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Journal articles on the topic 'Museology'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 March 2025

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1

Krstović, Nikola. "Colonizing Knowledge: New Museology as Museology of News." Prace Etnograficzne 48, no. 2 (2020): 125–39. http://dx.doi.org/10.4467/22999558.pe.20.011.12636.

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The paper examines the impact and influence of the Peter Vergo’s book The New Museology and the ways it colonized the knowledge already existing outside United Kingdom. It discusses the concepts that existed before the 1989 book following the development of La Nouvelle Museologie and ecomuseums, ideas spread at conferences, symposiums and round tables, diverse declarations and resolutions. Also, beyond the New there is the narrative of museology itself and its past in the centers outside the “traditional” centers of colonial powers. The paper follows the early development of ideas in East Europe and Poland and the practical solutions recently developed in the country in a relation to British publication.

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2

Almeida, Alisson André Jesus de, and Ana Carolina Gelmini de Faria. "A CONDIÇÃO CIENTÍFICA DA MUSEOLOGIA NAS PÁGINAS DA MUSEOLOGICAL WORKING PAPERS: o Comitê Internacional para Museologia e a busca por uma legitimidade epistemológica = THE SCIENTIFIC CONDITION OF MUSEOLOGY ON THE MUSEOLOGICAL WORKING PAPERS PAGES: the International Committee for Museology and the search for an epistemic legitimacy." Revista Bibliomar 20, no. 1 (June 25, 2021): 80. http://dx.doi.org/10.18764/2526-6160v20n1.2021.4.

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O debate sobre a condição científica da Museologia tem ganhado força desde os anos 1980, principalmente através das publicações do Comitê Internacional para a Museologia (ICOFOM), que integrou o Conselho Internacional de Museus (ICOM) a partir de 1977. Para compreender a intensificação do debate sobre o status científico da Museologia durante os anos 1980, este artigo aborda como se construiu o conceito moderno de ciência entre os séculos XVI e XVII, durante o processo histórico chamado de Revolução Científica, e como o modelo das ciências naturais se tornou paradigmático para toda forma de conhecimento que se pretendesse científica. Procura situar o surgimento das ciências humanas em sua fase moderna, já no século XIX, e como a sociologia positivista pretendia estender às ciências sociais o mesmo grau de cientificidade das ciências naturais. Chegando ao século XX, investiga por meio de revisão de literatura a emergência da Museologia como uma ciência. Tendo por estudo de caso a revista intitulada em inglês Museological Working Papers (MuWoP) e em francês Documents de Travail en Muséologie (DoTraM), publicado pelo ICOFOM em 1980, é realizada uma primeira análise documental, que destaca as opiniões de alguns profissionais de museu sobre a possível condição científica da Museologia, observáveis no primeiro número do periódico. Conclui que o MuWoP/DoTraM é um documento de referência do campo museológico tanto em perspectiva histórica, ao evidenciar uma caminhada em defesa da legitimidade epistemológica da Museologia, como teórica, ao se tornar um registro dos debates de formulação dessa ciência.ABSTRACTThe debate on the scientific condition of Museology has been gaining strength since the 1980s, mainly through the publications of the International Committee for Museology (ICOFOM), who joined the International Council of Museums (ICOM) from 1977. To understand the intensification of the debate about the scientific status of Museology during the 1980s, this article discusses how the modern concept of science was constructed between the 16th and 17th centuries, during the historical process called the Scientific Revolution, and how the model of natural sciences became paradigmatic for any form of knowledge that was intended to be scientific. It seeks to situate the emergence of the human sciences in their modern phase, already in the 19th century, and how positivist sociology intended to extend to the social sciences the same degree of scientificity as the natural sciences. Reaching the 20th century, it investigates through a literature review the emergence of Museology as a science. Having as a case study the journal entitled Museological Working Papers (MuWoP) in English and Documents de Travail en Muséologie (DoTraM) in French, published by ICOFOM in 1980, a first documentary analysis is carried out, which highlights the opinions of some museum professionals about the possible scientific condition of museology, which can be observed in the first issue of the journal. It concludes that the MuWoP/DoTraM is a reference document in the museological field in both a historical perspective, as it shows a walk in defense of the epistemological legitimacy of museology, as well as a theoretical one, as it becomes a record of debates on the formulation of this science.

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3

Puspitasari, Arum, and Maryam Maryam. "Pengembangan Bahan Ajar Museologi Berbasis Museum pada pada Program Studi Sejarah Peradaban Islam UIN Fatmawati Sukarno Bengkulu." Indonesian Journal of Social Science Education (IJSSE) 5, no. 1 (January 30, 2023): 1. http://dx.doi.org/10.29300/ijsse.v5i1.8451.

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Bahan ajar merupakan salah satu komponen penting dalam pembelajaran, termasuk di perguruan tinggi. Terkhsus untuk perkuliahan Museologi, idealnya bahan ajar yang digunakan tidak semata-mata berupa teori, melainkan perpaduan antara teori dan praktek. Untuk itu, bahan ajar bermasis museum sangat dibutuhkan dalam menunjang perkuliahan. Peneltiian ini bertujuan untuk: 1) menganalisis kebutuhan pengembangan bahan ajar museology berbasis museum pada program studi Sejarah Peradaban Islam UIN Fatmawati Sukarno Bengkulu; 2) mengembangkan bahan ajar museology berbasis museum; dan 3) menguji validitas bahan ajar museology berbasis museum. Penelitian dilakukan dengan metode kombinasi (kualitatif dan kuantitatif) dengan desain penelitian dan pengembangan model Borg and Gall yang terdiri dari sepuluh tahapan utama: 1) Research and Information Collecting; 2) Planning; 3) Develop Preliminary Form a Product; 4) Preliminary Field Testing; 5) Main Product Revition; 6) Main Field Testing; 7) Operational Product Revetion; 8) Operational Field Testing; 9) Final Product Revition; dan 10) Dissemination and Implementation. Hasil penelitian menunjukkan bahwa: 1) pengembangan bahan ajar museology berbasis museum sangat diperlukan oleh mahasiswa dan dosen pada program studi Sejarah Peradaban Islam karena minimnya ketersedian bahan ajar museology serta guna mengatasi kesulitan mahasiswa dalam memahami materi pembelajaran; 2) bahan museology berbasis museum hasil pengembangan terdiri dari tiga bagian utama, yakni pendahuluan, isi dan penutup. Terkhsus untuk isi bahan ajar terdiri dari tujuh bab, yakni: 1) museum; 2) Bangunan,Fasilitas, Visi dan Misi Museum; 3) Struktur Organisasi; 4) Koleksi; 5) Label Imformasi dan Edukasi; 6) Marketing, Kerjasama dan Pembiayaan Museum; dan 7) Pameran; 3) hasil validasi ahli menunjukkan bahwa bahan ajar museelogi berbasis museum layak untuk digunakan dengan catatan beberapa perbaikan.

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4

Bergeron, Yves, and Michèle Rivet. "Introduction. Decolonising museology or “re-formulating museology”." ICOFOM Study Series, no. 49-2 (December 31, 2021): 15–28. http://dx.doi.org/10.4000/iss.3500.

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5

Weiser, M. Elizabeth. "Rhetorical Museology." ICOFOM Study Series, no. 48-1 (August 1, 2020): 207–21. http://dx.doi.org/10.4000/iss.2254.

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6

Shelton, Anthony. "Critical Museology." Museum Worlds 1, no. 1 (July 1, 2013): 7–23. http://dx.doi.org/10.3167/armw.2013.010102.

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Synthesizing work carried out by the author over the past twenty-five years, this article proposes a tentative disciplinary definition of critical museology, distinguishing its related methodological interdictions and describing its distinctiveness from what is here defined as operational museology. The article acknowledges the diverse intellectual sources that have informed the subject and calls for a reorientation and separation of critical museology from the operational museologies that form part of its area of study. Critical museology, it is argued, is not only an essential intellectual tool for better understanding museums, related exhibitionary institutions, fields of patrimony and counter patrimonies, and the global and local flows and conditions in which they are embedded, but is also crucial for developing new exhibitionary genres, telling untold stories, rearticulating knowledge systems for public dissemination, reimagining organizational and management structures, and repurposing museums and galleries in line with multicultural and intercultural states and communities.

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7

Saunders, Barbara. "Kwakwaka'Wakw Museology." Cultural Dynamics 7, no. 1 (March 1995): 37–68. http://dx.doi.org/10.1177/092137409500700103.

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8

Ames, Michael M. "Museology Interrupted." Museum International 57, no. 3 (September 2005): 44–51. http://dx.doi.org/10.1111/j.1468-0033.2005.00528.x.

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9

AMES, M. "Counterfeit museology☆." Museum Management and Curatorship 21, no. 3 (September 2006): 171–86. http://dx.doi.org/10.1016/j.musmancur.2006.06.003.

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Ames, Michael M. "Counterfeit museology." Museum Management and Curatorship 21, no. 3 (January 2006): 171–86. http://dx.doi.org/10.1080/09647770600102103.

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11

Gough, Maria. "Futurist Museology." Modernism/modernity 10, no. 2 (2003): 327–48. http://dx.doi.org/10.1353/mod.2003.0038.

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12

Gledhill, Jim. "Bunker Museology." Journal of Contemporary Archaeology 10, no. 2 (April 15, 2024): 171–91. http://dx.doi.org/10.1558/jca.23925.

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After the Cold War ended in 1991, many former nuclear bunkers were discarded by the British state and left as field monuments. This article examines the two-stage evolution of bunker museology in Scotland, wherein these archaeological remains have been converted into museums, initially by private collector-enthusiasts and latterly by community groups. My case study of the Gairloch Museum in the Wester Ross documents the reincarnation of a Cold War monument as a community museum, illustrating the positive potential of transforming unofficial into official heritage with the participation of local people. The Gairloch Museum is considered alongside two other local bunker restoration projects in Edinburgh and Dundee, advocating the need for public bodies to give greater priority to the preservation of Cold War heritage in Scotland and the United Kingdom as a whole.

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13

Tuminskaya, Olga. "Museology and Museography." Novaia i noveishaia istoriia, no. 3 (2021): 240. http://dx.doi.org/10.31857/s013038640014701-9.

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14

ANDERSON, DUANE. "Teaching Introductory Museology." Curator: The Museum Journal 31, no. 2 (June 1988): 108–22. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00681.x.

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15

Egbe, Amanda. "Avant Garde Museology." Leonardo 50, no. 2 (April 2017): 217–18. http://dx.doi.org/10.1162/leon_r_01393.

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16

Sterling, Colin, and Jamie Larkin. "Towards reparative museology." Museums & Social Issues 15, no. 1-2 (July 3, 2021): 1–3. http://dx.doi.org/10.1080/15596893.2021.2151728.

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17

Cárdenas Carrión, Blanca María. "Las ciencias como procesos: Gaston Bachelard, la comunicación pública de las ciencias y la museología total." Intervención 2, no. 22 (December 21, 2020): 81–130. http://dx.doi.org/10.30763/intervencion.235.v2n22.14.2020.

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Parte de la extensa obra de Gaston Bachelard se ha aplicado en numerosos ámbitos de la investigación filosófica y humanística; sin embargo, es breve su aparición en el campo de la comunicación pública de las ciencias y la museología. El principal objetivo de este ensayo es presentar la convergencia de algunas de las ideas manifestadas por Bachelard respecto de las ciencias: su estudio histórico, su enseñanza y comunicación, con propuestas recientemente enunciadas para los museos y centros de ciencia. Las palabras de Bachelard tienen, en particular, muchas coincidencias con la museología total de Jorge Wagensberg, desarrollada en las últimas décadas del siglo XX, y, como se intenta demostrar, pueden conformar un terreno fértil para la reflexión museológica actual. ____ Part of Gaston Bachelard’s extensive work has been applied in many areas of philosophical and humanistic research; however, his contribution to the field of public communication of science and museology is brief. The main objective of this essay is to present the convergence of some of the ideas expressed by Bachelard with respect to the sciences: their historical study, their teachings and learnings, with recently enunciated proposals for museums and science centers. Bachelard’s words have, in particular, many parallels with Jorge Wagensberg’s total museology, developed in the last decades of the 20th century, and, as it is intended to demonstrate, can form a useful foundation for current museological thinking.

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18

Francis, David, Wang Siyu, and Ruan Kexin. "A History of British Museology or Towards a Museology of Britishness." Museum 8, no. 4 (July 1, 2024): 7–22. https://doi.org/10.3724/2096-1715.2024.008.004.007.

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19

Weiser, Elizabeth. "Crafting a Poetic Museology." ICOFOM Study Series, no. 46 (October 15, 2018): 215–29. http://dx.doi.org/10.4000/iss.1149.

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20

Mairesse, François. "New trends in museology." ICOFOM Study Series, no. 43b (December 1, 2015): 15–17. http://dx.doi.org/10.4000/iss.375.

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Mairesse, François. "New trends in museology." ICOFOM Study Series, no. 43a (June 1, 2015): 13–15. http://dx.doi.org/10.4000/iss.542.

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22

Ross, Max. "Interpreting the new museology." Museum and Society 2, no. 2 (March 20, 2015): 84–103. http://dx.doi.org/10.29311/mas.v2i2.43.

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The museum world has undergone radical change since the 1970s. Political and economic pressures have forced its professionals to shift their attention from their collections towards visitors. Whereas in the past the museum tended to be exclusive and elitist, signs of a progressive opening-up and greater accessibility have appeared. A climate of increasing reflexivity within the profession is identified as a ‘new museology’. The paper draws on data derived from semi-structured interviews with curators and directors from five local museums. I argue that the movement towards a more visitor-centred ethos can be seen as entailing a corresponding shift in the identity of the museum professional, from ‘legislator’ to ‘interpreter’ of cultural meaning. The argument, adapted from Zygmunt Bauman, is that intellectuals are being redefined in a shift from legislator to interpreter. Finally, I argue that this process of transition, as it occurs in museums, is by no means complete. Drawing on Basil Bernstein’s seminal work in educational sociology I propose that museums are also resistant to these forces of change.

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23

Onegin, Nikolai Sergeevich. "«Museum reconstruction» in museology." Vestnik of Saint Petersburg State University of Culture 2 (June 2018): 130–36. http://dx.doi.org/10.30725/2619-0303-2018-2-130-136.

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Mairesse, François. "Museology and the Sacred." Material Religion 15, no. 5 (October 20, 2019): 651–53. http://dx.doi.org/10.1080/17432200.2019.1666588.

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Mayrand, Pierre. "The new museology proclaimed." Museum International 37, no. 4 (December 1985): 200–201. http://dx.doi.org/10.1111/j.1468-0033.1985.tb00588.x.

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26

Howes, David. "Introduction to Sensory Museology." Senses and Society 9, no. 3 (November 2014): 259–67. http://dx.doi.org/10.2752/174589314x14023847039917.

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Mayrand, P. "The New Museology Proclaimed." Museum International 66, no. 1-4 (January 2014): 115–18. http://dx.doi.org/10.1111/muse.12048.

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Lacal Cunha Ladeia, Mayara, and Thainá Castro. "Does LGBT Museology exist?" Museologia & Interdisciplinaridade 11, no. 21 (May 17, 2022): 231–48. http://dx.doi.org/10.26512/museologia.v11i21.41439.

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O presente artigo é dedicado a investigar a Museologia LGBT enquanto categoria conceitual (BAPTISTA, BONITA, WICHERS, 2020). O artigo se organiza a partir de fundamentação teórica, destacando a existência de uma temporalidade específica do Movimento LGBT com o campo museológico, especialmente considerando as conquistas obtidas a partir do movimento da museologia social, identificando entre ambos sincronicidades e confluências, bem como pontos de contato que possibilitem compreender e sugerir uma historicidade lgbt na museologia brasileira, identificando os processos que levaram a construção de conceitos, práticas e características específicas.

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29

Erbay, Mutlu. "Museology and Exhibition Examples." Art and Interpretation, no. 44 (September 25, 2024): 89–97. http://dx.doi.org/10.47571/sanatyorum.1465923.

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New generation techniques are emerging in museum exhibitions. These technologies include advanced technologies such as 3D animation, VR/augmented reality, robots, artificial intelligence, and face reconstruction. Museums undertake large projects where different disciplines work together harmoniously. The use of face reconstruction and artificial intelligence in New Generation Museum Projects is quite common around the world. In the post-truth era, museums, in order to maintain their identities, use artificial intelligence to reformat their archaeological findings by identifying them. Museum collections use facial recognition using the face reconstruction technique. Collections have become new interactive presentations that speak to visitors simultaneously with facial expressions, sound, and movement effects, directing them, and calling themselves "bugs." Even individuals freely participate in the experience of these museum works. Technology will continue to bring us new developments beyond the reality of three-dimensional, five-sensory reality outside museum showcases. Are the museums still the home of source of inspiration? Are they still evaluated again and again like former, or else are they place which have old, broken-down ruins, hovels or shambles? In this article, we try to find an answer for these questions. In 2024, the year which advancement of technology is at a good point, museums exhibitions are places which new technological developments are used in museums. With this purpose, increase in the number of new projects in museums is seen. A lot of areas of profession of different disciplines is obliged to work together.

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KUSHNIR, Vitalii. "THEORETICAL PROBLEMS OF MUSEOLOGY IN MODERN UKRAINIAN MUSEOLOGY, BASIC APPROACHES AND INTERPRETATIONS." Ethnology Notebooks 152, no. 2 (April 22, 2020): 385–94. http://dx.doi.org/10.15407/nz2020.02.385.

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31

ENGİN, Hatice. "THE IMPORTANCE OF “COMMUNİTY CENTERS” AS A CULTURAL INSTITUTION IN THE DEVELOPMENT OF REPUBLIC PERIOD MUSEUM." IEDSR Association 6, no. 16 (November 15, 2021): 135–44. http://dx.doi.org/10.46872/pj.414.

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The development of museology in Turkey corresponds to the last period of the Ottoman Empire (westernization period). One of the main reasons why the idea of museology developed in a late period in Turkey was that the protection of cultural heritage did not gain importance. In this direction, the importance of protecting ancient artifacts in a building and being a museum has been understood late. However, thanks to the museum examples that Ahmet Fethi Pasha, one of the important statesmen of the period, saw during his European travels, the lack of a museum in Turkey was constantly mentioned. European museums, which influenced the Pasha, strengthened the idea of establishing a museum in Istanbul day by day. Thus, museology activities were started with the transformation of Hagia Eirene Church into a museum. Hagia Iri Church was the first example in Turkey in terms of forming the core of the idea of museology. Ottoman period museology, after the foreign directors, Osman Hamdi Bey was appointed as the museum director, and Turkish Museology was brought to life in a real sense. Osman Hamdi has spent a lot of effort to advance museology in accordance with the contemporary understanding of museology. Considering in this context, it has been a preparatory stage in the museum of the Republic Period. When we look at the museums of the Republic Period, museum activities were carried out with a rapid breakthrough under the leadership of Atatürk. Community Centers, were established in order to adopt the reforms made in this period to the public. In time, a “museum branch” was added to the Community Centers. With the museology branch, it was aimed to explain the importance of museology to the public and to be sensitive about it. In the community centers, ethnographic materials reflecting the culture of the people were collected in the first place. Thus, preliminary preparations were made for the museums to be established. The main purpose of the study is to emphasize the importance of the Community Centers established in the Republican Period in Turkish Museology. Thanks to the community centers and cultural institutions established under the leadership of Atatürk, the adoption of museology to the public and its contributions to museology will be expressed. In the study, the historical background of the community centers will be included and the connection of these institutions with museology will be tried to be expressed.

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Puspitasari, Arum, and Maryam Maryam. "Pengembangan Bahan Ajar Museologi Berbasis Museum pada pada Program Studi Sejarah Peradaban Islam UIN Fatmawati Sukarno Bengkulu." Indonesian Journal of Social Science Education (IJSSE) 5, no. 1 (January 30, 2023): 1. http://dx.doi.org/10.29300/ijsse.v5i1.4090.

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Learning material is one of the main elements in learning process, including at university. Especially for museology subject, in ideal, learning material not only based on theory but aslo combination betwwen theoty and practice. This purposes of this research are: 1) need analysis the depeloving learning material of museology based on museum; 2) developing museology learning material based on museum; and 3) validating museology learning material. The study was a mixed method (qualitative and quantitative) with research and development design in consists on ten steps: Information Collecting, Planning, Develop Preliminary Form a Product, Preliminary Field Testing, Main Product Revition, Main Field Testing, Operational Product Revetion, Operational Field Testing, Final Product Revition dan Dissemination and Implementation. Based on the research, the results obtained are: 1) the development of museology learning material based on museum is much needed by students and lectures at Islamic Civilization History Department because lact of availability museology learning material and to solve students difficulty in understanding learning content; 2) museology learning material developed concist of three main parst: 1) introduction; 2) contents; and 3) closing. Especially for contents, learning material concist on seven chapter: 1) museum; 2) construction, facilities, and vision and mission; 3) organization structures; 4) collections; 5) information label and education; 6) marketing, cooperation and mjseum fees; and 7) exhibition; 3) validation results show that museology learning material based on museum is proper to used with a number notes.

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Zaini, Mohd Syafiq, Mohd Sohaimi Esa, Saifulazry Mokhtar, and Irma Wani Othman. "BEHIND THE IDEA AND INFLUENCE OF MUSEOLOGY IN THE WORLD AND MALAYSIAN MUSEUM INSTITUTIONS." Journal of Tourism, Hospitality and Environment Management 7, no. 30 (December 15, 2022): 118–35. http://dx.doi.org/10.35631/jthem.730010.

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Museology is basically a field of study referring to museum institutions. From the historical aspect as well as their basic philosophy, their goals and policies and functions either from the point of view of education, politics or even social roles. Museology can be said to be a relatively new discipline whose prevalence is largely an intellectual product of the 20th century. However, it is certain that the concept of Museology has existed at least since the 17th century, where the development of the idea of museology appears to have developed along with the early development of the museum. During that period of time, museology has helped the development of museum institutions either in terms of concept or in terms of museum management. The change of museums from institutions that are only focused on the conservation and restoration of artefact collections, now they are community-oriented (community-oriented), becoming exhibition spaces and platforms for dialogue and communication in general with visitors. This study uses a qualitative method by analysing the data of studies on the development of museology in the field of museology. The focus of the study focuses on the definition, background and what is the significance and influence of museology in museum institutions in Malaysia. The results of the study show that the museum provides significant theoretical and practical museum aspects. Practical practice is a priority in the management of museum work to produce professionals in the field of museums while the existing theoretical will play a role as criticism needed to implement improvements and guidance to museum management because the museum's function as a treasure heritage institution can be implemented well. In addition, museology has also applied critical thinking to social and political issues. In the context of Malaysia, museology has called for the removal of all colonial influences in museum institutions through the implementation of decolonization after the country achieved independence. Then it changed the museum from colonialism, now it has been used as a tool for nation building in uniting a multi-ethnic and cultural society.

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34

Costa, Luiz Tadeu da. "OLHARES CRUZADOS: UMA INTERFACE ENTRE CINEMA E MUSEU." Arteriais - Revista do Programa de Pós-Gradução em Artes, no. 13 (January 30, 2023): 162. http://dx.doi.org/10.18542/arteriais.v0i13.13819.

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ResumoO texto visa elaborar uma reflexão entre o cinema e o museu no que tange às transformações ocorridas nos dois campos desde o séc. XX. Nessa análise vamos usar algumas teorias do cinema, assim como da museologia. Esse cruzamento teórico pode facilitar a percepção das diferenças e semelhanças entre os dois campos.AbstractThe text aims to elaborate a reflection between the cinema and the museum regarding the transformations that have taken place in both fields since the 20th century. In this analysis we will use some theories of cinema, as well as museology. This theoretical intersection can facilitate the perception of differences and similarities between the two fields.

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Costa, Luiz Tadeu da. "OLHARES CRUZADOS: UMA INTERFACE ENTRE CINEMA E MUSEU." Arteriais - Revista do Programa de Pós-Gradução em Artes, no. 13 (November 1, 2021): 162. http://dx.doi.org/10.18542/arteriais.v0i13.13843.

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ResumoO texto visa elaborar uma reflexão entre o cinema e o museu no que tange às transformações ocorridas nos dois campos desde o séc. XX. Nessa análise vamos usar algumas teorias do cinema, assim como da museologia. Esse cruzamento teórico pode facilitar a percepção das diferenças e semelhanças entre os dois campos.AbstractThe text aims to elaborate a reflection between the cinema and the museum regarding the transformations that have taken place in both fields since the 20th century. In this analysis we will use some theories of cinema, as well as museology. This theoretical intersection can facilitate the perception of differences and similarities between the two fields.

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36

Honorato, Cayo. "A museologia pós-crítica segundo os Tate Encounters." Mouseion, no. 33 (September 24, 2019): 93. http://dx.doi.org/10.18316/mouseion.v0i33.5440.

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Neste artigo, discutimos o conceito e o posicionamento da museologia pós-crítica, tal como elaborados pelo projeto de pesquisa e programa público Tate Encounters: Britishness and Visual Culture (2007-2010), em relação à museologia crítica. Para tanto, analisamos os argumentos registrados na principal publicação resultante do projeto, intitulada Post-critical Museology: Theory and Practice in the Art Museum (2013), assim como alguns títulos dos museum studies, assinados por Tony Bennett (1995), Carol Duncan (1995) e Eilean Hooper-Greenhill (1992). O resultado é um quadro comparativo mais nuançado, a partir do qual se pode notar remissões e intersecções, mais do que rupturas definitivas entre essas diferentes perspectivas. Por certo, adotamos essa estratégia na expectativa de melhor registrarmos a especificidade do pós-crítico. Nossa compreensão de que o pós-crítico propõe uma reformulação da crítica, mais do que seu abandono ou superação, levou-nos a destacá-lo como um empreendimento metodológico. Todavia, trata-se de um método que não pode se autoproclamar como tal.

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Parra, Michael Andrés Forero. "Museo Q: Museology in Motion." Museum International 72, no. 3-4 (November 27, 2020): 142–53. http://dx.doi.org/10.1080/13500775.2021.1873503.

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Gerasimov, Grigory Ivanovich. "Museology as a humanitarian science." Философия и культура, no. 4 (April 2022): 113–25. http://dx.doi.org/10.7256/2454-0757.2022.4.37794.

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The purpose of the article is to substantiate the main theoretical and methodological provisions of museology as a humanitarian science. Its basic concepts are formulated from idealistic positions, its methodology is defined. As an object, the ideas of a person who creates a museum reality to achieve influence on the consciousness of other people are considered. The idea of a particular museum, realized in objective reality, is defined as the subject. The subject of museology is also the process of realization of ideas вЂ“ the functioning of museum reality and the process of its perception by visitors. The purpose of the museum is to make certain changes in the consciousness and attitude of another person вЂ“ a visitor. The methodology of museology as a humanitarian science is based on the method of understanding, which provides comprehension of the ideas underlying the museum. Methods play a special role: communicative and construction. The goals of the museum determine its functions, the most important is the communicative one, it is she who realizes the main goal of the museum вЂ“ to convey ideas and feelings from the museum employee to the visitor. The ways to achieve the goal may change with changing attitudes in society, while the museums themselves and their functions change. The main factor determining the role and social significance of museums is a person's interest in them, which manifests itself when the ideas embedded in their foundation correspond to the main ideological ideas prevailing in society and help people solve their vital problems. A museum should be relevant only when it plays an important role in the life of society. The next stage in the development of museology as a humanitarian science is its approbation in the course of solving scientific and practical tasks facing a museum employee.

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Brulon Soares, Bruno. "Foreword. Museology in tribal contexts." ICOFOM Study Series, no. 49-1 (December 18, 2021): 9–10. http://dx.doi.org/10.4000/iss.2979.

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Carr, David. "The New Museology. Peter Vergo." Library Quarterly 61, no. 3 (July 1991): 340–41. http://dx.doi.org/10.1086/602372.

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Schultz, Lainie. "COLLABORATIVE MUSEOLOGY AND THE VISITOR." Museum Anthropology 34, no. 1 (March 2011): 1–12. http://dx.doi.org/10.1111/j.1548-1379.2010.01103.x.

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Charman, Karen. "Education for a new ‘museology’." International Journal of Inclusive Education 17, no. 10 (October 2013): 1067–77. http://dx.doi.org/10.1080/13603116.2012.730066.

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KROUSE, SUSAN APPLEGATE. "Anthropology and the New Museology." Reviews in Anthropology 35, no. 2 (July 2006): 169–82. http://dx.doi.org/10.1080/00938150600698336.

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Washburn, Dorothy K. "The New Museology:The New Museology." Museum Anthropology 16, no. 2 (June 1992): 58–61. http://dx.doi.org/10.1525/mua.1992.16.2.58.

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Preziosi, Donald. "Art, Art History, and Museology." Museum Anthropology 20, no. 2 (September 1996): 5–6. http://dx.doi.org/10.1525/mua.1996.20.2.5.

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Weiser, M. Elizabeth. "Introduction. Spaces for global museology." ICOFOM Study Series, no. 50-2 (May 30, 2023): 11–13. http://dx.doi.org/10.4000/iss.4369.

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Biedermann, Bernadette, and Lenka Mrázová. "Open round table of museology: international live discussion of students and experts on museology." Museologica Brunensia, no. 1 (2017): 55–61. http://dx.doi.org/10.5817/mub2017-1-7.

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Vujić, Žarka. "Development of Museological Thought in Croatia and Vladimir Tkalčić’s Place in It." Etnološka istraživanja, no. 27 (December 31, 2022): 217–34. http://dx.doi.org/10.32458/ei.27.12.

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The paper first provides an overview of the historical level of museology and the history of museology as its special aspect because researching the work of a personality from the history of museums in Croatia belongs exactly to this level and aspect of museology. Next, successive stages of the development of museological thought are given, and persons who made contributions in Croatia are identified. In conclusion, it is determined that although Tkalčić cannot be called the initiator of the Croatian museology, as provided in the entry in the Croatian Encyclopaedia, he was an expert on basic theoretical museological concepts, even more so in the field of practical museology, who not only kept track of foreign thought but also laid in practice many foundations related to the furnishing of museum buildings, the principles of good exhibition, and the use of various means of communication, all with an aim to allow also the least educated audience to find museums to be places of education and learning.

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Figueiró, Belisa. "Museus e ciência: revisão dos estudos históricos e das instituições na Espanha." Transições 1, no. 2 (December 14, 2020): 195–214. http://dx.doi.org/10.56344/2675-4398.v1n2a202010.

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Este artigo propõe uma análise dos estudos históricos de pesquisadores espanhóis sobre a criação dos museus científicos na Espanha. Como método, aplica a revisão bibliográfica dos trabalhos publicados pela revista Arbor, os quais examinam o papel da ciência e da tecnologia não apenas no propósito de instauração das próprias instituições, mas também na restauração de obras e peças museológicas, com especial atenção ao Museu de Ciência e Tecnologia de Madri e ao Instituto San Isidro. Da mesma forma, este texto aborda a interação entre o público e os museus espanhóis, reconhecendo a perspectiva da museologia crítica como uma possibilidade de aproximação entre as escolas, os visitantes e os museus. Abstract: This article analyzes the historical studies of Spanish researchers on the creation of science museums in Spain. As a method, it applies the bibliographic review of the works published by Arbor scientific journal, which examine the role of science and technology not only in the purpose of establishing this kind of institutions, but also in the restoration of works and museum pieces, with special attention on the National Museum of Science and Technology (Madrid) and San Isidro Institute. Likewise, this text talks about the interaction between the museums and its audience, recognizing the critical museology perspective as a possibility of bringing schools, visitors and museums together. Keywords: Science museums. Critical museology. Spain. Restoration. History.

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Domínguez, Pablo Álvarez. "MAPPING THE MUSEOLOGY OF EDUCATION IN SPAIN: AN EXAMINATION OF WHERE THE ISSUE CURRENTLY STANDS." História da Educação 22, no. 55 (August 2018): 293–313. http://dx.doi.org/10.1590/2236-3459/75395.

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Abstract In the past two decades, the museology of education in Spain has been one of the most attractive, productive avenues of educational historical research. With new focuses, education museums have come to be understood as essential resources for research and teaching in this area. A study of the relationship between the Museology of Education and History of Education offers a field of research which feeds into the study of Spain’s historical educational heritage. This article approaches the Museology of Education as the most promising research area for historiographers of education in Spain. From the very start, it sets out the main actions, activities and projects in museology taking place in the country, which demonstrate how historical educational science has taken ethnohistory in a new direction.

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