cultural, and institutional contexts, and how various ‘memory entrepreneurs’ have played a role in building the public memory of the city’s siege. The analysis focuses on, but is not limited to, three museums: the History Museum of Bosnia and Herzegovina, the Tunnel Museum, and the War Childhood Museum. This discussion is supplemented by an analysis of other museums in Sarajevo that also demonstrate how the political deadlock in the country has affected the cultural sector. The author argues that the various museums to have opened in Sarajevo in recent years indeed have the potential to become crucial public spaces where authoritative notions of history, memory, and identity can be critically examined, negotiated, and contested.
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Cole, Barry L. "The Challenge of Preserving the Artifacts of Optometric History." Hindsight: Journal of Optometry History 50, no. 3 (August 7, 2019): 66–73. http://dx.doi.org/10.14434/hindsight.v50i3.27564.
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This paper looks at optometry museums around the world. There are only five general optometry museums: three are hosted by optometric institutions in three countries, Australia, Britain and the U.S.A., one is hosted by a Canadian university that has an optometry school, and one is in private hands in Southbridge, Massachusetts. They are supplemented by six excellent corporate museums in France, Germany and Italy, but these museums focus on either spectacles or ophthalmic instruments, rather than optometry in general. Two of the optometry museums were founded over 100 years ago, and two have had their 50th birthday, but can they survive forever? Museums are expected to preserve collections for posterity for the edification and enjoyment of future generations, yet all institutions are at risk of disruption: few institutions last more than a couple of hundred years. This paper discusses strategies optometry museums might pursue to guard against mismanagement and neglect and provide for the protection of their collections in the event of the demise of the museum or its host institution.
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Wallace, Paulette. "Book Review Essay." Museum Worlds 8, no. 1 (July 1, 2020): 229–34. http://dx.doi.org/10.3167/armw.2020.080117.
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Paul Ashton and Alex Trapeznik, eds. What Is Public History Globally? Working with the Past in the Present. London: Bloomsbury, 2019.Kylie Message. The Disobedient Museum: Writing at the Edge. Museums in Focus series. London: Routledge, 2018.Susan L. T. Ashley. A Museum in Public: Revisioning Canada’s Royal Ontario Museum. Museums in Focus series. London: Routledge, 2020.Adrian Franklin. Anti-Museum. Museums in Focus series. London: Routledge, 2020.Kylie Message. Collecting Activism, Archiving Occupy Wall Street. Museums in Focus series. London: Routledge, 2019.
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Nargiza, Aliyeva. "The State Museum Of History And Culture Of Namangan Region Past And Today." American Journal of Social Science and Education Innovations 03, no. 02 (February 27, 2021): 155–59. http://dx.doi.org/10.37547/tajssei/volume03issue02-24.
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Namangan State Museum of History and Culture is one of the oldest and youngest museums. The State Museum of History and Culture of Namangan region is not only a spiritual and educational institution but also a place that preserves the heritage of ancestors, instils in future generations a sense of pride.
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Cornish, Caroline, Patricia Allan, Lauren Gardiner, Poppy Nicol, Heather Pardoe, Craig Sherwood, Rachel Webster, Donna Young, and Mark Nesbitt. "Between Metropole and Province: circulating botany in British museums, 1870–1940." Archives of Natural History 47, no. 1 (April 2020): 124–46. http://dx.doi.org/10.3366/anh.2020.0627.
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Exchange of duplicate specimens was an important element of the relationship between metropolitan and regional museums in the period 1870–1940. Evidence of transfers of botanical museum objects such as economic botany specimens is explored for the Royal Botanic Gardens, Kew, and six museums outside the capital: Cambridge University Botanical Museum, National Museum Wales, Glasgow Museums, Liverpool World Museum, Manchester Museum and Warrington Museum. Botany became an important element in these museums soon after their foundation, sometimes relying heavily on Kew material as in the case of Glasgow and Warrington, and usually with a strong element of economic botany (except in the case of Cambridge). Patterns of exchange depended on personal connections and rarely took the form of symmetrical relationships. Botanical displays declined in importance at various points between the 1920s and 1960s, and today only Warrington Museum has a botanical gallery open to the public. However, botanical objects are finding new roles in displays on subjects such as local history, history of collections, natural history and migration.
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de Szegheo Lang, Tamara. "The Explosion in Grandma’s Attic, the Cabinet of Curiosities, and Chance Encounters at the GLBT History Museum." Journal of the Canadian Historical Association 26, no. 2 (August 9, 2016): 83–110. http://dx.doi.org/10.7202/1037227ar.
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This article proposes that objects might be instrumental in museum exhibitions that promote critical thinking around issues of human rights and social inequity. Objects have the potential to present histories that have been marginalized for far too long and to get away from rehearsed narratives, while also engaging the visitor through emotional connection — making the visitor care about the histories that are being presented. In looking at the GLBT Historical Society Archives and History Museum in San Francisco, this article claims that new museums that grow out of community-based archives might provide the opportunity for the kinds of critical engagements with objects that national-scale museums that attempt to address social problems often do not have. Specifically addressing the GLBT History Museum’s inaugural exhibit, “Our Vast Queer Past,” this article argues that the organization of objects on display, greatly influenced by their archival roots, gives viewers the opportunity for chance encounters with histories that come to matter to them.
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Norberto Rocha, Jessica, and Martha Marandino. "Mobile science museums and centres and their history in the public communication of science." Journal of Science Communication 16, no. 03 (July 20, 2017): A04. http://dx.doi.org/10.22323/2.16030204.
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In this paper, we identify some milestones in the construction process for mobile science museums and centres in Brazil. As background for presenting the Brazilian context, we initially address the records found on the earliest travelling museum exhibitions and mobile museums in Europe and North America. We then introduce the role of UNESCO in the promotion and implementation of travelling science exhibitions and museums in several countries. Finally, we document important events in the history of mobile science museum and centres in Brazil and outline three general and inter-related challenges currently faced by them.
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Dziubenko, Nataliia, Andriy Andriyovych Bokotey, and Oleksandr Semenovych Klymyshyn. "Museums of natural history: performance indicators and evaluation criteria." Proceedings of the State Natural History Museum, no. 36 (December 10, 2020): 15–20. http://dx.doi.org/10.36885/nzdpm.2020.36.15-20.
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The existing system of performance indicators of natural history museums in Ukraine, based on the analysis of the Ukrainian legislate framework and the study of foreign experience are considered in the work. It is proved that the criteria for evaluating of natural history museums performance of various profiles and subordination today are ineffective and do not reflect the real state of affairs. The efficiency of natural history museums performance is assessed in accordance with quantitative indicators (visitors number, units in the collection, etc.), but the quality of services is not mention. The emphasizes to develop and apply a standardized evaluation of museums performance as one of the most important steps towards reforming the entire museum industry in Ukraine was done.
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Marcus, Alan S., and Thomas H. Levine. "Knight at the Museum: Learning History with Museums." Social Studies 102, no. 3 (April 15, 2011): 104–9. http://dx.doi.org/10.1080/00377996.2010.509374.
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Burlina, Elena. "From Bonn to Yekaterinburg: chronotope of the modern museum." KANT Social Sciences & Humanities, no. 7 (July 2021): 68–78. http://dx.doi.org/10.24923/2305-8757.2021-7.7.
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The article is devoted to the comparative analysis of innovative trends in domestic and foreign museums. The analysis is interdisciplinary and methodological in nature. The main purpose of the article is to show examples of fundamental changes and the communicative nature of museum forms, dictated by the massization of museums, which changed the quantitative and qualitative composition of the public. According to the author, the museum includes directing and design necessary for communication with the mass audience. In this aspect, the article analyzes the exposition principles of two museums located in different countries. The philosophical foundations of one of the most authoritative museum centers in Europe: the "House of German History" in Bonn are presented in the most detailed way. Noting the integrity of the exhibition in the "House of German History", the author identifies several key principles of the museum exhibition: including:"museum drama", "path", "local space" (chronotope). These staging techniques are comparable to the "Yeltsin Center": the path through 7 rooms is the basis of the exhibition. "Problem Rooms" and the chronotope "Paths" form a common dramatic concept. The scientific novelty of the article also lies in the substantiation of the connection between the museum's drama and mass character. The flow of visitors could not but influence the choice of techniques that are easily read by the mass audience.
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Brenna, Brita. "Nature and texts in glass cases: The vitrine as a tool for textualizing nature." Nordic Journal of Science and Technology Studies 2, no. 1 (December 1, 2016): 46. http://dx.doi.org/10.5324/njsts.v2i1.2136.
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<div>What can glass cases teach us about how nature is written or read? This article seeks to understand the work done by glass cases in Bergen Museum in Norway around 1900 specifically, and more generally how glass cases was an important tool for making natural history museums into textual media. In this article it is claimed that when we focus on how natural history museums manufacture culturally specific museum nature, it is a legacy of a reform movement that set out to “discipline” museum nature around 1900 in order to make nature legible for “everyman”. An important museum movement by the end of the nineteenth century worked to make natural museums into places were one could learn by reading, not by touching or engaging with the natural objects, qua objects. This insistence on making nature readable, it is claimed, should make us cautious about analysing natural history museums as texts.</div><div> </div>
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Becerra, José María. "What can bioinformatics do for Natural History museums?" Graellsia 59, no. 1 (June 30, 2003): 15–27. http://dx.doi.org/10.3989/graellsia.2003.v59.i1.220.
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Ablakulovna, Elmuratova Shokhista. "Home Museums are a Small Mirror of History." International Journal of Psychosocial Rehabilitation 24, no. 5 (May 25, 2020): 6734–38. http://dx.doi.org/10.37200/ijpr/v24i5/pr2020662.
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Harker, Richard J. W. "Museums Connect: Teaching Public History through Transnational Museum Partnerships." Public History Review 22 (December 24, 2015): 56–68. http://dx.doi.org/10.5130/phrj.v22i0.4753.
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Museums Connect is a program funded by the US Department of State and administered by the American Alliance of Museums that sponsors transnational museum partnerships. This program provides one model for teaching public history in a transnational context, and this article analyzes the experiences of two university-museums—the Museum of History and Holocaust Education (MHHE) in the United States and the Ben M’sik Community Museum (BMCM) in Morocco—during two grants between 2009 and 2012. In exploring the impact of the program on the staff, faculty, and students involved and by analyzing the experiences and reflections of participants, I argue that this program can generate positive pedagogical experiences. However, in addition to the successes of the MHHE and BMCM during their two grants, the participants encountered significant power differentials that manifested themselves in both the processes and products of the grants. It is the conclusion of this article that both partners in a public history project need to address and confront potential power issues at the outset in order to achieve a more balanced, collaborative partnership.
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Marselis, Randi. "Digitizing migration heritage: A case study of a minority museum." MedieKultur: Journal of media and communication research 27, no. 50 (June 27, 2011): 16. http://dx.doi.org/10.7146/mediekultur.v27i50.3325.
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Museums are increasingly digitizing their collections and making them available to the public on-line. Creating such digital resources may become means for social inclusion. For museums that acknowledge migration history and cultures of ethnic minority groups as important subjects in multiethnic societies, digitization brings new possibilities for reaching source communities. This article describes Web projects conducted at Museum Maluku in Utrecht, the Netherlands. The article focuses on the museum’s experiences with cross-institutional Web projects, since digitization of the museum’s collection was initiated through collaboration with major national heritage institutions. The article also discusses how source communities through digital participation can become involved in building cultural heritage. Based on the case study of the Museum Maluku, it is argued that in order to design an appropriate mode of user participation as well as a sense of ownership it is crucial to take memory politics of source communities into account.
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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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Dean, David, and Peter E. Rider. "Museums, Nation and Political History in the Australian National Museum and the Canadian Museum of Civilization." Museum and Society 3, no. 1 (April 8, 2015): 35–50. http://dx.doi.org/10.29311/mas.v3i1.63.
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The role museums play in shaping the public’s understanding of the past has recently become a matter of considerable interest for historians and others. In Canada and Australia, portraits of their country’s history created by national museums have ignited considerable controversy. The Canadian Museum of Civlization’s Canada Hall was the subject of a review by four historians, chosen to examine the Hall’s portrayal of political history, while the National Museum of Australia faced a highly politicised public review of all of its exhibits soon after the museum opened. By analysing and interpreting the findings of these reviews, the authors raise questions about the ability of museums to respond to historical controversy, shifting historiographies and changing understandings of what is important in the past.
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Smith, Samuel A., and Kenneth E. Foote. "Museum/space/discourse: analyzing discourse in three dimensions in Denver’s History Colorado Center." cultural geographies 24, no. 1 (September 20, 2016): 131–48. http://dx.doi.org/10.1177/1474474016663930.
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Museums have recently gained attention from cultural geographers as important sites of cultural production and reproduction. Within this growing field of ‘museum geographies’, we focus on how discourses are arranged in the three-dimensional spaces of galleries and exhibits. We argue that the spatial arrangement of text, media, and artifacts shape narrative storylines and suggest sequences, connections, progressions, and pathways within and between exhibits. In doing so, the spatial arrangement of these museum ‘assemblages’ is tied to the meaning of the underlying discourse. Looking at discourse in three dimensions offers a way for cultural geographers to contribute to an interdisciplinary study of museums, as well as to other modes of discourse where the spatial form of the text contributes to its meaning. We explore this methodology through a study of the History Colorado Center, a recently opened museum in Denver, CO. The center’s exhibits, designed to confront critical histories of the state and the American West, are designed as immersive multimedia reconstructions of Colorado sites and stories, and include iconic regional imagery as well as more dissonant episodes of Colorado’s past. Through an analysis of these exhibits, we highlight how the connections made across museum spaces can enhance or detract from intended exhibit themes. In the History Colorado Center, these spatial arrangements both contribute to and detract from the museum’s presentation of a critically nuanced state history. However, we argue, the spatial arrangements of discourse merit further attention, for museum geographies as well as across other media.