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Journal articles on the topic 'Imperial Museum'

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Published: 4 June 2021

Last updated: 11 February 2022

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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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6

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.

11

Man’kov, S. A. "The experience of the museum commemoration of the Great War of the UK in the 1920–1930s." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 45–50. http://dx.doi.org/10.30725/2619-0303-2020-4-45-50.

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The article examines the experience of creating military-historical expositions and museums dedicated to the Great War of 1914-1918 in UK. The process of forming a military history museum, which began during the First World War, received support from government and military circles as a center for rallying the nation around the ideas of a «just» war, the representation of hostilities and with the aim of counterpropagating pacifist sentiments. Conceived as the National War Museum, it was opened in 1920 with Imperial status to counter regional public discontent in the British dominions and colonies. Although the Imperial War Museum was initially popular as a national memorial, interest in it began to wane noticeably over time. A separate place in the article is given to the consideration of several unrealized projects of museum commemoration of the events of the Great War

12

Yoltar-Yildirim, Ayşin. "Raqqa: The Forgotten Excavation of an Islamic Site in Syria by the Ottoman Imperial Museum in the Early Twentieth Century." Muqarnas Online 30, no. 1 (January 31, 2014): 73–93. http://dx.doi.org/10.1163/22118993-0301p0005.

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Raqqa, in Syria, was the only Islamic site excavated by the Ottoman Imperial Museum during its existence in the late nineteenth and early twentieth century. Although the Imperial Museum may not have been searching specifically for an Islamic site of the medieval period to excavate, its response to the plundering of Raqqa, which began as early as 1899, was to pursue an archaeological excavation in a systematic manner. Two campaigns were conducted, under the directorships of Macridy and Haydar Bey, in 1905–6 and 1908 respectively. Although not lasting more than a couple of months, they were relatively important from the perspective of the Imperial Museum and Islamic archaeology at that time. This article focuses on the history of these Raqqa excavations, namely, the reasons the Imperial Museum began excavating there, how it conducted its excavations, and, finally, the finds and the way they were displayed at the Museum. Existing archival documents on the excavation, along with the earliest inventories of the finds in the Imperial Museum and the personal letters of Macridy, all hitherto unpublished, are analyzed in order to shed light on these long forgotten excavations.

13

Peyser, Thomas Galt. "James, Race, and the Imperial Museum." American Literary History 6, no. 1 (1994): 48–70. http://dx.doi.org/10.1093/alh/6.1.48.

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14

Ballin, Anita. "The Imperial War Museum as Educator." Journal of Holocaust Education 7, no. 3 (December 1998): 38–43. http://dx.doi.org/10.1080/17504902.1998.11087068.

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15

Kavanagh, Goynor. "Museum as Memorial: The Origins of the Imperial War Museum." Journal of Contemporary History 23, no. 1 (January 1988): 77–97. http://dx.doi.org/10.1177/002200948802300105.

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16

Thorpe, Julia. "Exhibiting the Austro-Hungarian Empire: The Austrian Museum for Folk Culture in Vienna, 1895-1925." Museum and Society 13, no. 1 (January 1, 2015): 42–51. http://dx.doi.org/10.29311/mas.v13i1.316.

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The Austrian Museum for Folk Culture (Österreichisches Museum für Volkskunde) was established in 1895 in Vienna, the capital of the Austro-Hungarian Empire. Initially founded as ‘monument of a state of nations [Völkerstaat]’ it acted on and facilitated larger imperial projects of statecraft, war and international diplomacy that spanned the Empire and its displacement in the interwar period (Schmidt 1960: 29). While much of the Museum’s collection was acquired in the years before the Empire’s collapse in 1918, I argue that it was only in the Empire’s afterlife that the Museum was able to perform its memory work for an entombed ‘state of nations’. The Museum projected this site of imperial memory initially onto a post-imperial pan-European map and then, following the rise of German nationalism in Germany and Austria, onto a pan-German vision of empire and nationhood.

17

Adams, John. "Imperial War Museum – First World War Centenary." Nursing Standard 28, no. 47 (July 23, 2014): 32. http://dx.doi.org/10.7748/ns.28.47.32.s37.

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18

Shaw, Jonathan, Ben Squire Scholes, and Christopher Thurgood. "Space and place – Imperial War Museum North." Journal of Place Management and Development 1, no. 2 (July 25, 2008): 227–31. http://dx.doi.org/10.1108/17538330810890031.

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19

Khartanovich, Margarita F., and Maria V. Khartanovich. "Museum of Classical Archeology of the 19th-century Imperial Academy of Sciences: The history of organizing and transferring collections to the Imperial Hermitage." Issues of Museology 12, no. 1 (2021): 13–27. http://dx.doi.org/10.21638/spbu27.2021.102.

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The Museum of Classical Archeology of the Imperial Academy of Sciences is the successor to the 18th-century Kunstkamera of the Academy of Sciences in term of collections of classical antiquities. This article discusses in detail the stages of development of the Museum of Classical Archaeology as an institution within the structure of the Academy of Sciences through the Cabinet of Medals and Rarities, Numismatic Museum, and the Museum of Classical Archaeology. The fund of the museum consisted of ancient Greek and Roman coins, ancient Russian coins, coins from oriental cultures, ancient Greek vases, antiquities from ornamental stone, glass, precious metals, impressions of medals and coins, items from archaeological excavations and treasures, manuscripts, drawings of objects and photographs. Special attention is paid to the correlation of the possibilities of museum collections of the Academy of Sciences and the Imperial Hermitage in terms of storage, exhibition, research, and promotion of archaeological collections in the second half of the 19th century. The reasons for the very active transfer of the Academy of Sciences’ archaeological collections to the Hermitage in the 19th century and the types of compensation received by the Academy for the collections are discussed. The first archaeological collections donated from the Academy of Sciences to the Hermitage on the initiative of the chairman of the Imperial Archaeological Commission S. G. Stroganov were the “Siberian collection” of Peter I and the Melgunov treasure. The collection of the Museum of Classical Archeology also attracted the attention of art critic I. V. Tsvetaev when arranging funds for the new Museum of Fine Arts at Moscow University. The article introduces into scientific circulation archival documents, showing the state of the museum work in the 19th century in the institution of the Academy of Sciences, documents depicting the structure of the Museum of Classical Archaeology, and the composition of collections.

20

Malvern, Sue. "War, Memory and Museums: Art and Artefact in the Imperial War Museum." History Workshop Journal 49, no. 1 (2000): 177–203. http://dx.doi.org/10.1093/hwj/2000.49.177.

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21

Dianina, Katia. "Museum and Society in Imperial Russia: An Introduction." Slavic Review 67, no. 4 (2008): 907–11. http://dx.doi.org/10.1017/s0037677900018180.

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At the turn of the twentieth century, European critics who were distressed about contemporary developments in the fine arts tended to use medical, psychopathological terms to diagnose the existing state of the field. In 1892-1893, an Austrian physician and writer, Max Nordau, publishedEntartung(Degeneration). Drawing on positivist psychology and anthropometry, Nordau expressed his pessimistic views on the mental and physical health of the leading figures of European fin-de-siécle culture: Friedrich Nietzsche, Paul Verlaine, the impressionists, the symbolists, and many others. In Russia this book went into nine editions, in three different translations. The patriarch of Russian liberal-nationalist criticism, Vladimir Stasov applied Nordau's metaphors to Russian “decadent” artists in such reviews as “Podvorl'e prokazhennykh” (Lepers’ inn, 1899) or “Dve dekadentskie vystavki” (Two decadent exhibitions, 1903). He sarcastically remarked that, when viewing canvases by some contemporary painters, he felt as though he were “walking amidst a madhouse.”

22

Yingjie, Wang. "Museum of the Imperial Palace of Jilin Province." Museum International 40, no. 2 (June 1988): 107–10. http://dx.doi.org/10.1111/j.1468-0033.1989.tb00737.x.

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23

Ballin, Anita. "Teaching the Holocaust at the Imperial War Museum." British Journal of Holocaust Education 3, no. 2 (December 1994): 184–88. http://dx.doi.org/10.1080/17504902.1994.11102008.

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24

Eisler, Colin. "Bode's Burden. Berlin's Museum as an Imperial Institution." Jahrbuch der Berliner Museen 38 (1996): 23. http://dx.doi.org/10.2307/4125958.

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25

Bodhani, A. "News: Imperial War Museum gets a techy revamp." Engineering & Technology 9, no. 6 (July 1, 2014): 22. http://dx.doi.org/10.1049/et.2014.0624.

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26

Dvorkin, Ihor. "MUSEUMS IN THE UKRAINIAN NATIONAL MOVEMENT IN RUSSIAN-RULED UKRAINE IN THE LATE XIX AND EARLY XX CENTURY." City History, Culture, Society, no. 3 (October 30, 2017): 83–91. http://dx.doi.org/10.15407/mics2019.03.083.

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The article examines the place and role of museum institutions in the legal, cultural activities of representatives of the Ukrainian national movement of the Russian Empire in the late nineteenth and early twentieth centuries. The author considers that in the absence of Ukrainian state and Russian imperial policy, which denied the existence of a separate Ukrainian people, the official, authorized institutions enabled the representatives of the Ukrainian creative intelligentsia a legitimate way to spread the idea of a "Ukrainian project" of nation-building. The author agrees that in promoting this project, Ukrainophiles actively used "invention of traditions" (by Eric Hobsbaum) - cultural practices of a ritual or symbolic nature that were intended to express community belonging and impart specific values and behaviours. In particular: life, traditional Ukrainian clothing, a celebration of anniversaries of outstanding events or anniversaries significant for the Ukrainian movement of personalities, as well as the conscious application of Ukrainian architectural modernity (Ukrainian style) in the architecture and development of Ukrainian professional theatre. Museums as sources of information about the past of Ukrainians also fit into these practices. They were accessible to the general public and had great potential to influence the society of that time. Museum exhibitions provided ample opportunities to represent Ukrainian history and culture, and by their explicit or hidden intention, their founders had the potential to become Ukrainian national. The attempt to implement such museum projects is described in the article on the example of the activity of the Kyiv Art, Industrial and Scientific Museum and the Museum of Ukrainian Antiquities V.V. Tarnovsky at the Chernihiv Provincial Zemstvo. Analyzing both the permanent exhibitions and the exhibitions held (the First South Russian Exhibition of Handicrafts in 1906, the exhibition dedicated to the fiftieth anniversary of the death of Taras Shevchenko in 1911), the author proves that there were literally "hiding places" behind the facade of the imperial museums. National ones that could well serve to shape Ukrainian identity.

27

Appadurai, Arjun. "The Museum, the Colony, and the Planet: Territories of the Imperial Imagination." Public Culture 33, no. 1 (January 1, 2021): 115–28. http://dx.doi.org/10.1215/08992363-8742232.

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Abstract The primary argument of this essay is that the modern Western museum form is a critical site in which to understand the five centuries in which Europe dominated much of the rest of the world. In this imperial epoch, the world was shrunk to the museum and the museum was expanded to represent the colonized world, and nonhuman objects and human subjects were trafficked in connected ways. Now that we may be entering a planetary epoch, and the beginning of the end of globalization, there is an opportunity to build a new way to collect, curate, display, and circulate material forms outside the empire of the modernist museum.

28

Franz, Marisa Karyl. "A Visitor's Guide to Shamans and Shamanism." Sibirica 19, no. 1 (March 1, 2020): 41–56. http://dx.doi.org/10.3167/sib.2020.190104.

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In the late imperial era, the Museum of Anthropology and Ethnography (the Kunstkamera) in St. Petersburg produced a series of guidebooks for visitors that provided an account of the changes in the gallery spaces and collections within the museum. Among the changes was a reorganization of the collection that brought about the removal of a gallery dedicated to Russian ethnography, which had housed Siberian, Central Asian, and a small number of European Russian objects. Siberian and Central Asian materials were then presented by the museum in an Asian ethnographic collection. In this new Asian collection, shamanism emerged as a category that operated to unify Russia in Asia as a culturally contiguous space located in an imperial elsewhere east of the Urals.

29

Carlan, Cláudio Umpierre. "Life and death in the ancient world: the tetrarchy and the last persecution of Christians (303 – 311)." Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 3, no. 1 (March 24, 2018): 422–30. http://dx.doi.org/10.31669/herodoto.v3i1.359.

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The present paper begins with a description of the Roman world after the Tetrarchy, with the fight for power between Constantine and, later, Licinius. We analyzed the political matters concerning the Roman world during this period. The numismatic collection stored at the Museu Histórico Nacional (National Historical Museum – MHN) in Rio de Janeiro, Brazil, served as an iconographic source to show how images were used at that time as propaganda, supporting and legitimizing the imperial rule.

30

Loxham, Angela. "Shaped by familiarity: Memory, Space and Materiality at Imperial War Museum North." Museum and Society 13, no. 4 (November 1, 2015): 522–38. http://dx.doi.org/10.29311/mas.v13i4.351.

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This paper considers Imperial War Museum North’s attempts to disturb popularmemories about British experiences of war through the mobilisation of space andmateriality. However, it is argued that this does not succeed because of the spatial mediation and object placement employed throughout which allow the museum to reinforce bodily, spatial and historical experiences of the outside world. The second part of the paper analyses the neglected place of the museum shop inthis, which contributes to making the IWM visit one of familiarity because of thequotidian consumption practices that are encouraged there.

31

Duo LIMEI. "Russian Artifacts in the Gugong Museum (Former Imperial Palace)." Far Eastern Affairs 48, no. 002 (June 30, 2020): 104–17. http://dx.doi.org/10.21557/fea.61483420.

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32

Neumeier, Emily. "Mediating legacies of empire in the post-imperial museum." History and Anthropology 30, no. 4 (May 23, 2019): 406–20. http://dx.doi.org/10.1080/02757206.2019.1611573.

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33

Smither, Roger. "‘Is Britannia a personality?’: some questions arising while indexing the Imperial War Museum’s collections." Indexer: The International Journal of Indexing: Volume 17, Issue 1 17, no. 1 (April 1, 1990): 7–11. http://dx.doi.org/10.3828/indexer.1990.17.1.4.

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Illustrates—even if it does not resolve—some of the problems in providing subject access to the extensive, international, multi-media collections of the Imperial War Museum. Chief among these is the variety of ways in which items in Museum collections can be relevant to a particular line of enquiry.

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Gonçalves, Simone Neiva Loures, and Gisele Barbosa Ribeiro. "Museums in the colonial horizon of modernity Fred Wilson's mining the museum (1992)." Museologia & Interdisciplinaridade 7, no. 13 (May 28, 2018): 309–24. http://dx.doi.org/10.26512/museologia.v7i13.17751.

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Argumentarei aqui que os museus do mundo moderno/colonial (isto é, o modo de vida, os princípios econômicos, as estruturas políticas e os modelos de subjetividades originados no século XVI com o surgimento dos circuitos comerciais atlânticos) tiveram e ainda têm um papel particular a desempenhar na colonização do conhecimento e dos seres. As perguntas são então: (1) como descolonizar o museu e (2) como avaliar qual opção descolonial os museus podem fazer ao reorientar obras (por exemplo, de modo resumido, reproduzindo a retórica da modernidade e a lógica da colonialidade, ou entrando em um espírito de desobediência epistêmica e estética desfazendo o que os museus fizeram na história moderna/imperial: aprender a desaprender e a fazer os museus atuarem na descolonização do ser e do conhecimento).

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Koval, L. M. "The First World War and the Imperial Moscow and Rumyantsev Museum." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (June 28, 2014): 108–11. http://dx.doi.org/10.25281/0869-608x-2014-0-3-108-111.

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The article discusses the place of the Rumyantsev Museum in the context of history of our Motherland during the difficult and complicated period of the First World War. The article is devoted to the centenary of the First World War. For the first time there are highlighted the multiple aspects of Patriotic activities of the Rumyantsev Museum, of its workers: both, in terms of service of culture "for the benefit of Motherland and good education", and on rendering aid to the wounded soldiers.

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KOBAYASHI, Sayaka, and Masaru KATO. "History of the Tokyo Imperial Household Museum bird collection: specimens originating from the Australian Museum." Japanese Journal of Ornithology 69, no. 2 (October 26, 2020): 209–21. http://dx.doi.org/10.3838/jjo.69.209.

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Hilton, Alison, Jordana Pomeroy, Rosalind P. Blakesley, Vladimir Yu Matveyev, and Elizaveta P. Renne. "An Imperial Collection: Women Artists from the State Hermitage Museum." Woman's Art Journal 25, no. 2 (2004): 33. http://dx.doi.org/10.2307/3566516.

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Whittaker, Christine. "History on television: A Conference at the imperial war museum." Historical Journal of Film, Radio and Television 25, no. 1 (March 2005): 139–40. http://dx.doi.org/10.1080/01439680500065519.

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Wallach, Ruth, Jordana Pomeroy, and Rosalind P. Blakesley. "An Imperial Collection: Women Artists from the State Hermitage Museum." Slavic and East European Journal 47, no. 3 (2003): 523. http://dx.doi.org/10.2307/3220010.

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Konagaya, Daisuke. "How an Imperial Military Laboratory Became a Museum for Peace." Technology and Culture 62, no. 2 (2021): 551–60. http://dx.doi.org/10.1353/tech.2021.0053.

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Gushchina, Elena Gennadievna. "Library and Museum of the Cabinet of Geography of the Imperial Kazan University." Russian Digital Libraries Journal 23, no. 5 (August 23, 2020): 905–13. http://dx.doi.org/10.26907/1562-5419-2020-23-5-905-913.

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The article discusses the process of creating and developing a library and museum as part of the educational and scientific material base of the Cabinet of Geography at the Department of Geography and Ethnography of Imperial Kazan University. From the annual reports on the activities of the Department it can be seen that the acquisition of the Library with new editions, and the Ethnographic Museum with collections, was systematic. These processes were interconnected and aimed at creating a high-quality integrated material base for the development of the educational and scientific process. The article emphasizes that the leading role in the processes of forming the library and museum belonged to the head of the Department of Geography and Ethnography, Petr Ivanovich Krotov and Bruno Friedrichovich Adler. Peter Krotov created the Cabinet of Geography. Bruno Adler improved and developed not only the Cabinet of Geography itself, but also ethnographic science in the Volga Region and Russia as a whole. For example, having academic ties with Russian and foreign scientists, Bruno Adler received many publications and subjects for the Cabinet of Geography as a gift. This allowed for the year to increase several times, both the library and the museum under the Cabinet of Geography. The scientifically organized cabinet, which has comprehensive collections and professional literature, has become a quality source base for the development of ethnographic science at Kazan University.

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Phillips, Ruth. "Making Fun of the Museum: Multidisciplinarity, Holism, and 'The Return of Curiosity'." Museum and Society 17, no. 3 (November 29, 2019): 316–41. http://dx.doi.org/10.29311/mas.v17i3.3216.

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Museums are curious institutions in two senses, one arising from the eccentricities and peculiarities of their histories, and the other from their ongoing desire to display, provoke, and satisfy their visitors' curiosity about the world in which they live. As the critical literature has shown, we can think about Western museums as material deposits of the different forms curiosity has taken in the course of four centuries of European imperial expansion and colonial domination - as sites where the properties of things could be disciplined according to Western knowledge structures and deployed to create a comprehensive picture of the world. Although this consciousness has shaken the foundations of museums and dislodged the collections they hold, their value as places where colonial legacies can be negotiatied and shared concerns addressed remains compelling. Responding to Nicholas Thomas's The Return of Curiosity, to Actor-Network-Theory's insistence on connecting disciplinary knowledges, and to Indigenous reaffirmations of holistic knowledge formation, this article explores a range of recent museum projects that invoke curiosity to transgress the museum's modern disciplinary boundaries.

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Richards, Anthony. "Archive Report: The Department of Documents at the Imperial War Museum." Contemporary British History 18, no. 2 (June 2004): 103–12. http://dx.doi.org/10.1080/1361946042000227751.

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Mead, Matt. "Plane Spotting, Military Portraiture, and Multiculturalism in the Imperial War Museum." Photography and Culture 5, no. 3 (November 2012): 281–93. http://dx.doi.org/10.2752/175145212x13415789392929.

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Mackinlay, John. "Images of War at Tate Modern and the Imperial War Museum." RUSI Journal 159, no. 4 (July 4, 2014): 112–15. http://dx.doi.org/10.1080/03071847.2014.946703.

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Gábor, Olivér, and Andrea Vaday. "Roman imperial age belt mounting with scene from Nemeske." Acta Archaeologica Academiae Scientiarum Hungaricae 72, no. 1 (August 3, 2021): 77–118. http://dx.doi.org/10.1556/072.2021.00006.

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AbstractNemeske still belongs to the sparsely researched area of Baranya County. Here during plowing human bones came to light. Archaeologists of the Janus Pannonius Museum conducted a rescue excavation and an instrumental survey, too. During the excavation three Árpádian period tombs were found. In surway trenches traces of several demolished Roman walls were observed. The most interesting find is a bronze plate depicting an armed rider, a lion and an altar.

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Lawson, Tom. "Ideology in a Museum of Memory: A Review of the Holocaust Exhibition at the Imperial War Museum." Totalitarian Movements and Political Religions 4, no. 2 (October 2003): 173–83. http://dx.doi.org/10.1080/14690760412331326168.

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Coenen, Marc. "The So-Called Denon Papyri." Journal of Egyptian Archaeology 81, no. 1 (December 1995): 237–41. http://dx.doi.org/10.1177/030751339508100128.

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A short outline of the history of the so-called Denon papyri and the circumstances leading to their presence in the Meermanno-Westreenianum Museum in The Hague and in the National Library of Russia in St. Petersburg (the former Imperial/State Public Library).

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Golev, Ivan A., and Nadezhda M. Dmitrienko. "TO THE ORIGINS OF MUSEUM SCIENCE IN ALTAI CITY OF BIYSK (LATE 19TH TO EARLY 20TH CENTURY)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 252–60. http://dx.doi.org/10.17223/22220836/39/23.

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This article is devoted to the unexplored issue of the birth of museum science in the small pro-vincial town of Biysk in southern Siberia. Reliance on historical sources, many of which are intro-duced into scientific circulation for the first time, allows the authors to carry out a historical recon-struction of the sociocultural development of Biysk in the second half of 19th – early 20th century. The article reports on the increasing role of the city bourgeoisie and intellectuals in the life of Biysk, shows the charity of merchants Kotelnikov, Vasenev, Assanov, Sychev, Morozov. The authors emphasize donations of Biysk townspeople to the museums of Imperial Tomsk University. They reveal the role of G.N. Potanin who involved some residents of Biysk in studying of the southern part of Altai and Mon-golia, in collecting and descripting of natural and historical memorials. All these events are considered as the most important prerequisites for the origin of the museum science in Biysk. Then the article shows that the first idea of establishing Biysk museum was expressed in 1886. However, it was not possible to implement it. New attempts to open the museum were made in 1911. There were the funds of the merchant Kopylov, who wanted to use them for the sake of culture and education. They also failed. Only the events of the Revolution of 1917 allowed starting works on the creation of the museum. Now it is known about People's University opened in Biysk in 1918 and the museum, which was created under it. The purpose of the museum was educating of townspeople. The first head of Biysk museum was A.A. Khrebtov, a graduate of Riga Polytechnic Institute. He managed to attract knowledgeable people, who conducted expeditions and delivered collections of minerals, archaeology and ethnography to the museum. From the first days of opening rural teachers, employees of the county land (zemstvo) and others visited the museum. The museum became a center of educa-tional work in Biysk and its county. The Society of Nature Lovers was based on People's University and its museum. Members of this society turned to the study of the nature and history of Biysk district. The representative of the department of out-of-school education V.V. Belyanin planned to create a network of museums of the Biysk district. The authors point out that in the future he became a well-known Soviet writer V.V. Bianchi. The article shows that the museum funds, created in 1918–1919, were used as the basis of Biysk Soviet People's Museum. It was opened in April 1920 by section on organization of museums in Biysk district, established in the department of public education of Biysk district revolutionary committee. The authors of the article express their opinion that the preparatory period, which lasted 44 years, had finished with great success. Scientific and cultural center was created in the southern part of Altai, and it still works today as the Biysk Regional Museum named after V.V. Bianchi.

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Spawforth, A. J. S. "A Severan Statue-Group and an Olympic Festival at Sparta." Annual of the British School at Athens 81 (November 1986): 313–32. http://dx.doi.org/10.1017/s0068245400020190.

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Two inscribed slabs in the Sparta Museum and the imperial statue base from which they came are restudied. It is demonstrated that it once supported statues of Septimius Severus, Caracalla, Geta, Julia Domna, and Plautilla. A second part assembles evidence for a hitherto neglected Spartan festival, the Olympea Comodeia.