Academic literature on the topic 'Musées – Aspect social'

Musée de la civilisation (Québec), ed. Des musées pour aujourd'hui. Musée de la civilisation, 1997.

Making museums matter. Smithsonian Institution Press, 2002.

Techniques et cultures au musée: Enjeux, ingériérie et communication des musées de société. Presses universitaires de Lyon, 1997.

Desmoulins, Christine. 25 musées. AMC, 2005.

La fin des musées? Éditions du Regard, 2013.

University of British Columbia. Museum of Anthropology., ed. Preserving what is valued: Museums, conservation, and First Nations. UBC Press, 2002.

Le musée, une institution dépassée? Colin, 2010.

Urtizberea, Iñaki Arrieta. Reinventando los museos. Universidad del País Vasco, Servicio Editorial, 2013.

Nous n'irons plus au musée. Aubier, 2000.

Exhibiting blackness: African Americans and the American art museum. University of Massachusetts Press, 2011.

Cole, Jonathan. "The embodied and social self: insights on body image and body schema from neurological conditions." In Body Schema and Body Image. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198851721.003.0014.

"interpreted in different ways by individual scholars. Why, for example, is the preponderance of male depictions seen at Grot ta di Porto Badisco interpeted as meaning male domination of Neolithic society in Italy (Whitehouse, 1992b) whereas Hodder (1990: 68) declines to interpret the common occurrence of female figurines in the Neolithic of S.E. Europe as an indication of an equivalent female domination of society, but instead suggests "To put it over-simply, women may or may not have had any real power in the Neolithic of S.E. Europe, but certain aspects of being a woman were conceptually central."? One can cite a similar example from Skeates (1994: 207-8), where he accepts Whitehouse's identification of the human figures as males or females, but disagrees with her interpretation of male dominance and hostility between the sexes in Italian Neolithic society. Each of these two scholars also has their own interpretation of the important group 16 painted scene from the Grotta do Porto Badisco — needless to say, I also have mine. By turning to burial evidence, can one avoid the above dilemmas? Physical anthropological methods can be used to identify male and female human remains, and, knowing the sex of burials could then lead to a better understanding of the gender affiliations of accompanying grave goods. These artefacts can then be investigated in other contexts such as settlement sites. However, there is a surprising amount of uncertainty involved in sexing human remains. In this paper I wish to discuss the uncertainties in the physical anthropological methods of sexing human remains and their implications for gender studies by focussing on a recent analysis of an Iron Age necropolis at Pontecagnario, Campania, carried out by Vida Navarro (1992). PHYSICAL ANTHROPOLOGICAL METHODS OF SEXING HUMAN REMAINS Since gender is culturally constructed, it is possible for individuals or groups to have a gender that is different from their biological sex, or is intermediate or anomalous in some way. For example, in Ancient Rome, a Vestal Virgin had an ambiguous status in Roman society as shown by the fact that she could give evidence in a law court like a man. Usually Roman women had to be represented by a male relation or their spouse and could not speak in court on their own behalf or give evidence (Beard 1980: 17). Nevertheless, a Vestal Virgin was still a woman, and was allowed to marry, if she so wished, after her term of office finished (Beard 1980:, 14, note 21). Although ambiguous groups of this kind have been recognised in many societies, it is nonetheless the case that one would expect a high level of correlation between biological sex and social gender. The accurate identification of the biological sex of human remains would therefore be a great step forward in understanding gender construction and gender roles in prehistory. Unfortunately, physical anthropological methods are reliable only to a certain extent, and it is important for all archaeologists to be aware of the limitations of these methods. Like other primates, humans show sexual dimorphism i.e., the males have a larger body and show other skeletal differences from females, especially in the shape of the pelvis. When an intact pelvis is present in a burial, the identification of those remains as male or female can be made with 95% confidence (Krogman & Iscan 1986: 259). This, of course, applies to recent skeletal material, as the morphological and morphometric methods for sex identification used by anthropologists are based on reference collections from modern human populations. As Gotherstrom et ¿z/. (1997) point out, the application of these standards to prehistoric remains may be inappropriate. Prehistoric females may have been more skeletally robust, so that in the absence of a diagnostic pelvis, they could appear to be males, according to standards derived from modern populations. The pelvis anchors muscles, and "Considering the plasticity of the skeleton in response to external forces and stimuli, there are reasons to proceed with caution in interpreting all morphological differences in the pelvic region as a result of differential reproductive function." (Gotherstrom et al. 1997)." In Gender & Italian Archaeology. Routledge, 2016. http://dx.doi.org/10.4324/9781315428178-13.

Dahl Termens, Silvia. "Un Laboratorio de expertos en fotografía naval del Museu Marítim de Barcelona." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6743.

Santos, Alessandra, and Dunya Azevedo. "A fotografia como documento e memória para a Ciência da Informação." In Simpósio Internacional Trabalho, Relações de Trabalho, Educação e Identidade. Appos, 2020. http://dx.doi.org/10.47930/1980-685x.2020.1902.

Alcino, Valeria Fabiana. "Voces de la ausencia/poética de la memoria en la obra Evidencias (2010) de Norberto Puzzolo, Museo de la Memoria, Rosario, Argentina. Sonido, silencio e imagen durante la dictadura argentina (1976-1983)." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9164.