Relevant bibliographies by topics / Imperial Museum

Academic literature on the topic 'Imperial Museum'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Journal articles on the topic "Imperial Museum":

1

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.
2

Duthie, Emily. "The British Museum: An Imperial Museum in a Post-Imperial World." Public History Review 18 (December 31, 2011): 12–25. http://dx.doi.org/10.5130/phrj.v18i0.1523.

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This article examines the British Museum’s imperialist attitudes towards classical heritage. Despite considerable pressure from foreign governments, the museum has consistently refused to return art and antiquities that it acquired under the aegis of empire. It is the contention of this article that the British Museum remains an imperialist institution. The current debates over the British Museum’s collections raise profound questions about the relationship between museums and modern nation states and their nationalist claims to ancient heritage. The museum’s inflexible response to repatriation claims also encapsulates the challenges inherent in presenting empire and its legacy to contemporary, post-imperial audiences.
3

Ewart, Gavin. "Imperial war museum." Medicine and War 8, no. 3 (July 1992): 232. http://dx.doi.org/10.1080/07488009208409051.

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4

Deveykis, Marina. "Stages of museum development of Saint Petersburg in the Imperial Russia." Исторический журнал: научные исследования, no. 3 (March 2020): 121–30. http://dx.doi.org/10.7256/2454-0609.2020.3.32896.

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This article examines museum construction in one of the major Russian regions – Saint Petersburg of the XVIII – early XX centuries. The author determines four stages: early museums, specialized museums, new field-specific groups, museum expansion; as well as their key traits and peculiarities. Special attention is turned to the latter stage – museum expansion (1894-1916). The author presents the matrix of all established museums in chronological order, their founders, year of creation, and relations with the field-specific groups. The scientific novelty consists in the attempt to fill the gap by carrying out a first comprehensive research dedicated to museum development in Saint Petersburg of the imperial period. In order to reflect the processes unfolding in the history of museums of Saint Petersburg, the author reveals the trends and patterns, indicates the significance of museums created by the contemporaries, and demonstrates the link between the emergence of museums and the economic upswing in the country. Colossal experience of museum construction of Saint Petersburg, understanding of its importance in preservation of cultural and historical heritage, as well as progressive ideas of museum figures served as the prerequisite for creating the state supervision system and museum legislation, and allow outlining the ways for future development of museums.
5

Rushforth, Bruno. "Imperial War Museum North." BMJ 326, Suppl S5 (May 1, 2003): 0305170. http://dx.doi.org/10.1136/sbmj.0305170.

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Dvorkin, Ihor. "MUSEUMS IN KYIV (1830'S - 1919): FORMATION, DEVELOPMENT, TRANSFORMATION DURING THE REVOLUTION." City History, Culture, Society, no. 8 (June 17, 2020): 24–35. http://dx.doi.org/10.15407/mics2020.08.024.

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The article analyzes the formation and development of Kyiv museums during the imperial period, as well as the transformations, that took place in this field during the revolutionary period (1917 - 1919). The article deals with the history of museums through the prism of analyzing the contribution of central and local authorities to the development and further activities of museum institutions. The influence of the state authorities and the Ukrainian national movement on the development of museums is considered in the example of the largest Kyiv museums. Museums have played an essential role in the formation of collective memory, memory policy, the nation-building processes et cetera. During the study period in European countries, national museums were opened. As P. Aronsson and G. Elgenius mentioned, «The national museum is thus a knowledge-based socio-political institution, with corresponding collections and displays that ultimately claim, articulate and represent dominant national values and myths». This article examines the potential of Kyiv museum institutions to become Ukrainian national museums. Kyiv during the imperial period was an important centre of Russian culture and power. For imperial authorities, Kyiv was the administrative centre of the Southwestern region, the city from which Christianity spread, the centre of Russification of Ukrainian territory et cetera. At the same time, Kyiv was the centre of the Ukrainian movement in the Russian Empire. The Ukrainian activists could perceive this city in a completely different way – as a historic capital. For the Ukrainian intelligentsia of the Russian Empire, museum institutions had great potential in the study of the history and culture of Ukrainian lands. The first museums in Kyiv were opened at St. Volodymyr University in the 1830s. The most significant museums in the city were the Church-Archeological Museum at the Kyiv Theological Academy and the Kyiv City (Art, Industrial and Scientific) Museum There was no purposeful state museum policy in the Russian Empire. At the same time, the imperial and local authorities had an influence on the creation of museum institutions and their further development (mostly through funding). From the point of view of imperial power, which acted in a particular paradigm of non-recognition of Ukrainians as a separate people, Kyiv museums were supposed to be “Russian”, followed by, or should be followed by, authorities of all levels. However, supporters of the Ukrainian national movement, occupying official positions, used the museums for their purposes, finding opportunities to involve local authorities and patrons. The city's museums operated under different signage, but they had the potential to become Ukrainian national museums, most of all the Kyiv City Museum. This museum has evolved accordingly, thanks to scholars associated with it. In 1917 - 1919 the situation in the city changed. Ukrainian state entities - the UNR and the Ukrainian state, of course, had completely different views on the development of the Ukrainian nation and sought to implement the "Ukrainian project" by creating their state. History and culture were now an essential lever of legitimizing the new government, which, thanks to the influence of the Ukrainian intelligentsia, understood the possibilities of the museum industry. The Ukrainian National Museum had a crucial role in this process. There was no doubt that it should be based in Kyiv, the capital of Ukraine.
7

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.
8

Dvorkin, Ihor. "DESPITE IMPERIAL POLICY: THE UKRAINIAN STUDIES IN THE MUSEUMS OF DNIPER UKRAINE IN THE SECOND HALF OF THE 19th – IN EARLY 20th CENTURY." Almanac of Ukrainian Studies, no. 24 (2019): 57–61. http://dx.doi.org/10.17721/2520-2626/2019.24.10.

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The article deals with the development of Ukrainian studies in museums of Naddnipprianska Ukraine during the imperial period. At the time, a rather wide museum network worked here. Museums were created and operated at various organizations - universities and other educational institutions; scientific institutions; self-government bodies, etc. The lack of the central imperial power’s museum policy was typical. This led to the fact, that museum institutions were often operated under conditions of insufficient funding and enough government support. Russia's imperial policy towards the Ukrainian national movement in the second half of the nineteenth and early twentieth centuries was aimed at its restriction and prohibition. Any manifestation of official Ukrainophile activity should be controlled and restricted. At the same time, intelligentsia, the Ukrainian national movement activists, took an active part in the creation and follow-up of museum institutions. On the other hand, the Ukrainian national movement activists found an opportunity to actively use their work in cultural and educational institutions, including museums, as well as to cooperate with them for the purpose of research in the field of Ukrainian studies. In addition, collections of museum facilities could be used in research in the relevant field. Accumulation of Ukrainian studies was an important factor in national processes, the implementation of the "Ukrainian project". The article highlights Ukrainian studies conducted in some museums in Kyiv, Kharkiv and Chernihiv. These museums contained collections, dedicated to Ukrainian ethnography, archeology and history. These museums, thanks to the position of their employees, collected and systematized collections on the history and culture of Ukraine, published scientific products on the basis of their collections.
9

Ivaniuk, Oleg. "Museumification of the military historical heritage in the Dnieper Ukraine and the Crimea in the 19th and early 20th centuries." Kyiv Historical Studies, no. 2 (2018): 81–88. http://dx.doi.org/10.28925/2524-0757.2018.2.8188.

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The article focuses on the beginning of the process of formation of museum collections relevant to the military past of the Dnieper Ukraine in the 19th — first decade of the 20th century. It is determined, in the research scope, that the process of creating museum exhibits, which consisted of monuments of military historical heritage, was influenced by the following: the development of archaeological research, which was stimulated by the domination of classicism, which induced interest in the ancient past, the imperial power ideologizing the historical process, the Ukrainian nobility (descendants of the Cossacks elders) preserving historical memory of the victorious past of their people, and so on. It is found, that during the 19th century, museumification of the 19th and early 20th centuries military heritage had several trends: the creation of “propaganda” exposition, which would remind of the key, from the tsarist regime point of view, imperial army victories, foster respect for the imperial family and the royal power institution self, commemorate imperial myths, the formation of the Cossacks antiquities collections, initiated by Ukrainian intellectuals and scholars; expositions formed by the military according to purely professional interest. During the 19th and early 20th centuries, a number of museums, which had monuments of military history as a part of their collections, were founded. Some of the aforementioned museums are the following: the Museum of Ukrainian Antiquities in Chernihiv, the Museum of Heroic Defense and the Liberation of the City of Sevastopol, the Museum of Poltava Battle, etc. Museumification of the military heritage has stimulated the development of various areas of special military-historical research.
10

Tidy, Joanna, and Joe Turner. "The Intimate International Relations of Museums: a Method." Millennium: Journal of International Studies 48, no. 2 (December 3, 2019): 117–42. http://dx.doi.org/10.1177/0305829819889131.

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This article proposes a method for analysing museums as sites of intimate and colonially-produced international relations. Beginning with fieldwork that approaches museums as sites through which people intimately encounter the objects, institutions, selves and others of international politics, we explore how intimacy can be ‘read’ as socio-sexual affect, scales and proximities, and colonial differentiation/racialisation. The article is grounded in fieldwork at the British Army Royal Engineers Museum in Kent, UK, conceptualised as an assembly of, following Stoler, imperial debris. We explore how certain museum exhibits work as intimate ‘organising objects’, locating the museum collection, and those who visit or are excluded from it, within the intimate circulations of imperial and colonial violence. The article makes two core contributions: first, responding to recent literature in IR on museums we propose a framework for understanding how museums and exhibitions function as everyday sites of coloniality and racialisation. Second, we propose that approaching intimacy as a method is instructive for fieldwork in international relations (including museums) which takes the colonial constitution of the global/local seriously.
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You might also be interested in the extended bibliographies on the topic 'Imperial Museum' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Imperial Museum":

1

Ashworth, Jaime. "Between evidence and symbol : the Auschwitz album in Yad Vashem, the Imperial War Museum (London) and the Auschwitz-Birkenau State Museum." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367399/.

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This project explores the representation of the Holocaust in three museums: Yad Vashem in Jerusalem; the Imperial War Museum in London; and the Auschwitz-Birkenau State Museum in Oswiecim, Poland. It uses the so-called Auschwitz Album, a collection of photographs taken in Birkenau in May 1944, as a case-study. Employing the concept of mythology in the Barthesian sense of a ‘language in which we speak’, it examines the ways in which the Holocaust is more and more a prism through which other things are viewed; a language in which other things are spoken of. Chapters 1 and 2 lay the groundwork for the results of fieldwork described in chapters 3-5. Chapter 1 is concerned with the photographs themselves. Describing the structure and content of the collection, it demonstrates the degree to which the interpretation of photographs is complicated by what the viewer brings to them. While photographs might appear to transmit information, this chapter suggests that they are better understood as reflective objects. Chapter 2 interrogates the assumptions of five “classic” accounts of the Holocaust by Raul Hilberg, Helmut Krausnick, Lucy Dawidowicz, Martin Gilbert and Saul Friedländer, in light of a proposed ‘Holocaust metanarrative’. Chapters 3, 4 and 5 engage with the particular museums on their own terms, posing questions about how they interact with the societies they are found in. Each museum, these chapters argue, raises a set of questions about the host nation’s relationship with the past. Chapter 6 looks at the specific display strategies employed by the museums to display the Auschwitz Album, considers how this relates to the broader institutional and national agendas as explored in Chapters 3-5. An epilogue takes the basic conclusion of this section – that all memory is local, and that debate about meaning is likely to be the continuing legacy – and asks if there is an alternative language in which to speak of the Holocaust.
2

Stiles, Emily. "Narrative, object, witness : the story of the Holocaust as told by the Imperial War Museum, London." Thesis, University of Winchester, 2016. http://repository.winchester.ac.uk/808/.

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On June 7, 2000, the Holocaust’s position as an official part of British history and memory became solidified with the opening of a permanent Holocaust exhibition within London’s Imperial War Museum. This important national museum embodies Britain's cultural memory of war, of which the Holocaust has become a central part. Situated within debates of museology and memory, this thesis offers a compelling case study on the performative role of the museum in the construction of an official Holocaust memory within Britain and its relationship to national identity. While the Holocaust has become a ‘moral touchstone’ of contemporary society it seems urgent we raise questions of not only why we remember the Holocaust, but what, exactly, it is we are remembering. The oft cited dictum to 'never forget' requires remembrance of the Holocaust to serve a purpose; so that events of Nazi Europe may never be repeated. This ambition has proven hollow, yet countries invest millions of pounds in official Holocaust remembrance, commemoration and education. What purpose does the Holocaust serve in twenty-first century Britain? Questions of Holocaust narrative, material culture and testimony dominate the study, underpinned through wider concepts of history, memory, identity and museology in a British context. Using the Imperial War Museum as a case study, this thesis presents a challenge to the place of the Holocaust within British memory of war and questions how this limiting framework affects the way the Holocaust is remembered and understood throughout British society more broadly. Each chapter focuses on a specific aspect of the Holocaust exhibition and its display. A history of the exhibition provides detail on how and why the Holocaust became a central theme for the Imperial War Museum, while a study of the photographic, object and testimony displays in each dedicated chapter draws conclusions on how the Holocaust is shaped within this specific context. The relationship between the exhibition displays and Holocaust education more broadly throughout Britain is explored in detail in the final chapter of the thesis. Beyond the Imperial War Museum, this study points towards the future of Holocaust memory in Britain with an aim to highlight a limited understanding of the wider context of Britain and the Holocaust within popular narratives. How Britain connects to Holocaust history and memory remains central to this research, but it also considers how Britain could connect in more meaningful ways beyond learning the 'lessons' of the Holocaust.
3

Cundy, Alys. "A century of reinvention : display policy and practice at the Imperial War Museum, London 1917-2017." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682715.

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War museums face the challenge of representing the violence and trauma of conflict through its material remains. This thesis analyses the ways in which the Imperial War Museum (IWM) in London has used its extensive and varied collections to represent warfare, from its foundation up to and including its latest redevelopment. It identifies four phases in the museum's display history. In its first decades the IWM authorities presented the museum's objects as commemorative 'relics'; tangible markers of the First World War and all those who had participated in it. Following the Second World War, the institution revised its remit to include the new conflict and in doing so placed greater value on the informative capacity of its collections. The 1960s saw another fundamental change of purpose as a new Director made historical scholarship central to the institution's displays. In more recent decades a variety of interpretive values have been applied to the museums' collections; with exhibits being represented as sculptural pieces, historical evidence, symbolic markers and 'witnesses to war'. By following the developments in the public exhibitions at the IWM this thesis reveals that, whilst the IWM has reinterpreted its collections multiple times since 1917, these 'reinventions' have been frequently contested. Furthermore, the history of the IWM is marked by notable absences and silences; fissures in an interpretive strategy considered incapable of containing some of the most traumatic associations of the collections. This provides insight into the nature of the material culture of conflict. The history of the IWM shows the meanings of the physical remains of war to be fluid; capable of repeated change according to the priorities and practices of this responsible for them. However, such remains are also powerful signifiers of conflict, and as such are subject to the divisions and controversies associated with war itself.
4

Noakes, Vivien Mary. "The complete poems and fragments of Isaac Rosenberg with a catalogue of the Isaac Rosenberg material in the Imperial War Museum." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244153.

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5

Borey, Erica. "Reichenbachia, Imperial Edition: Rediscovering Frederick Sander’s Late-Victorian Masterpiece of Botanical Art." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3292.

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This thesis project examines the history, provenance, and contemporary treatment of a rare Imperial Edition of Frederick Sander’s print collection Reichenbachia, Orchids Illustrated and Described, a high-quality orchid compendium dating to the late-nineteenth century. A local philanthropist loaned the Imperial Edition Reichenbachia, number 86 of 100 to Lewis Ginter Botanical Garden in 2011 on a long-term basis as a promised donation. Research into the origins of this collection involves several disparate historical topics, including the Victorian period of “orchid mania,” imperialist business practices, and chromolithographic printmaking. Discussion of the transition of this collection into a museum art collection covers its consequent registration, conservation, and exhibition. Finally, this thesis project considers the advantages and disadvantages of managing an art collection at a botanical garden.
6

Atliman, Selin Adile. "Museological And Archaeological Studies In The Ottoman Empire During The Westernization Process In The 19th Century." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/2/12610176/index.pdf.

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The nineteenth century is a period, when great transformations were experienced in the Ottoman Empire. Besides the political, economical and judicial changes, with the impact of the westernization process, important leaps about two important components of cultural life, museology and archeology, were realized in terms of both collecting and protecting the ancient monuments
and their exposition. As two interrelated fields of culture and sciences originated from Europe, museology and archeology were incorporated in the cultural life of the Ottoman Empire in the nineteenth century. The Ottoman Empire was acquainted with these two scientific fields through the impacts of both the museological studies in Europe and the excavations of the foreign researchers and archeologists, conducted within the imperial territories. This study aims to observe the emergence of museological and archeological studies in the Ottoman Empire and its development by the impacts of the West. In this study, the origins of the museological and archeological studies, the first attempts in the Ottoman Empire and the development in the continuing process and the judicial acts about the mentioned fields composed in the 19th century are examined chronologically. In this process of development, the works of Osman Hamdi Bey were forming an important part of this thesis.
7

Warneck, Dorothea. "Angelika Schoder: Die Vermittlung des Unbegreiflichen. Darstellung des Holocaust im Museum." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2015. https://slub.qucosa.de/id/qucosa%3A34973.

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Salmond, Amiria Jane Manutahi. "Thinking through things : museums, anthropolgy and imperial exchange." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398845.

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9

Joscelyn, Morgan T. "British Imperialism Of The Ottoman Empire Gender, Nationalism, And Cultural Changes." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/914.

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British imperialism of the Ottoman Empire is analyzed in terms of power and influence. Changes in gender roles, nationalism, and culture are all examined through the lens of imperialism. The discourse flows thematically and discusses brief histories of both Britain and the Ottoman Empire. The construction of the Imperial Museum created a unified image of the nation through the collection of material items. As a result of European imperialism, the Ottoman Empire developed a sense of national culture.
10

Freesz, Clara Rocha. "A odisseia das roupas de D. Pedro II: dos guarda-roupas imperiais às arcas do Museu Mariano Procópio." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/1380.

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A presente dissertação tem como objeto de pesquisa três indumentárias que pertenceram a D. Pedro II e que por ele foram utilizadas em eventos oficiais: o fardão da maioridade (1840), a veste de coroação (1841) e o fardão de casamento (1843), que fazem parte do acervo do Museu Mariano Procópio. A pesquisa tem como objetivo percorrer a trajetória cultural das peças enfocada em três diferentes fases, desde que foram criadas no século XIX aos dias atuais, e para isso, foram consultadas diversificadas fontes em arquivos públicos, como documentos textuais (cartas, relatórios de museus e códices da mordomia-mor), artigos de jornais, coleções de fotografias, iconografias e os próprios objetos. Inicialmente, através de questões relacionadas à memória monárquica e suas apropriações na década de 1920, será analisado o momento no qual passam de herança do mordomo imperial Paulo Barbosa da Silva a mercadorias de antiquário, em 1926. Neste período, as roupas foram valorizadas como importantes relíquias históricas nacionais que deveriam ser preservadas. No segundo capítulo são analisadas como acervo museal e através da expografia, dos processos de restauração e dos registros museológicos dos trajes, buscou-se investigar suas destinações, concluindo-se que foram explorados principalmente como ―objetos-relíquia‖, e não como documentos, meios de conhecimento histórico. Por último, as características materiais e os estilos são examinados, através dos quais se pôde conhecer a procedência e os processos de manufatura, que se deram no Rio de Janeiro, possivelmente a partir de projetos de artistas da Corte. Com o trabalho, espera-se compreender os meios sociais que produziram, reproduziram e ressignificaram as roupas de D. Pedro II que vêm sendo preservadas há mais de 170 anos.
The dissertation is based on the research of three personal clothing that belonged to D. Pedro II and were used by him on special events: The Major military uniform (1840), the garment of coronation (1841) and the military uniform used on his wedding (1843). All three costumes are part of the Mariano Procopio Museum collection. The research was based on different sources from public files, text documents (letters, museums reports and codices of stewardship), and photography, iconography and journal articles and it aims to scroll through cultural history, focusing on three different stages from their creation to the present day. Initially we analyzed the period in the clothes pass the imperial butler Paulo Barbosa da Silva to antiquarian goods in the 1920‘s, through issues connection to monarchical memory and its appropriations at the time. The objects in this period (1920‘s) were valued as national historical relics that should be preserved. The second chapter is based on research of the garments as a museum collection, through expographic, restoration processes and museum documents of the costumes, with deep analyzes to investigate their destination in order to conclude that costumes had been explored only as ―relic-objects‖ and not as documents meant for historical knowledge. The final chapter concludes the research of characteristics and style of each material, leading to the origin and manufacturing processes that have taken place in Rio de Janeiro, possibly from the court artist‘s project. The work is expected to help understand the social environment where was produced, reproduced and conveyed the clothes of D. Pedro II creating awareness to pieces that have been preserved for more than 170 years.
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Books on the topic "Imperial Museum":

1

Woolford, Stephen. Imperial War Museum Duxford. London: Imperial War Museum, 2008.

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Britain), Imperial War Museum (Great. Imperial War Museum review. London: The Museum, 1986.

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Museum, Imperial War. The Imperial War Museum Duxford. London: Imperial War Museum, 1989.

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Britain), Imperial War Museum (Great. Imperial War Museum film catalogue. Westport, Conn: Greenwood Press, 1994.

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Malcolm, Brown. The Imperial War Museum book of the Somme. London: Pan Books in association with the Imperial War Museum, 2002.

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Malcolm, Brown. The Imperial War Museum book ofthe Western Front. London: Sidgwick & Jackson in association with The Imperial War Museum, 1994.

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Gilbert, Adrian. The Imperial War Museum book of the DesertWar. London: Sidgwick & Jackson, 1995.

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Malcolm, Brown. The Imperial War Museum book of the Somme. London: Sidgwick & Jackson in association with the Imperial War Museum, 1996.

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Museum, Imperial War. Women at work collection from the Imperial War Museum. Brighton: Harvester, 1985.

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Museum, Imperial War. Women at work collection from the Imperial War Museum. Brighton: Harvester, 1986.

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Book chapters on the topic "Imperial Museum":

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Buck, Claire. "Bringing the War Home: The Imperial War Museum." In Conceiving Strangeness in British First World War Writing, 153–89. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137471659_6.

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Capet, Antoine. "Holocaust Art at the Imperial War Museum, 1945–2009." In Britain and the Holocaust, 129–41. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137350770_8.

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Holtschneider, Hannah. "Holocaust Representation in the Imperial War Museum, 2000–2020." In The Palgrave Handbook of Britain and the Holocaust, 389–404. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55932-8_19.

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Powell, Raymond, and Jithendran Kokkranikal. "Motivations and Experiences of Museum Visitors: The Case of the Imperial War Museum, United Kingdom." In Cultural Tourism in a Digital Era, 169–81. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-15859-4_15.

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Taylor, James. "Exhibiting the ‘Foreign’ in a National Museum: Imperial War Museum London and Languages at War." In Languages and the Military, 227–35. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137033086_16.

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Lawson, Tom. "The Holocaust and Colonial Genocide at the Imperial War Museum." In Britain and the Holocaust, 160–68. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137350770_10.

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Cuéllar, Gregory L. "Biblical Scholar as Imperial State Agent." In Empire, the British Museum, and the Making of the Biblical Scholar in the Nineteenth Century, 131–75. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24028-8_5.

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Koureas, Gabriel. "Selective Empathy in the Re-designed Imperial War Museum London: Heroes and Perpetrators." In Perpetrating Selves, 199–221. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96785-1_10.

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Holtschneider, K. Hannah. "ARE HOLOCAUST VICTIMS JEWISH? LOOKING AT PHOTOGRAPHS IN THE IMPERIAL WAR MUSEUM HOLOCAUST EXHIBITION." In Normative Judaism? Jews, Judaism and Jewish Identity, edited by Daniel R. Langton and Philip S. Alexander, 91–105. Piscataway, NJ, USA: Gorgias Press, 2012. http://dx.doi.org/10.31826/9781463234805-009.

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Yamashita, Yoshihiko, Yasuhiro Hayakawa, Wataru Kawanobe, and Noriko Hayakawa. "On the Conservation of a Lacquer Cabinet with Mounting in the Collection of the Museum of Applied Arts, Vienna." In Investigation and Conservation of East Asian Cabinets in Imperial Residences (1700-1900), 183–94. Wien: Böhlau Verlag, 2015. http://dx.doi.org/10.7767/9783205201922-013.

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Conference papers on the topic "Imperial Museum":

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Golev, I. A. "Сontribution of G. N. Potanin to the developing the collections of the Botanical Museum of the Imperial Tomsk University." In Current Challenges of Historical Studies: Young Scholars' Perspective. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1110-2-336-342.

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Gharamah, Abdulrahman A., and Mohamad Fauzan Noordin. "Impacts of Organizational Culture, Support and IT Infrastructure on Knowledge Management Success: An Imperial Study in Islamic Country, Saudi Arabia." In 2016 6th International Conference on Information and Communication Technology for The Muslim World (ICT4M). IEEE, 2016. http://dx.doi.org/10.1109/ict4m.2016.017.

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