Journal articles: 'Museu de Angola'

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Garcia Simão, Santos. "VISÃO HOLÍSTICA DOS MUSEUS E ARQUIVOS EM ANGOLA: uma abordagem histórica." Revista TransVersos, no. 15 (April 15, 2019): 336–55. http://dx.doi.org/10.12957/transversos.2019.41859.

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O presente estudo é fruto da investigação levada a cabo, no âmbito do trabalho de mestrado em 2015 e da continuidade do projecto doutoral. A abordagem foi feita de forma holística, ou seja, estudar o fenómeno na generalidade. Desenvolver um estudo nos domínios da museologia e arquivística em Angola torna-se “quase impossível”, devido à fraca bibliografia existente no país sobre o assunto. O estudo tem como tema: “Visão holística dos museus e arquivos de Angola: uma abordagem histórica”. A tentativa da criação de um Museu em Angola, em paralelo aos arquivos, surge na década de 1936 com a criação do Museu do Dundo e do Museu de Angola, a 8 de Setembro de 1938. Foi neste último que estavam armazenados todo fundo documental, que constituía o Arquivo Histórico Colonial.

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Ficarra, Alessandra. "Questionando a Narrativa dos Museus da Escravatura." Revista Brasileira de História & Ciências Sociais 13, no. 26 (November 19, 2021): 308–33. http://dx.doi.org/10.14295/rbhcs.v13i26.13268.

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Os museus comemorativos têm a possibilidade de representar e reescrever a história. Apesar de qualquer museu ter o poder de tornar uma história visível e de estabelecer a sua interpretação, o tratamento de histórias globais dentro de um sistema orientado pelo Ocidente está sempre a prevalecer. Actualmente, movimentos de reconhecimento da identidade das minorias sociais e étnicas estão a florescer em todo o mundo: comunidades outrora marginalizadas e silenciadas apelam agora a uma análise mais profunda da construção da identidade, questionando e reescrevendo a sua história. Como estudo de caso do meu doutoramento, trouxe o Museu Internacional da Escravatura de Liverpool para Angola, a fim de adquirir uma leitura alternativa da exposição mais premiada do mundo, e dar voz a uma audiência até agora não ouvida. Visitantes de Angola – de cujas costas milhões de africanos escravizados foram enviados para as América – viraram finalmente a perspectiva interpretativa expressando as suas opiniões.

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Soares, Mariza de Carvalho, and Michele de Barcelos Agostinho. "A COLEÇÃO OVIMBUNDU DO MUSEU NACIONAL, ANGOLA 1929-1935." Mana 22, no. 2 (August 2016): 493–518. http://dx.doi.org/10.1590/1678-49442016v22n2p493.

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Resumo O texto se concentra nos anos de 1929 a 1934, período durante o qual a missionária Celenia Pires residiu e trabalhou em Angola, onde organizou uma coleção de objetos posteriormente doados ao Museu Nacional do Rio de Janeiro. Partindo dos objetos de sua coleção e de suas cartas, o texto discute questões sobre a atuação da Missão Congregacional em Angola no período colonial português.

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Matos, Patrícia Ferraz de. "Projectos coloniais e seus efeitos: o caso do trabalho de José Redinha desenvolvido no Museu do Dundo." Poiésis - Revista do Programa de Pós-Graduação em Educação 2, no. 4 (December 30, 2009): 42. http://dx.doi.org/10.19177/prppge.v2e4200942-61.

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A partir da exposição Lunda – Tchokwe, integrada na Trienal de Luanda, procurarei dar a conhecer um pouco melhor a figura de José Redinha (1905-1983), um importante etnógrafo que produziu vários trabalhos e relatórios sobre diversas zonas culturais de Angola, e o trabalho que este desenvolveu enquanto funcionário, primeiro como empregado e depois como conservador, no Museu do Dundo, que esteve sob o controle da Companhia de Diamantes de Angola até 1975.

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Casaleiro, Pedro Júlio Enrech, and Helena Maria Martins Costa Pereira. "A exposição Natureza Exótica: Aspectos do acervo de Alexandre Rodrigues Ferreira na Universidade de Coimbra." Agricultura Familiar: Pesquisa, Formação e Desenvolvimento 12, no. 1 (August 30, 2018): 111. http://dx.doi.org/10.18542/raf.v12i1.6081.

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Uma das principais coleções fundadoras do Museu da Universidade de Coimbra foi incorporada através da remessa enviada de Lisboa em 1806, pelas mãos de Alexandre Rodrigues Ferreira. Proveniente do Real Museu da Ajuda veio enriquecer o acervo museológico em espécimes oriundos do Brasil. A exposição Natureza Exótica apresenta uma parte deste espólio através da construção de uma narrativa centrada nas Viagens Filosóficas da Coroa portuguesa no final do século XVIII. Contempla a preparação das Viagens na Casa do Risco e no Real Museu e os caminhos percorridos em cada uma das regiões pelos naturalistas, jardineiros e riscadores: Cabo Verde, Brasil, Angola, Moçambique e Goa.

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Bevilacqua, Juliana Ribeiro da Silva. "As esculturas cokwe como respostas às assimetrias civilizacionais." Anais do Museu Paulista: História e Cultura Material 25, no. 2 (August 2017): 117–39. http://dx.doi.org/10.1590/1982-02672017v25n2d05.

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RESUMO Fundada em 1917, a Companhia de Diamantes de Angola (Diamang) ocupava uma vasta região da Lunda Norte e Lunda Sul. Além das ações voltadas para a exploração de diamantes, essa empresa concessionária constituiu em 1936 o Museu do Dundo, um espaço destinado a colecionar objetos relacionados, sobretudo, aos povos que habitavam a sua área de atuação. Os objetivos cada vez mais ambiciosos e o receio da extinção de uma arte reminiscente do “tempo tribal” levaram o Museu do Dundo a organizar não apenas expedições de recolhas de objetos, mas também a contratar e manter “protegidos” em seus domínios escultores de madeira e de marfim a fim de evitar que as transformações ocasionadas pela situação colonial influenciassem os trabalhos desses homens. Este artigo tem como objetivo apresentar algumas reflexões sobre como os anseios fictícios do Museu em relação a esses escultores foram fundamentais para compreender as constantes tensões e dificuldades em enquadrar em seu espaço não apenas esses próprios homens, mas também as suas produções.

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Thornton, John, and Nuno Porto. "Angola a Preto e Branco: Fotografia e Ciencia no Museu do Dondo, 1940-1970." International Journal of African Historical Studies 33, no. 2 (2000): 467. http://dx.doi.org/10.2307/220725.

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Melitopoulos, Angela, and Maurizio Lazzarato. "Machinic Animism." Deleuze Studies 6, no. 2 (May 2012): 240–49. http://dx.doi.org/10.3366/dls.2012.0060.

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This catalogue essay is based on a series of interviews conducted by the authors with international scholars who were asked to reflect on Guattari's scattered comments concerning animism. Interviewees are: Eduardo Viveiros de Castro (anthropologist, Museu Nacional, Rio de Janeiro), Eric Alliez (philosopher, Paris), Jean Claude Polack (psychoanalyst, Paris), Barbara Glowczewski (anthropologist, Paris), Peter Pál Pelbart (philosopher, São Paolo) Janja Rosangela Araujo (master of Capoeira Angola, and professor, Salvador de Bahia) and Jean Jacques Lebel (artist, Paris). Animism was thought by Guattari in relation to a number of themes and places in excess of religion and ritual but in the context of the shattering of capitalism.

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Xavier, Sandra. "Sobre “Angola a preto e branco: fotografia e ciência no museu do dundo, 1940-1970”." Etnografica, no. 4 (1) (May 1, 2000): 191–96. http://dx.doi.org/10.4000/etnografica.2747.

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SANTOS, BRUNA S., MARIANA P. MARQUES, AARON M. BAUER, and LUIS M. P. CERÍACO. "Herpetological results of Francisco Newton’s Zoological Expedition to Angola (1903–1906): a taxonomic revision and new records of a forgotten collection." Zootaxa 5028, no. 1 (September 3, 2021): 1–80. http://dx.doi.org/10.11646/zootaxa.5028.1.1.

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Francisco Newton’s zoological expedition to Angola undertaken between 1903 and 1906 is one of the least studied of the naturalist’s life. Only three major papers regarding the herpetofauna collected in this expedition have been published, and a significant part of the specimens remains unstudied since the 1900’s. Here we review the extant herpetological specimens of this expedition, present an updated taxonomic revision, and provide new insights on their taxonomic status. The extant collection is constituted by 329 specimens (155 amphibians and 174 reptiles), corresponding to 73 species, 39 genera and 22 families, and it is presently housed in the Museu de História Natural e da Ciência da Universidade do Porto (MHNC-UP).

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Martins, Maria do Rosário Antunes Rodrigues, and Ana Cristina Pessoa Tavares. "Singularidades museológicas de uma tábua com esculturas em diálogo: do alambamento ao casamento em Cabinda (Angola)." Anais do Museu Paulista: História e Cultura Material 25, no. 2 (August 2017): 83–115. http://dx.doi.org/10.1590/1982-02672017v25n02d04.

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RESUMO Em Cabinda (noroeste de Angola), uma região do antigo Reino do Congo, existiu uma ancestral tradição gráfica observada em artefatos do cotidiano ou rituais que tem sido objeto de pesquisas em domínios multidisciplinares. O presente artigo remete para uma das possíveis reflexões em torno de uma tábua frustemente esculpida em alto-relevo, de que se desconhecem outros espécimes, e que integra a coleção recolhida pelos Missionários do Espírito Santo, atualmente em depósito no Museu da Ciência da Universidade de Coimbra. Não foi o valor estético que nos seduziu mas sim entender o seu significado, provocação que encontrou resposta na obra de José Martins Vaz, No mundo dos Cabindas, único suporte encontrado, até à data, que divulga a interpretação gráfica da peça e descodifica os motivos escultóricos. Esse objeto reflete um acordo de casamento e corporiza ideias, expressas por formas gravadas e símbolos, detentores de saberes tradicionais, intrinsecamente associados ao riquíssimo acervo da cultura material, incluindo a caixa nkobe-bingu, divindade protetora da família. Portadora de um significado singular, a tábua ou dístico de casamento espelha a dificuldade de acordo entre as famílias dos noivos quanto ao alambamento a negociar e sela o tradicional contrato de matrimónio dos Cabinda, etnia aparentada com o povo Kongo. Não sendo possível comparar com outras interpretações, o estudo desenvolvido permitirá compreender melhor o universo espiritual Cabinda refletido nas suas criações artísticas. Alargando horizontes de pesquisa, a tábua proporcionou um exercício museológico para o entendimento da realidade social da sua génese e de rituais de casamento de outros povos, em várias épocas.

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Santos Ferreira, Soraia. "A COLECÇÃO ARQUEOLÓGICA DO ISCED-HUÍLA: UM PROJECTO DE INVESTIGAÇÃO." Revista TransVersos, no. 15 (April 15, 2019): 433–44. http://dx.doi.org/10.12957/transversos.2019.41865.

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A região Sul de Angola surge, na literatura de especialidade publicada em meados do século XX, como uma região por “descobrir” no que toca à arqueologia. Foi nas décadas de 50, 60 e 70 do século passado que as pesquisas arqueológicas se tornaram mais intensas revelando a existência de inúmeros sítios arqueológicos desde a Pré-História à Idade do Ferro, falando apenas dos períodos mais recuados da História. O espólio arqueológico que se encontra à guarda do ISCED-Huíla é o resultado de muitas dessas pesquisas. Por ser uma colecção bastante significativa do ponto de vista quantitativo, composta por milhares de peças, há a necessidade de se perceber a origem desse material, de agrupá-lo tendo em conta a sua proveniência, cronologia, função e tipologia. O trabalho que nos propusemos levar a cabo teve início em 2015 tendo, metodologicamente, que passará por diversas fases: (i) identificação de zonas de proveniência; (ii) lavagem e acondicionamento das peças; (iii) início do inventário e catalogação do espólio por zona de proveniência; (iv) estudo das várias colecções. A finalidade deste trabalho de pesquisa é, por um lado identificar zonas de proveniência com vista ao mapeamento de sítios arqueológicos perfeitamente identificados; a inventariação, catalogação e estudo de toda a colecção e, por outro, a criação de um Museu arqueológico associado ao ISCED-Huíla.De 2015 a 2018 o trabalho realizado foi meramente técnico e é a ele que dedicamos esta nota de pesquisa.

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MARQUES, MARIANA P., LUIS M. P. CERÍACO, SUZANA BANDEIRA, OLIVIER S. G. PAUWELS, and AARON M. BAUER. "Description of a new long-tailed skink (Scincidae: Trachylepis) from Angola and the Democratic Republic of the Congo." Zootaxa 4568, no. 1 (March 19, 2019): 51. http://dx.doi.org/10.11646/zootaxa.4568.1.3.

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Angola and the Democratic Republic of the Congo are relatively unknown in terms of their herpetological diversity. Based on specimens collected in the Congolese region of the Katanga and the northeast of Angola during the first decades of the twentieth century, de Witte and Laurent independently suggested, based on morphological and coloration differences, that populations of T. megalura of these regions could belong a new “race”. We compared specimens of T. megalura (including the type specimens of T. megalura and T. massaiana) with Angolan and Katangan museum specimens as well as newly collected specimens from Angola. Coloration pattern and morphological characters, in combination with substantial divergence in the 16S mitochondrial gene, confirm the distinctiveness of the west Central African form, and it is here described as a new species. Data regarding its natural history, ecology and global distribution are presented.

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Gamito-Marques, Daniel. "The golden age (1862–1910) of the Zoological Section of the Museu Nacional de Lisboa (National Museum of Lisbon), Portugal." Archives of Natural History 49, no. 1 (April 2022): 160–74. http://dx.doi.org/10.3366/anh.2022.0765.

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This paper provides an overview of the organization and first decades of the Zoological Section of the Museu Nacional de Lisboa (National Museum of Lisbon), under the leadership of José Vicente Barbosa du Bocage (1823–1907), a Portuguese zoologist who attained international recognition. The article discusses the contributions made by a small community of zoologists, who joined transnational networks and gave projection to the institution by founding and disseminating the first Portuguese journal exclusively devoted to scientific research, the Jornal de sciencias mathematicas, physicas e naturaes, in which they published their original research. The animal collections of the Zoological Section were unique in that they had numerous specimens of previously unknown Southwestern African birds and reptiles, most of which were sent by José de Anchieta, who extensively travelled across the Angolan hinterland. From its inception, the museum was tied to a higher education institution, the Escola Politécnica de Lisboa (Lisbon Polytechnic School), and also fulfilled a pedagogical function. Although the Zoological Section survived the death of its founder, being renamed Museu Bocage (Bocage Museum) in 1905, it failed to gain more autonomy in subsequent decades, becoming a constrained institution that lacked premises and personnel to meet its rising demands. After a fire that destroyed almost all its specimens in 1978, the recently reformed Museu Nacional de História Natural e da Ciência (National Museum of Natural History and Science) is trying to write a new chapter by honouring its long history.

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Vansina, Jan. "Sources vs. Text: An “Integrated Edition of Sources”." History in Africa 23 (January 1996): 461–65. http://dx.doi.org/10.2307/3171956.

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The aim of this note is to attract attention to a new venture in scholarly publication—Beatrix Heintze's Alfred Schachtzabel's Reise nach Angola, 1913-1914. Und seine Sammlungen für das Museum für Völkerkunde in Berlin. Rekonstruktion einer Ethnographischen Quelle (Köln, 1995), the first issue of Afrika Archiv, a new series to be devoted to text editions. That this is not to be confused with an ordinary text edition is already intimated by the work's title, which translates as Alfred Schachtzabel's Voyage to Angola, 1913-1914, and his Collections for the Museum für Völkerkunde in Berlin. Reconstruction of an Ethnographic Source. In other words, it speaks of a “reconstruction” and “a source edition,” not “text edition.” As well, Heintze is described as the author of this book rather than the editor. Yet she presents the work as a new kind of edition—the “integrated edition of sources.”Heintze is an experienced text editor, having published both a voluminous conventional collection of documents and a set of ethnographic drawings. Yet when she examined the surviving documentation pertaining to Schachtzabel's expedition in Angola, she became convinced that a standard edition of all his work would be unwise. The unpublished materials at hand are too disparate and slender.

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Sitanggang, Fernanda, Shanty Silitonga, and Putri P. Napitupulu. "KAJIAN SKALA PADA BANGUNAN TRADISIONAL ANGKOLA (Studi Kasus : Museum GKPA, Silangge)." ALUR : Jurnal Arsitektur 2, no. 2 (October 3, 2019): 42–54. http://dx.doi.org/10.54367/alur.v2i2.532.

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This research raises the scale study of traditional angkola buildings with a case study of the GKPAÂ Museum, Silangge. This building consists of the elements making up the space, both indoor and outdoor.Â The building blocks in the building include: the head of the building (ni orbo horns, closed capillaries,Â dadap na tolu, and lisplank), the building body (doors, windows, vents, and poles), and the legs of theÂ building (foundations, columns, and stairs). While the building elements outside the building include:Â buildings with supporting functions (Debora orphanage and Debora orphanage study room), DeboraÂ orphanage field, and some vegetation around the Angkola Museum. The scale that will be examined in thisÂ study is the human scale (human as a benchmark) of the elements forming the outer space of traditionalÂ Angkola buildings. The scale study will be carried out by analyzing the human scale of the building with aÂ predetermined observation point. This study was classified in research that uses descriptive methods withÂ qualitative analysis. Data analysis with descriptive analysis techniques that use benchmarks. EvaluationÂ research that aims to assess the extent to which the variables studied are in accordance withÂ predetermined benchmarks. The benefit of this research is finding a scale study found in Angkola'sÂ traditional building, whether the building is classified as good with the scale of the outer space that existsÂ in the elements of the building's outer space.

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Porto, Nuno. "Manageable Past: Time and Native Culture at the Dundo Museum in Colonial Angola." Cahiers d’études africaines 39, no. 155 (1999): 767–87. http://dx.doi.org/10.3406/cea.1999.1777.

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Durán, Gloria G. "El peligro de ablandarse. Igualdad, hermandad, solidaridad = The Perils of Tenderice. Equality Sisterhood Solidarity." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 8 (November 17, 2020): 147. http://dx.doi.org/10.5944/etfvii.8.2020.27640.

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Ante esta cuestión: ¿Cómo cambiar los marcos, los relatos, las estructuras del museo actual, para que podamos identificarnos con él, para reconocernos en sus imágenes y en sus narraciones? planteo referencias que tramadas podrían atisbar el principio de un nuevo debate. El título se va desgranando a lo largo del artículo. Para «El peligro de ablandarse» trabajo con el legado de las salonnières y la obra de Benedetta Craveri y Roger Chartier. Para «Hermandad», me apoyo en Carla Hesse y su descubrimiento de la historiadora dieciochesca francesa Louise-Félicité Guynement de Kéralio-Robert (1758-1822). En el tercer apartado, «Igualdad», trabajo desde los variados acercamientos al feminismo en los años 70, reviso a Linda Nochlin y reivindico a Mierle Laderman Ukeles. Y finalmente «Solidaridad», me apoyo en Angela Davis y su redescubrimiento de las blues ladies, así como en mi propio trabajo en el que reivindico la importancia para la historia del feminismo español de las cupletistas. AbstractFaced with this question: How to change the frameworks, the stories, the structures of the current museum, to identify them with it, to recognize us in its images and in its narrations? The title is unraveling throughout the article. For «The peril of tenderice» I work with the legacy of the salonnières and the work of Benedetta Craveri and Roger Chartier. For «Sisterhood» , I rely on Carla Hesse and her discovery of the French eighteenth-century historian Louise-Félicité Guynement de Kéralio-Robert (1758-1822). In the third section, «Equality», I work from the various approaches to feminism in the 70s, I review Linda Nochlin and I claim Mierle Laderman Ukeles. And finally «Solidaridad», I rely on Angela Davis and her rediscovery of the blues ladies, as well as my own work in which I claim the importance for the history of Spanish feminism of the cupletistas.

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HUANG, MIN, and WERNER E. HOLZINGER. "Cixiidae (Hemiptera: Fulgoromorpha) from Namibia, with records from neighbouring countries." Zootaxa 2717, no. 1 (January 22, 2019): 34. http://dx.doi.org/10.11646/zootaxa.2717.1.2.

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The Cixiidae (Hemiptera: Fulgoromorpha) fauna of Namibia and the Cixiidae collection of the National Museum Windhoek are revised. Six species, Atonurus meridianus (Van Stalle, 1984), Eumecurus kibuyanus (Fennah, 1955), E. decempunctatus (Van Stalle, 1984), E. eryx (Fennah, 1957), E. mashonanus (Van Stalle, 1987) and E. incompletus (Van Stalle, 1983), are reported from Namibia for the first time. Thus, 19 Cixiidae species (one Duiliini, 18 Pentastirini) are present in Namibia. In addition, one new species, Eumecurus skofitschii Huang & Holzinger nov. spec., is described from Angola, and Eumecurus zairensis (Van Stalle, 1987) is recorded from Malawi for the first time.

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Beeny, Emily A. "Christ and the Angels." Representations 122, no. 1 (2013): 51–82. http://dx.doi.org/10.1525/rep.2013.122.1.51.

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In 1864, with his Christ and the Angels, now in the Metropolitan Museum, New York, Manet drew an uneasy connection between the Paris salon and the public morgue, replacing the eloquent, universal body we expect to find in a religious history painting with a silent and particular corpse of the kind exhibited at the new Morgue of Paris. This replacement marked Manet’s rupture with the French tradition of religious history painting and signaled the birth of a new aesthetic vision, born at the Morgue, and defined by Zola as Naturalism.

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STEINHEIMER, FRANK D., and W. R. J. DEAN. "Avian type specimens and their type localities from Otto Schütt's and Friedrich von Mechow's Angolan collections in the Museum für Naturkunde of the Humboldt-University of Berlin." Zootaxa 1387, no. 1 (January 8, 2007): 1. http://dx.doi.org/10.11646/ootaxa.1387.1.

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A comprehensive list of all avian type specimens in the Angolan collections of Otto Schütt and Major Friedrich Wilhelm Alexander von Mechow housed in the Museum für Naturkunde Berlin (ZMB) is given for the new avian taxa originally described by Cabanis, Reichenow, Neumann, Grote and Neuzig in the late 19th and early 20th century. Each entry discusses the collection history of the specimens, the type locality, nomenclature and taxonomy.

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STEINHEIMER, FRANK D., and W. R. J. DEAN. "Avian type specimens and their type localities from Otto Schütt's and Friedrich von Mechow's Angolan collections in the Museum für Naturkunde of the Humboldt-University of Berlin." Zootaxa 1387, no. 1 (January 8, 2007): 1–25. http://dx.doi.org/10.11646/ootaxa.1387.1.1.

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A comprehensive list of all avian type specimens in the Angolan collections of Otto Schütt and Major Friedrich Wilhelm Alexander von Mechow housed in the Museum für Naturkunde Berlin (ZMB) is given for the new avian taxa originally described by Cabanis, Reichenow, Neumann, Grote and Neuzig in the late 19th and early 20th century. Each entry discusses the collection history of the specimens, the type locality, nomenclature and taxonomy.

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Reddy, David P., Angela V. Klaus, Renée Recker, and William K. Barnett. "Web Site Development at a Museum Microscopy Laboratory." Microscopy Today 7, no. 3 (April 1999): 12–15. http://dx.doi.org/10.1017/s1551929500064051.

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The Interdepartmental Laboratories (IDL) is the core microscopy and scientific visualization research facility for the American Museum of Natural History (AMNH), Its purpose is to operate and maintain facilities that have broad application within the Museum and would be either too costly for the individual research departments to maintain or which would be underused in a typical department setting, The IDL currently maintains two state-of-the-art analytical/imaging microscopes, as well as resources for visualization, webaccessible databases, and networked image scanning, archiving, and printing. The IDL is overseen by Bill Barnett, the IDL Director, and staffed by Angela Klaus, the Laboratory Manager, and David Reddy, the Scientific Visualization and Informatics Manager.

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Sepahvand, Ashkan, Meg Slater, Annette F. Timm, Jeanne Vaccaro, Heike Bauer, and Katie Sutton. "Curating Visual Archives of Sex." Radical History Review 2022, no. 142 (January 1, 2022): 19–36. http://dx.doi.org/10.1215/01636545-9397016.

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Abstract In this roundtable, four curators of exhibitions showcasing sexual archives and histories—with a particular focus on queer and trans experiences—were asked to reflect on their experiences working as scholars and artists across a range of museum and gallery formats. The exhibitions referred to below were Bring Your Own Body: Transgender between Archives and Aesthetics, curated by Jeanne Vaccaro (discussant) with Stamatina Gregory at The Cooper Union, New York, in 2015 and Haverford College, Pennsylvania, in 2016; Odarodle: An imaginary their_story of naturepeoples, 1535–2017, curated by Ashkan Sepahvand (discussant) at the Schwules Museum (Gay Museum) in Berlin, Germany, in 2017; Queer, curated by Ted Gott, Angela Hesson, Myles Russell-Cook, Meg Slater (discussant), and Pip Wallis at the National Gallery of Victoria, Melbourne, Australia, in 2022; and TransTrans: Transatlantic Transgender Histories, curated by Alex Bakker, Rainer Herrn, Michael Thomas Taylor, and Annette F. Timm (discussant) at the Schwules Museum in Berlin, Germany, in 2019–20, adapting an earlier exhibition shown at the University of Calgary, Canada, in 2016.

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Murphy, Jill. "Film, Art, New Media: Museum Without Walls? edited by Angela Dalle Vacche." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 89–95. http://dx.doi.org/10.33178/alpha.8.06.

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Naugolnykh, S. V., E. M. Kirilishina, and V. S. Isaev. "New data on Permian plants of the Pechora coal basin in context of plants and insects coevolution (The collection of the Earth Science Museum of Lomonosov Moscow State University)." Moscow University Bulletin. Series 4. Geology 1, no. 2 (January 28, 2022): 46–54. http://dx.doi.org/10.33623/0579-9406-2021-2-46-54.

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The paper is devoted to new finds of the Middle Permian fossil plants, which are kept at the Earth Science Museum of the Lomonosov Moscow State University. The palaeobotanical collections of the museum became significantly enriched by the adding of these new specimens. Some attractive specimens having high scientific potentiality (for instance, equisetophytes Annulina neuburgiana (Radczenko) Neuburg and leptosporangiate ferns Pecopteris anthriscifolia (Goeppert) Zalessky) will be used as materials for exhibitions, and will be involved into educational projects of the museum. Discovery of the leaves of cycadophyte affinity allows to develop the idea on possible migration of the termophylic tropical elements into boreal vegetation of the Angara type.

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Darby, Michael. "Studies of Ptiliidae (Coleoptera) in the Spirit Collection of the Natural History Museum, London, 3: New species and records from the expedition to SW Africa in 1971–1972." Entomologist's Monthly Magazine 154, no. 4 (October 26, 2018): 233–60. http://dx.doi.org/10.31184/m00138908.1544.3959.

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Ptiliidae collected in Africa (Angola, Botswana, Namibia, South Africa) 28 December 1971 – 20 April 1972 by members of a Natural History Museum, London, expedition to south western Africa are determined to 27 species, 15 of which are new to science: Actidium bipustulatum sp. n., Actidium parvum sp. n., Bambara chianga sp. n., Bambara magnifica sp. n., Bambara namibiensis sp. n., Bambara gabela sp. n., Bambara subjoannis sp. n., Ptiliola minutissima sp. n., Ptiliola flava sp. n., Ptiliola problematica sp. n., Ptiliola semitaria sp. n., Ptilium exiguum sp. n., Ptilium pernix sp. n., Nephanes plurijugosus sp. n., Acrotrichis botswanensis sp. n. Information about collecting methods and sites is provided from data kept at the time and figures included to amplify the descriptions of earlier authors. Keys are provided to the subfamilies, tribes and genera.

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Pataca, Ermelinda Moutinho. "A confecção de desenhos de peixes oceânicos das "Viagens philosophicas" (1783) ao Pará e à Angola." História, Ciências, Saúde-Manguinhos 10, no. 3 (December 2003): 979–91. http://dx.doi.org/10.1590/s0104-59702003000300009.

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Com o objetivo de avaliar a confecção e a utilização de imagens na Viagem Philosophica de Alexandre Rodrigues Ferreira, avaliaremos os desenhos de peixes oceânicos produzidos por J. J. Freire e J. J. Codina durante a travessia entre Lisboa e Belém. Para apreendermos as técnicas e os métodos de desenhar comuns em todas as representações, compreendemos que devemos confrontar os desenhos resultantes das Viagens Philosophicas ao Pará e às colônias portuguesas na África, pois seus 'desenhadores' (ou riscadores, como eram denominados os desenhistas na época) foram formados em conjunto e designados para a mesma função, do risco de produtos de história natural. Através dos documentos textuais resultantes das Viagens Philosophicas ao Pará e para Angola, como relações de remessas de coleções, correspondências de viagens e inventários de museus, localizamos e comparamos os desenhos de peixes oceânicos confeccionados pelos desenhadores das duas expedições.

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Wigger, Iris, and Spencer Hadley. "Angelo Soliman: desecrated bodies and the spectre of Enlightenment racism." Race & Class 62, no. 2 (August 3, 2020): 80–107. http://dx.doi.org/10.1177/0306396820942470.

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The case of Angelo Soliman − a black man raised in the royal courts of eighteenth-century Vienna who appeared during his lifetime to have attained significant social status and acceptance into bourgeois society, only to have his body stuffed and exhibited after death in a natural history museum − is discussed in the context of Enlightenment race theories at the core of a then-new ‘scientific racism’. This article explores his representation in its wider discursive and historical context, and critically reflects on predominant narratives and typologies associated with him. The piece then reflects on contemporary attempts to retell his story – via museum exhibitions, literature and film – some of which started to critically reflect on age-old European stereotypes of blackness used in earlier representations of Soliman. The piece promotes a discussion of Soliman’s life from a more critical, historically reflexive, de-colonialising and anti-racist position that questions white normativity and the scientific racism of the European Enlightenment and colonialism, the foundations of modern racism.

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Selivanenko, Anastasia M. "Museum of Architecture and Ethnography “Angara Village”: Yesterday, Today, Tomorrow." Journal of Siberian Federal University. Humanities & Social Sciences 9, no. 2 (February 2016): 419–29. http://dx.doi.org/10.17516/1997-1370-2016-9-2-419-429.

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Bardovskaya, Larisa V. "Portraits of Grand Duke Ludwig of Hesse: Return after Neglect." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 172–85. http://dx.doi.org/10.21638/spbu15.2021.201.

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The article is dedicated to the attribution of two portraits of an unknown German general in the Tsarskoye Selo Museum collection. One of them is a ceremonial knee-high portrait, the other is a small head portrait of the same general. In addition, one portrait was purchased in 1997 at the “Lenfilm” stage properties, the other has always been in the museum. It was believed that the head portrait, by an unknown artist, depicted Grand Duke Ludwig of Hesse-Darmstadt — father of future Russian Empress Alexandra Feodorovna. The weak inscription at the bottom of the knee-high portrait states that it is a copy done by Heinrich R.Kröh in 1896 in Darmstadt, based on Heinrich von Angeli`s original. On the backs of both canvases, monograms from the personal collection of Empress Alexandra Feodorovna were found: the interwoven Russian letters “A” and “F” under a crown and “№ 8” (ceremonial knee-high portrait) and “№ 65” (head portrait). Both images date back to the famous “Family portrait of Grand Duke Ludwig of Hesse”, commissioned by Queen Victoria for the Drawing-room of her Osborne-House in London. In the queen’s letters, it is noted that Angeli had started to work on the head sketches immediately upon his arrival in 1878. Alexandra Feodorovna brought one of them, her father’s head sketch, with her to Russia. Also, in the year of 1878 Angeli painted the knee-high ceremonial portrait with the same regalia for Grand Duke Ludwig’s residence in Darmstadt. The portrait is known in copies executed by Ludwig Hofmann-Zeitz (Royal Collections, London) and Heinrich Kröh (now in Tsarskoye Selo Museum). The fate of Kröh’s replica happened to be tragic. First it was seen in a photograph of the Empress’s study in the Winter Palace of the 1900s made by St. Petersburg photographer Karl Kubesh. The photo shows companion portraits of the Empress’s parents. Both portraits disappeared after the 1917 Revolution. The knee-high portrait of Ludwig was badly damaged and as a result was included into the stage props of the studio as it was deemed unnecessary. After many decades, the portrait was returned to the Tsarskoye Selo Museum collection.

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Kennedy, Liam. "“Today they kill with the chair instead of the tree”: Forgetting and remembering slavery at a plantation prison." Theoretical Criminology 21, no. 2 (February 15, 2016): 133–50. http://dx.doi.org/10.1177/1362480616630042.

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Extending the burgeoning body of work on the penal tourism industry, this project investigates how slavery is forgotten and remembered at a US plantation prison. Through a case study of Angola, I explore if and how the prison’s plantation history is acknowledged at the prison rodeo and arts and crafts festival, commemorated in museum exhibits, and discussed in prisoner writings. My analysis reveals the contested nature of Angola’s history and the place of slavery (and racial inequality more generally) in it. In an act of racial violence, the administration tells a story of progress that disregards slavery along with its parallels to the present. On the other hand, some prisoners resist this narrative and evoke memories of slavery in protest of their current circumstances. I conclude with a discussion of what this struggle over Angola’s, and the nation’s, history might mean for the prospect of penal reform.

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BRENNI, PAOLO. "IL METEOROGRAFO DI PADRE ANGELO SECCHI." Nuncius 8, no. 1 (1993): 197–247. http://dx.doi.org/10.1163/182539183x00082.

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Abstract<title> SUMMARY </title>During the 19th Century the systematic collecting of meteorological data became a general practice. Several scientists and instrument makers invented new meteorological instruments and improved the existing ones. Probably the most impressive and sophisticated recording apparatus was the meteorograph devised between 1855 and 1865 by the Italian astronomer Padre Angelo Secchi (1818-1878). This huge and complicated machine was presented to the 1867 Paris Universal Exhibition where it was considered the technological masterpiece. The instrument worked in Rome for several years and then, partially dismanteled, was finally stored in the Osservatorio Astronomico di Monte Porzio (Rome). Recently carried to Florence, the meteorograph is now beeing restored in the laboratories of the Opificio delle Pietre Dure under the supervision of the Istituto e Museo di Storia della Scienza. My paper will trace the history of this ingeniuos instrument which represented a technological achievement but an economic failure.

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Moore, Alexandra, and Rachel Nelson. "Barring Freedom: Art, Abolition and the Museum in Pandemic Times." Journal of Curatorial Studies 11, no. 1 (April 1, 2022): 52–71. http://dx.doi.org/10.1386/jcs_00055_1.

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Barring Freedom, a travelling exhibition featuring artworks engaging the histories and current conditions of prisons and policing in the United States, was to open in April 2020. While COVID-19 disrupted that plan, the realities of inequity in the United States placed into stark relief by the pandemic and the uprisings of summer 2020 brought urgency to rethinking the curatorial vision of the exhibition to reach audiences beyond the gallery walls. Buoyed by the idea that, in the words of Angela Davis, art can ‘propel people towards social emancipation’, the exhibition and related programming was reconceived as an ongoing, interdisciplinary, public scholarship initiative reaching across the borders normally perceived between museums, prisons and universities. Opportunities arose for expanded forms of community building and participation that welcomed different forms of knowledge, furthering the political and aesthetic aims of the project to shift the social attachment to prisons.

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Liesegang, Gerhard, and Beatrix Heintze. "Alfred Schachtzabels Reise Nach Angola 1913-1914 und Seine Sammlungen fur das Museum fur Volkerkunde in Berlin: Rekonstruktion Einer Ethnographisschen Quelle. [Alfred Schachtzabel's Travels in Angola 1913-1914 and His Collections for the Museum of Ethnology in Berlin: Reconstruction of an Ethnographic Source]." International Journal of African Historical Studies 30, no. 1 (1997): 239. http://dx.doi.org/10.2307/221605.

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Jones, Claire. "Lamelofones de Moçambique e Angola. 2002. Arquivo de sons, Museu Nacional de Etnologia ASMNE 001. Distributed by Tradisom. Recorded by Gerhard Kubik, Moya A. Malamusi, et al. Annotated by Gerhard Kubik. Produced by José Moças. 69 pages of notes in Portuguese and English. 31 B/W photographs, 1 drawing, 2 musical notations, 2 maps. 1 compact disc, 27 tracks (71:00). Recorded in the field between 1962 and 1993." Yearbook for Traditional Music 37 (2005): 174. http://dx.doi.org/10.1017/s0740155800011371.

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Choudhary, Abhishek, Rhys Machold, Ricardo Cardoso, Andreas Hackl, Martha Lagace, and Carly Machado. "Book Reviews." Conflict and Society 5, no. 1 (June 1, 2019): 202–15. http://dx.doi.org/10.3167/arcs.2019.050113.

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How Rivalries End by Karen Rasler, William R. Thompson, and Sumit Ganguly. Philadelphia: University of Pennsylvania Press, 2013. 280 pp. 4 illus. Hardback. ISBN 978-0-8122-4498-4.The Privatization of Israeli Security by Shir Hever. London: Pluto Press, 2018. 256 pp. Hardcover. ISBN 978-0-7453-3720-3.Working the System: A Political Ethnography of the New Angola by Jon Schubert. Ithaca, NY: Cornell University Press, 2017. 270 pp. 5 illus. Hardcover. ISBN 978-1-5017-1369-9.Overlooking the Border: Narratives of Divided Jerusalem by Dana Hercbergs. Detroit: Wayne State University Press, 2018. 284 pp. 46 illus. Hardcover. ISBN 978-0-8143-4108-7.Out of War: Violence, Trauma, and the Political Imagination in Sierra Leone by Mariane C. Ferme. Berkeley: University of California Press, 2018. 336 pp. Paperback. ISBN 978-0-52029-438-7.Sporadically Radical: Ethnographies of Organised Violence and Militant Mobilization Edited by Steffen Jensen and Henrik E. Vigh. Copenhagen: Museum Tusculanum Press. 290 pp. Paperback. ISBN 978-8-76354-602-7.

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Dean, W. R. J., M. Sandwith, and S. J. Milton. "The bird collections of C. J. Andersson in southern Africa, 1850–1867." Archives of Natural History 33, no. 1 (April 2006): 159–71. http://dx.doi.org/10.3366/anh.2006.33.1.159.

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A number of bird specimens, including at least 53 type specimens, were collected by C. J. Andersson (or credited to him as the collector) mainly in Namibia, but also in Angola, Botswana and South Africa, between 1850 and July 1867. Although much of the original material collected by Andersson has been lost, 2,523 bird study skins and sets of eggs collected by him are currently in museum collections; of them 58 are without any data except species name, 202 have the country only, 367 have country and a vague locality (Damaraland, Cape Colony and Ovamboland), and 1,896 have detailed locality data. Although 757 specimens are without dates, another 1,666 have at least month and year, and a further 100 have year only, or can be dated to a particular year. A list of collecting sites and dates when they were visited is given. Of particular interest are the type specimens collected by Andersson and his colleagues as some of these include species with incorrect or vague type localities.

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Ferrari, Adriane Dos Santos Tavella. "“É brincando que se aprende”: um estudo do acervo das bonecas Karajá do MAE-UFPR." Revista NEP - Núcleo de Estudos Paranaenses da UFPR 2, no. 1 (February 26, 2016): 110. http://dx.doi.org/10.5380/nep.v2i1.45441.

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As crianças sempre fascinaram muitos pesquisadores nas mais diversas áreas com seu mundo à parte e suas representações. A Antropologia da criança ”olha“ para esse grupo que até então tinha muita pouca representatividade nos temas de pesquisa antropológica. Este artigo discute, a partir de um balanço da literatura disponível, a relação entre a Antropologia e a construção do papel da criança em algumas sociedades e como a criança passa a ser vista não mais como um simples “imitador”, termo utilizado por Florestan Fernandes, mas como um agente produtor de conhecimento em seu grupo. Outro ponto ressaltado é a construção de uma categoria conceitual dentro da Antropologia onde a criança é vista como agência, termo utilizado por Angela Nunes, na construção do seu espaço lúdico com brincadeiras e brinquedos e sua interação no espaço social de seu grupo. O artigo ainda apresenta parte do acervo de bonecas Karajá do Museu de Arqueologia e Etnologia da UFPR como ilustração de que brincar não é apenas algo lúdico, mas algo que também faz a sociedade e o grupo social no qual está inserido.

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Fursova, E. F. "Types of Winter Clothing Worn by Descendants of the Russian Pioneers in Siberia (Late 19th to Early 20th Centuries)." Archaeology, Ethnology & Anthropology of Eurasia 47, no. 1 (March 28, 2019): 137–46. http://dx.doi.org/10.17746/1563-0110.2019.47.1.137-146.

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Warm clothing was an important cultural adaptation, enabling the Russian pioneers to survive in the harsh climate of Siberia. The sources for the study are archival documents, including V.K. Multinov’s manuscript “Clothing of the Angara People” (1926), results of fi eld studies in the 1970s and 1980s by the present author, museum artifacts, and collection inventories compiled by A.N. Beloslyudov, S.P. Shvetsov, I.I. Baranova, and I.I. Shangina, as well as data collected by climatologists, technologists, and designers. Types of winter clothing, including outfi ts for hunting and fi shing, worn by the Russians living on the Angara, in the Altai, and Trans-Baikal, are described. These include cloth-covered and non-covered fur coats, short fur coats, those with the fur on the inside, robes, as well as warm pants, fur hats, boots, and mittens. Protection from the cold was ensured by the use of high-volume insulating materials, several layers, and by habits such as tucking one piece of clothing into another (the so-called “Siberian one-piece garment”). Specific features in Siberia are observed, including the use in winter hunting outfi ts of certain elements of native Siberian clothing (specifi cally that of the Tungus clothing on the Angara), and the women’s habit of wearing men’s garments with belts.

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Böhm, Maren. "Susanne Gesser, Nina Gorgus, Angela Jannelli (Hg.): Das subjektive Museum. Partizipative Museumsarbeit zwischen Selbstvergewisserung und gesellschaftspolitischem Engagement." Rheinisch-westfälische Zeitschrift für Volkskunde 2021, no. 1 (January 20, 2022): 496–99. http://dx.doi.org/10.31244/rwz/2021/51.

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Fabbricotti, Emanuela. "Statuette in Calcare da Bu Senab." Libyan Studies 25 (January 1994): 219–30. http://dx.doi.org/10.1017/s0263718900006361.

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Nel Magazzino del Museo di Cirene vi sono numerose statuette in calcare, purtroppo acefale, rappresentanti uomini e forse donne con in mano offerte o attributi vari. Dovevano, quando intere, raggiungere un'altezza di circa cm. 50/60. Molte sono senza numero d'inventario e quindi senza indicazione della provenienza. Alcune sono immortalate in vecchie lastre fotografiche del magazzino-museo di Barce e provengono da Bu Senab. Riproducono i pezzi come erano dopo il ritrovamento, in condizioni notevolmente migliori. Di questi molti sono oggi scomparsi così come tutte le teste ed alcuni frammenti. Quelle conservate sono: (le descrizioni sono state fatte durante l'esame diretto delle statue e pertanto non sempre corrispondono alle fotografie eseguite dopo il ritrovamento).Nelle vecchie lastre di Barce vi erano altre statuette poi disperse: un togato (Fig. 14), un cavaliere a cavallo (Fig. 15), due personaggi maschili (Figg. 15 e 17) con mantello gettato dietro le spalle (uno dei quali con una pecora accanto), uno con il solito oggetto piegato ad angolo retto (Fig. 18), due con in mano un vitellino (Figg. 19 e 20), due frammenti della parte inferiore di personaggi panneggiati (Figg. 21 e 22), sette teste (Figg. 23–27) (otto con quella del n. 2), molti frammenti di basi con piedi umani (vedi Fig. 13) e zampe caprine ed altri poco leggibili.

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Munford, R. "Re-Presenting Charles Baudelaire/Re-Presencing Jeanne Duval: Transformations of the Muse in Angela Carter's "Black Venus"." Forum for Modern Language Studies 40, no. 1 (January 1, 2004): 1–13. http://dx.doi.org/10.1093/fmls/40.1.1.

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BREURE, ABRAHAM S. H., and JONATHAN D. ABLETT. "An ironic twist of fate: replacement name for Stenogyra gracilenta Morelet, 1885, not Achatina gracilenta Morelet, 1867 (Mollusca, Gastropoda, Achatinidae)." Zootaxa 4418, no. 3 (May 8, 2018): 299. http://dx.doi.org/10.11646/zootaxa.4418.3.8.

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During work on a monograph of Morelet’s contributions to malacology (Breure, Audibert & Ablett, forthcoming) we found that two of his newly introduced taxa currently have to be considered as homonyms belonging to the genus Subulina H. Beck, 1837 (classified within the family Achatinidae according to Fontanilla et al. (2017: 385)). The older taxon is Achatina gracilenta which was described by Morelet (1867: 79, pl. 7 fig. 2) from [Angola] “Golungo-Alto, au bord du Rio Quiapose, près de Sange; les environs de Lopollo (district de Huilla)”. According to Naggs (1990a: 31; also pers. comm. 10 October 2017) this species has to be classified as Subulina gracilenta (Morelet, 1867). The type material of this species is present in the Natural History Museum, London (NHMUK 1893.2.4.263–265). The younger taxon was described by Morelet (1885: 25, pl. 2 fig. 8) as Stenogyra gracilenta from [Gabon] “environs de Mayumba”. Pilsbry (1906: 82) already recognised this as Subulina gracilenta (Morelet, 1885); Naggs (pers. comm. 10 October 2017) confirmed this classification and concluded that this taxon is a junior secondary homonym of Achatina gracilenta Morelet, 1867. Type material for Stenogyra gracilenta Morelet, 1885 has not been located. We here propose Subulina bruggenorum nom. nov. as a replacement name for Stenogyra gracilenta Morelet, 1885 (not Achatina gracilenta Morelet, 1867).

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Gregório, Raúl, António Neves, and Paula Romão. "Conservation and restoration of the panel "Saint Sebastian calling on the faith of the Christian captive brothers Marcus and Marcellianus" from the Museum of Angra do Heroísmo, Terceira Island, Azores." Conservar Património 12 (2010): 17–36. http://dx.doi.org/10.14568/cp12_2.

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Floyd-Thomas, Stacey M. "Teaching the Canon and Cannon Formation as Incarnation and Conjure: Dr. Katie Geneva Cannon as Womanist Mentor and Muse." Wabash Center Journal on Teaching 1, no. 1 (January 15, 2020): 87–91. http://dx.doi.org/10.31046/wabashcenter.v1i1.1585.

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Written by her first doctoral student, this essay is a tribute to the legacy and lessons of Dr. Katie Geneva Cannon (1950-2018), the progenitor of womanist ethics. The author embraces Cannon’s signature womanist embodied pedagogy, which takes embodiment as a Black woman seriously and serves as a paradigm for those who purposefully and poignantly live intersecting roles of race, gender, and class. Through both a personal account of the grief experienced by the passing of her mentor and a critical reflection on lessons learned by Cannon’s legacy, the author exposes the daunting challenges faced by womanist scholars as they navigate the front line of the classroom and the frequently death-dealing and dismissive terrain of higher education. See companion contributions to this Forum written by Edwin David Aponte, Miguel A. De La Torre, Stacey M. Floyd-Thomas, Karen K. Seat, and Angela D. Sims.

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Floyd-Thomas, Stacey M. "Teaching the Canon and Cannon Formation as Incarnation and Conjure: Dr. Katie Geneva Cannon as Womanist Mentor and Muse." Wabash Center Journal on Teaching 1, no. 1 (January 15, 2020): 87–91. http://dx.doi.org/10.31046/wabashjournal.v1i1.1585.

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Written by her first doctoral student, this essay is a tribute to the legacy and lessons of Dr. Katie Geneva Cannon (1950-2018), the progenitor of womanist ethics. The author embraces Cannon’s signature womanist embodied pedagogy, which takes embodiment as a Black woman seriously and serves as a paradigm for those who purposefully and poignantly live intersecting roles of race, gender, and class. Through both a personal account of the grief experienced by the passing of her mentor and a critical reflection on lessons learned by Cannon’s legacy, the author exposes the daunting challenges faced by womanist scholars as they navigate the front line of the classroom and the frequently death-dealing and dismissive terrain of higher education. See companion contributions to this Forum written by Edwin David Aponte, Miguel A. De La Torre, Stacey M. Floyd-Thomas, Karen K. Seat, and Angela D. Sims.

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Tulić, Damir, and Mario Pintarić. "Gli angeli zaratini a Ceregnano: una proposta per Gregorio Morlaiter." Ars Adriatica 7, no. 1 (December 19, 2017): 227. http://dx.doi.org/10.15291/ars.1394.

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In the small town of Ceregnano, not far from Rovigo in Veneto, a new parish church was built in the 18th century. Its richly ornamented high altar has a monumental tabernacle with two large marble angels in adoration. The author has established that the altar was made in the tradition of analogous works produced by Giorgio Massari, and that the accurate date of its construction is 1778, the year carved at the rear of the tabernacle dome. Moreover, models have been found for the Ceregnano angels, namely the marble statues of angels at the high altar of the Benedictine church of St Mary in Zadar, produced between 1759 and 1762 by the famous Venetian sculptor Giovanni Maria Morlaiter. More precisely, the Ceregnano angels were made after Morlaiter’s terracotta models for the angels of Zadar, preserved at the Ca’Rezzonico museum in Venice. A stylistic analysis of sculptural decoration at the Ceregnano altar has allowed the author to attribute it to Giovanni Maria’s son Gregorio Morlaiter (Venice, 1738 – 1784), heir to his father’s workshop. The same master has been attributed with a small tabernacle with putti installed in 1776 on the high altar of the church of Sant’Andrea della Zirada in Venice.

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HELLER, K. G., and ED BAKER. "From an old sound recording to a new species in the genus Horatosphaga (Orthoptera: Tettigonioidea: Phaneropterinae: Acrometopini)." Zootaxa 4323, no. 3 (September 22, 2017): 430. http://dx.doi.org/10.11646/zootaxa.4323.3.10.

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Among insects, Orthoptera are a group famous for communicating by sound. This is especially true for bush-crickets (or katydids; Tettigonioidea). All acoustically active species produce sound by rubbing the fore wings (tegmina) against each other, using a stridulatory file situated on the lower side of the left tegmen and a scraper formed by the inner edge of the right tegmen (see e.g., Ragge & Reynolds 1998). Bush-cricket species of the tribe Acrometopini often have complicated stridulatory files and also complex songs, as shown in a recent study (Hemp et al. 2017). During the preparation of that paper we discovered a sound record of a species of the group taken on 16th March 1972 by the entomologist David Hollis in Angola as part of the multi-disciplinary entomological South Western Africa Expedition (for more details see Lane et al. 2011, Pethers 2016). Hollis (principally a hemipterist) published several papers on different groups of insects (see http://bionames.org/authors/David%20Hollis; incomplete), including Orthoptera (see Ingrisch & Willemse 2004). The sound recording was deposited in the British Museum (Natural History) Library of Recorded Insect Sounds, and was later made openly accessible in the BioAcoustica repository (Baker et al. 2015). Hollis had found the animal at light, recorded it on the same day singing on a bush, and brought the specimen (together with two conspecific males) to the Natural History Museum (NHM), London. Here it was later identified as Horatosphaga ?stuhlmanni (Karsch 1896) by D. Ragge, the curator of Orthoptera at the NHM at that time. Under this name (Horatosphaga ?stuhlmanni) the song was described in Hemp et al. 2017. Horatosphaga males are fully winged while females are flightless and plump; sexual dimorphism reaches its extreme form in this group of species. Species of this genus are mostly recorded from open grasslands in savanna habitats up to montane elevations (e.g. H. heteromorpha, Hemp 2013).

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Ottomeyer, Hans, and Terry D. Prince. "Biedermeierstoffe: Die Sammlungen des MAK—Österreichisches Museum für angewandte Kunst, Wien, und des Technischen Museums Wien. Angela Völker , Ruperte Pichler." Studies in the Decorative Arts 5, no. 2 (April 1998): 106–8. http://dx.doi.org/10.1086/studdecoarts.5.2.40662651.

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Journal articles on the topic 'Museu de Angola'

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