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Journal articles on the topic 'Museum's history'
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1
Verbytska, Polina. "TRANSFORMATION OF EUROPEAN ETHNOGRAPHIC MUSEUMS IN THE CONTEXT OF THEORETICAL DISCUSSIONS AND PRACTICES OF POSTCOLONIALISM." Intermarum history policy culture, no. 14 (May 29, 2024): 111–28. http://dx.doi.org/10.35433/history.112072.
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The article aims to substantiate the potential of postcolonialism's theoretical approaches in rethinking an ethnographic museum's mission in a globalized, multicultural society. The methodological basis of the study based on the tools of contemporary postcolonial and memory studies, museology and anthropology. Scientific novelty. The importance of theoretical approaches to postcolonialism in rethinking the mission of an ethnographic museum in a globalized, multicultural society is substantiated. In the example of the Museum of Civilisations of Europe and the Mediterranean in Marseille, innovative curatorial approaches are identified to decolonize the ethnographic collection and integrate the heritage of different peoples of the former colonial empire. Conclusions. The article analyses the emergence and functioning of ethnographic museums in the nineteenth and first half of the twentieth century as the embodiment of imperial projects. The evolution of ethnographic museums is closely connected with the development of anthropology as a scientific discipline. Ethnographic objects were seen as evidence of humanity's civilizational evolution and established differences between Europeans and "others." The challenges and peculiarities of the new paradigm of ethnographic museology in the modern world are characterized. The article presents curatorial approaches in the permanent exhibition of the Museum of Civilisations of Europe and the Mediterranean in Marseille as an example of transforming an ethnographic museum into a museum of society.
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BRINKMAN, PAUL D. "Establishing vertebrate paleontology at Chicago's Field Columbian Museum, 1893—1898." Archives of Natural History 27, no. 1 (2000): 81–114. http://dx.doi.org/10.3366/anh.2000.27.1.81.
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By the late nineteenth century, as a consequence of the costly, far-flung, labor-intensive, and specimen-centered nature of the discipline, American vertebrate paleontology had become centralized at large collections maintained by a few universities and major natural history museums. Foremost among the latter group were the Academy of Natural Sciences, Philadelphia; the American Museum of Natural History, New York; the National Museum of Natural History, Washington, DC; the Carnegie Museum, Pittsburgh; and the Field Columbian Museum, Chicago. There is an extensive body of popular and historical literature reviewing the establishment and early development of the vertebrate paleontology programs at most of these institutions, especially the American Museum. The Field Columbian Museum, however, has received relatively little attention in this literature. The present paper begins to redress this imbalance by reviewing the establishment of vertebrate paleontology at the Field Columbian Museum from the museum's foundation in 1893, through the end of 1898, when the museum added a vertebrate paleontologist to its curatorial staff. An account of the Field Columbian Museum's first expedition for fossil vertebrates in the summer of 1898 is included.
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Leite, Marcelo Henrique. "Para que os alunos visualizem a história: o Museu Republicano “Convenção de Itu” e o ensino de história." Anais do Museu Paulista: História e Cultura Material 32 (December 16, 2024): 1–39. https://doi.org/10.11606/1982-02672024v32e32.
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School visits are a significant part of museums’ history. To explore this theme, this article adopts a methodological approach that considers three levels of analysis: the museum, the educational actions, and the teaching applications. It applies the framework to the Republican Museum "Convention of Itu", located in the city of Itu, in the state of São Paulo, Brazil, mobilizing its foundation’s history and the school visits between 1987 and 2017. The documentary corpus is comprised by semi-structured interviews and the museum's institutional archive (including letters requesting school visits among other documents). The aim is twofold: to advance research on the intersection between (history) teachers and (history) museums and to stimulate and broaden the perspective on teaching practices.
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Govekar Okoliš, Monika. "University Students' Views on the Efficacy of a Museum’s Historical School Lessons – The Case of Ancient Emona." Revija za elementarno izobraževanje 15, Spec. Iss. (2022): 41–58. http://dx.doi.org/10.18690/rei.15.spec.iss.41-58.2022.
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Museums today engage in a range of educational activities, including simulated museum's historical school lessons. The article uses the Slovenian School Museum as an example and describes the education it offers, especially concerning museum's historical school lessons. The purpose of this qualitative study is to explore the views and reactions of university students (n = 19) from the Faculty of Arts at the University of Ljubljana, concerning what they learned from the enactment of a historical school lesson. An open-ended type of questionnaire was given to participants in the study year 2019/20 and used to evaluate the “Ancient Emona” school lesson. The study's findings show the historical school lesson conducted in the museum to be an effective, living, and active means of education on the history of teaching for university students.
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Crew, Spencer R., and John A. Fleckner. "Archival Sources for Business History at the National Museum of American History." Business History Review 60, no. 3 (1986): 474–86. http://dx.doi.org/10.2307/3115887.
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The Smithsonian Institution's National Museum of American History offers rich opportunities for business historians. In this essay, Mr. Fleckner and Mr. Crew describe the holdings and facilities of the recently established Archives Center and examine in detail the museum's extensive and extremely valuable holdings in advertising history.
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Yakovleva, V. V., and I. A. Kovtun. "MUSEUM OF PRECIOUS AND DECORATIVE STONES – HISTORY, RECOGNITION, DEVELOPMENT." Mining Geology & Geoecology, no. 2(7) (December 26, 2023): 67–76. http://dx.doi.org/10.59911/mgg.2786-7994.2023.2(7).295202.
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The Museum of Precious and Decorative Stones is one of the well-known museums dedicated to geological topics. The creation of the Museum developed in parallel with the research and exploitation of the Volyn chamber pegmatite deposit. The collection of specimens from the Volyn chamber pegmatite deposit, minerals of the natural resource base of Ukraine and minerals and rocks from deposits around the world has deservedly received the status of unique. This collection, which is the result of many years of hard work by local specialists, is known and respected both among geological experts and numerous nature lovers. Many of the Museum's exhibits are unique and have no analogues in the world. The collection is of exceptional importance for science and cannot be reproduced in the event of its destruction, as the loss of rare exhibits cannot be replaced by other similar ones. Eight specimens from the collection have their own names, dedicated both to prominent scientists of world renown and to names that reflect the characteristic features that appear in the world mineralogical literature. The Museum's development strategy envisages: dissemination of geological knowledge, attraction of a wide range of visitors, ensuring full functioning as a scientific, cultural and educational institution, further development as a centre of geological and mineralogical life, raising the level of its work in accordance with modern requirements, infrastructure development, and expansion of online resources.
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Burke, Verity. "It's geology time: Redesigning the Lapworth Museum of Geology." Journal of Science & Popular Culture 3, no. 1 (2020): 81–101. http://dx.doi.org/10.1386/jspc_00013_1.
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Abstract In 2014, the Lapworth Museum of Geology in Birmingham (United Kingdom) successfully undertook a £2.5 million redesign to restore its heritage, and to adapt its specialist-focused displays for public visitors. This essay unearths the museum's past to argue that previous displays, which required the pedagogy of geological professors to illuminate the objects for the museum's specialist visitors, are replaced by a multimedia display strategy which embeds the history of the museum's geologists within the exhibit narrative, bridging the gap between specialist and public knowledge, transforming the Lapworth into a 'museum at a university' rather than a 'university museum'.
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Abbasov, Iftikhar B., and Christina Lissette Sanchez. "Design features of the Inca museum of culture." International research journal of engineering, IT & scientific research 6, no. 5 (2020): 1–12. http://dx.doi.org/10.21744/irjeis.v6n5.970.
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The paper deals with the development of a design concept for a museum of Inca culture in Ecuador. The current trends in the organization of historical museums in Latin America are presented. An overview of the graphic support of the Latin American museums of culture, archeology, and history is made. The historical foundations of the Museum of Inca culture are presented, the iconography of the Inca civilization of various periods is analyzed. The current state of the museum, the history of its foundation, prerequisites for creating a new brand are described. Associative graphic images for creating a new logo for the museum were considered, corporate colors were substantiated, and components of the brand were developed. This will strengthen the museum's brand and increase its social significance for the popularization of the Inca culture.
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Thomas, Jennifer M. "The documentation of the British Museum's natural history collections, 1760–1836." Archives of Natural History 39, no. 1 (2012): 111–25. http://dx.doi.org/10.3366/anh.2012.0064.
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While much critical attention has been paid to the British Museum's early collections of natural history, less has been made of the way in which the items were catalogued and recorded. This paper will examine how information was organized within the Museum from its inception in 1753 to 1836, following the publication of the second Report from the Select Committee on the condition, management and affairs of the British Museum. Drawing on the Museum's avian collections as a case study, it will become apparent that while the Trustees and staff recognized the need for detailed catalogues of their natural history collections, their attention and resources were diverted from this task for various reasons during the early years of the Museum.
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Shupletsov, A. S. "MUSEUM OF THE HISTORY AND DEVELOPMENT OF EDUCATION NAMED AFTER P. P. KOSTENKOV: HISTORY OF CREATION AND CURRENT STATE." Topical Issues of Culture, Art, Education 39, no. 1 (2024): 68–75. http://dx.doi.org/10.32340/2949-2912-2024-1-68-75.
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The development of the museum as an educational form of culture takes place in the context of meeting the educational needs of society and focusing on the activities of educational institutions. The pedagogical museums of the 19th century, which ensured the implementation of educational reforms in Russia in the second half of the 20th century, were replaced by museums of public education, the purpose of which was to preserve the historical memory of the formation and development of education and outstanding teachers. The Museum of the History of the Development of Public Education in the Altai Krai for many years played the role of a scientific information center on the history and methods of teaching and upbringing, effectively documenting and broadcasting the pedagogical heritage under the leadership of its creator. P. P. Kostenkov and director S. V. Bazhina. At the present stage, the museum's activities are mainly focused on communicative activities dedicated to recreating the biographies of outstanding educators and teachers and their contribution to the development of education in the Altai Krai.
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Pripadchev, Andrey А. "Museum of the Voronezh Church History and Archeology Committee: 1900–17." Herald of an archivist, no. 3 (2020): 929–39. http://dx.doi.org/10.28995/2073-0101-2020-3-929-939.
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The article discusses the formation the Museum of the Voronezh Church History and Archeology Committee established in 1900. Its relevance is connected with scholars’ interest in the Museum's collections and their acquisition. The research novelty springs from researching the previously unexplored church societies activities in preservation of historical and cultural heritage of the Russian Orthodox Church. The main purpose of the research is to study the Museum's collections. To achieve this goal, the following tasks are formulated: to determine the composition of the Committee Museum fonds; to characterize its main exhibits; to study the nature of acquisition; to identify the donors of the Museum. The framework covers the period of the Voronezh Voronezh Church History and Archeology Committee functioning in 1900-17. The research methodology is based on the application of special historical methods: personality-oriented approach, historical-genetic, synchronistic, historical-system, method of historicism, which has allowed the author to consider and analyze the evolution of the Museum collection. It was formed mainly by private donations. One of the first donors was priest I. V. Surinov, who transferred materials of random excavations near his parish to the Museum. On the basis of this findings, the Museum’s collection of primitive antiquities was formed. The exhibits of the collection were presented at the XII Russian archaeological Congress in Kharkiv. Members of the Committee and other donors gave to the Museum paleontological finds, coins, church plate, ancient manuscripts. In 1906, the “ancient secular objects” were exchanged for “church” ones. The Museum began to focus exclusively on the Church antiquities. The collection was in formation until Committee’s liquidation in late 1917. The Museum was never officially opened. The fate of the exhibits is unknown. They probably perished either during the Seminary liquidation in 1918 or in 1942, when the city was occupied during the Great Patriotic War.
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Andermann, Jens. "Showcasing Dictatorship." Journal of Educational Media, Memory, and Society 4, no. 2 (2012): 69–93. http://dx.doi.org/10.3167/jemms.2012.040205.
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This article compares two recently inaugurated museums dedicated to the period of dictatorial terror and repression in the Southern Cone: the Museum of Memory and Human Rights at Santiago, Chile (opened in 2009), and the Museum of Memory at Rosario, Argentina (2010). Both museums invoke in their very names the "memorial museum" as a new mode of exhibitionary remembrance of traumatic events from the past. They seek to sidestep the detachment and "objectivity" that has traditionally characterized historical museum displays in favor of soliciting active, performative empathy from visitors. Neither of the two institutions, however, complies entirely with the memorial museum's formal characteristics; rather, they reintroduce modern museographical languages of history and art, thus also challenging the emergent "global canon" of memorial museum aesthetics.
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Truman, Dorothy. "The Museum of American Textile History: Archival Sources for Business History." Business History Review 60, no. 4 (1986): 641–50. http://dx.doi.org/10.2307/3115662.
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Originally founded to house the papers and artifacts of the Stevens family, operators of several woolen mills in the Merrimack Valley, the Museum of American Textile History has grown to become a valuable resource for historians and others interested in the rise and fall of the New England textile industry. In the following essay, Dorothy Truman describes the depth and breadth of the museum's collections and highlights their importance to the study of business history.
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Hunter, Tavian. "South Asian collection development at the British Museum: a commentary on the inclusion of audio-visual and digital content." Art Libraries Journal 44, no. 1 (2019): 23–30. http://dx.doi.org/10.1017/alj.2018.38.
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The British Museum's collection represents the history of British collecting taste since its founding in 1753. Over this time span, many important collectors have played a pivotal role in the development of the British Museum's South Asian collection. Through various acquisition methods, a number of illustrated manuscripts, albums, and photographical archives have been acquired for the museum's permanent collection. This development has coincides with the growing reference collection in the Department of Asia Library. With changes in collection practices, there is a growing question about the appropriateness of audio-visual and multimedia acquisitions for both the museum and the Department of Asia Library. A select history of the South Asian collection is presented alongside the development of the research collections and exploration into digital repositories.
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Hellström, Nils Petter. "The tree as evolutionary icon: TREE in the Natural History Museum, London (William T. Stearn Prize 2010)." Archives of Natural History 38, no. 1 (2011): 1–17. http://dx.doi.org/10.3366/anh.2011.0001.
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As part of the Darwin celebrations in 2009, the Natural History Museum in London unveiled TREE, the first contemporary artwork to win a permanent place in the Museum. While the artist claimed that the inspiration for TREE came from Darwin's famous notebook sketch of branching evolution, sometimes referred to as his “tree of life” drawing, this article emphasises the apparent incongruity between Darwin's sketch and the artist's design – best explained by other, complementary sources of inspiration. In the context of the Museum's active participation in struggles over science and religion, the effect of the new artwork is contradictory. TREE celebrates Darwinian evolutionism, but it resonates with deep-rooted, mythological traditions of tree symbolism to do so. This complicates the status of the Museum space as one of disinterested, secular science, but it also contributes, with or without the intentions of the Museum's management, to consolidate two sometimes conflicting strains within the Museum's history. TREE celebrates human effort, secular science and reason – but it also evokes long-standing mythological traditions to inspire reverence and remind us of our humble place in this world.
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Rijaldi, Muhammad Hafidzh, and Samsul Bahri. "Rewening The Langkat Regional Museum With The Application of The Neo-Vernacular Malay Architectural Style." International Journal of Architecture and Urbanism 7, no. 2 (2023): 338–47. http://dx.doi.org/10.32734/ijau.v7i2.13516.
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In Indonesia, institutions of education continue to behind places of amusement in terms of correlation. A museum is a structure that houses exhibits of historical, artistic, scientific, and antiquarian items. A timeline of actual past events makes up history. Museum tours don't operate like museums do generally in Tanjung Pura. According to survey findings at the Regional Museum, only 60 people visited the museum in the first half of 2020, commencing in June. The Langkat Regional Museum has a number of issues, including a front that appears to have been less recently maintained. The museum's space is too small, giving the sensation of being crowded within. The museum's layout for collections and rooms is disorganized. A venue for public education on history, particularly the history of the Langkat Sultanate, is what this design aims to give. Applying the topic of Malay Neo Vernacular Architecture, revitalize the area with new concepts and a new mood so that it becomes a practical, sensible, and receptive component of people and the environment. Additionally, building a museum space that can preserve the Malay Sultanate of Langkat's cultural legacy. Finally, fostering affection and compassion for the neighborhood's rich cultural legacy. It is intended that by renewing the Langkat Regional Museum, which carries the topic of Neo-Vernacular Malay Architecture, it will be able to reclaim its role as a tool and infrastructure for teaching in public areas. in order to promote Malay culture and historical legacy from the Sultanate of Langkat as a tourist destination.
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Puspasari, Shinta, Rendra Gustriansyah, Dwi Asa Verano, Ahmad Sanmorino, Hartini Hartini, and Ermatita Ermatita. "MEASURING PERCEIVED USABILITY OF ARTIFICIAL INTELLIGENCE-BASED QUIZZES IN A VIRTUAL MUSEUM." JITK (Jurnal Ilmu Pengetahuan dan Teknologi Komputer) 10, no. 4 (2025): 953–60. https://doi.org/10.33480/jitk.v10i4.5611.
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The transformation of modern museums through digital technology offers added value to visitors, especially in the context of education. Virtual museums, in particular, complement physical museums by providing accessibility and enhancing the learning experience. The SMBII virtual museum includes an AI-based quizzes feature designed to assess the knowledge level of visitors regarding the museum's history and collections as an educational feature. In addition to physical museums, virtual museums offer convenience and enrich the learning process for visitors. The quizzes adapts its questions based on the visitor's profile, leveraging AI to tailor content and maximize learning outcomes. This study aims to compare the effectiveness of two widely used usability metrics—System Usability Scale (SUS) and Usability Metric for User Experience (UMUX)—in evaluating the usability of the AI-driven quiz feature within the SMBII virtual museum. The study specifically seeks to determine whether there are significant differences between SUS and UMUX in measuring user perceptions of the quiz’s usability. The primary respondents of this study were students, who represent the museum's target audience for educational purposes. Hypothesis testing results show no significant difference between the SUS and UMUX scores (P > 0.05), indicating that both metrics offer similar evaluations of usability. Based on these findings, the study recommends the use of UMUX over SUS for future usability assessments in virtual museum systems, as UMUX is more time-efficient without compromising accuracy. This research contributes to advancing the understanding of usability testing methods for AI-based educational features in virtual museum environments
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Prihartini, Novy, and Pungki Purnomo. "Visitor Satisfaction at the Multatuli History Museum, Rangkasbitung: A Study on Service Quality Impact." Librarianship in Muslim Societies 3, no. 2 (2024): 100–119. https://doi.org/10.15408/lims.v3i2.41177.
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The Multatuli Museum plays a crucial role in serving public demand for high-quality services, as it supports lifelong learning and offers valuable recreational experiences. This study explores the impact of service quality on visitor satisfaction at the Multatuli Museum in Rangkasbitung. A total of 363 participants were included in the sample, selected through purposive sampling with a minimum age of 17. Respondents represented a broad visitor base, including individuals from Rangkasbitung and other areas who had experienced the full range of the museum's facilities and services. The findings show that the quality of services provided by the museum is rated 'very high,' with a score of 3.44, falling within the 3.25–4.00 range. Similarly, satisfaction with these services was categorized as 'outstanding,' scoring 3.42, also within the 3.25–4.00 interval. The analysis further indicates that the quality of services exerts a substantial influence on visitor satisfaction, contributing to 45.4% of the overall satisfaction score. This significant impact underscores the museum's strong potential to deliver high-caliber visitor experiences and demonstrates a solid foundation for continued excellence. To ensure sustained quality and visitor satisfaction, it is essential that the Multatuli Museum, along with the Lebak Regency Culture and Tourism Office, take ongoing, concrete steps to support and enhance the museum's service offerings. By prioritizing service quality and addressing visitors' evolving needs, the Multatuli Museum reinforces its position as an essential educational and cultural hub, promoting learning and enjoyment.
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Finn, Margot C. "MATERIAL TURNS IN BRITISH HISTORY: III. COLLECTING: COLONIAL BOMBAY, BASRA, BAGHDAD AND THE ENLIGHTENMENT MUSEUM." Transactions of the Royal Historical Society 30 (November 11, 2020): 1–28. http://dx.doi.org/10.1017/s0080440120000018.
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ABSTRACTThis lecture explores the history of Enlightenment-era collecting of antiquities to probe the claims to universality of Western museums. Focusing on the British Museum's Enlightenment Gallery, it underscores the imperial and familial contexts of British collecting cultures. Questioning received narratives of collecting which highlight the role played by individual elite British men, it suggests that women, servants and non-European elites played instrumental parts in knowledge production and the acquisition of antiquities. The private correspondence of the East India Company civil servant Claudius Rich – the East India Company's Resident or diplomatic representative at Baghdad 1801–1821 – and his wife Mary (née Mackintosh) Rich illuminates social histories of knowledge and material culture that challenge interpretations of the British Museum's Enlightenment Gallery which privilege trade and discovery over empire.
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Babaian, Sharon. "So Far, So Good: Ethics and the Government Historian." Public Historian 28, no. 1 (2006): 101–6. http://dx.doi.org/10.1525/tph.2006.28.1.101.
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As a historian at the Canada Science and Technology Museum, the author's primary duty is to write historical reports on the major technological subject areas represented in the museum's collections. Although some of these technologies have been controversial, the author's work in the field has not yet posed any real ethical dilemmas. This is due both to the generally supportive environment in which she works and to the limited public interest in Canada in the history of technology. If, however, museums become increasingly dependent on outside funding to support core activities like research, this situation could easily change.
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Kazantseva, O. A. "MUSEUMS OF UDMURTIA IN CONDITIONS OF GLOBALIZATION." Вестник Удмуртского университета. Социология. Политология. Международные отношения 4, no. 1 (2020): 101–9. http://dx.doi.org/10.35634/2587-9030-2020-4-1-101-109.
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The article presents some analytical results of Udmurtia museums’ work in connection with the processes of globalization. A museum, as a sociocultural institution of society, reacts and feels changes in the world that change the museum's space, and finds other forms of interaction with libraries, archives, universities and research institutes. Informatization as an integral part of globalization has changed the accounting, storage and presentation of historical, cultural and natural heritage to a visitor in domestic museums, including in Udmurtia. Public attention is focused not only on material, but also on intangible objects. Museums of the Udmurt Republic are part of the unified electronic museum space of Russia and the world, where there is an opportunity to join the great cultural achievements of all mankind. Globalization opens up new opportunities for visitors to access the museum's collections and research into the material and spiritual culture of mankind. Museums of Udmurtia are closely connected with the phenomenon of globalization. Based on the use of SHOT analyses to evaluate the activities of the state museums of the Udmurt Republic, the prospects for development are outlined. Some aspects of Udmurtia museums activities are analyzed: informatization of museum environment, new forms of communication and the role of philanthropists and patrons. Museums develop modern forms of communication, introduce multimedia resources, use interactive technologies, successfully develop and participate in projects, and provide visitors with disabilities with group and individual classes - master classes. Museum employees develop special programs for working with such visitors. Udmurtia museums strive to be open to all visitors. Museum community presents successful projects in the field of preservation and study of historical and cultural heritage to Russia and the world. In the process of globalization, museums in Russian society remain a traditional institution where you can see authentic exhibits of history and culture, feel the power of their impact on the thoughts and feelings of a person. It is this educational aspect that makes a museum different from other institutions of society.
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Tai, Li-chuan. "The Shanghai Museum and the introduction of taxidermy and habitat dioramas into China, 1874–1952." Archives of Natural History 48, no. 1 (2021): 111–30. http://dx.doi.org/10.3366/anh.2021.0691.
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The Shanghai Museum, which was established by the primarily British and American expatriate-led North-China Branch of the Royal Asiatic Society in 1874 and continued to operate until 1952, had a major influence on the popularization of natural history knowledge in China. It contributed to training the first generation of Chinese taxidermists, many descendants of whom continue even today to hold positions in academic institutions related to natural history in the country. Moreover, the Museum's habitat dioramas, in particular, played a significant role in raising public awareness about environmental issues among local and foreign residents of Shanghai. This paper traces the salient aspects of the Museum's history, focusing on the key individuals involved in its development and the contributions that it made to the production, dissemination and popularization of natural history knowledge and techniques.
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ABRAM, RUTH J. "Kitchen Conversations: Democracy in Action at the Lower East Side Tenement Museum." Public Historian 29, no. 1 (2007): 59–76. http://dx.doi.org/10.1525/tph.2007.29.1.59.
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Abstract This article describes the Lower East Side Tenement Museum's ongoing public dialogue on immigration, the first in the United States. As she joins facilitators in reflecting on the importance of dialogue in a democracy, museum president Ruth J. Abram explains how and why the program was initiated, the obstacles that had to be overcome, and the public reaction to it. Kitchen Conversations represents the museum's commitment to the proposition that historic sites must function as places of civic engagement, using the history they interpret as a starting place for dialogue on related contemporary issues.
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Banks, Rex E. R. "The Natural History Museum." African Research & Documentation 55 (1991): 33–38. http://dx.doi.org/10.1017/s0305862x00015831.
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The Natural History Museum has been at South Kensington, London in the romanesque style building of Alfred Waterhouse since 1881. Before that it existed as the Natural History Department of the British Museum, when that institution was established in 1759, with the collections of Sir Hans Sloane, offered to the nation on his death in 1753. The separation of the natural history collections to a new building at South Kensington was forced on the Trustees as a result of the rapid growth of those collections since the Museum's foundation, but especially during the late 18th and early 19th centuries. This growth of collections and libraries has, of course, continued right down to the present time, and has compelled the Trustees to transfer some parts of the Natural History Museum to out-stations, such as, for example, the Zoological Museum, Tring, where the ornithological collections are now housed.
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Banks, Rex E. R. "The Natural History Museum." African Research & Documentation 55 (1991): 33–38. http://dx.doi.org/10.1017/s0305862x00015831.
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The Natural History Museum has been at South Kensington, London in the romanesque style building of Alfred Waterhouse since 1881. Before that it existed as the Natural History Department of the British Museum, when that institution was established in 1759, with the collections of Sir Hans Sloane, offered to the nation on his death in 1753. The separation of the natural history collections to a new building at South Kensington was forced on the Trustees as a result of the rapid growth of those collections since the Museum's foundation, but especially during the late 18th and early 19th centuries. This growth of collections and libraries has, of course, continued right down to the present time, and has compelled the Trustees to transfer some parts of the Natural History Museum to out-stations, such as, for example, the Zoological Museum, Tring, where the ornithological collections are now housed.
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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Skupchenko, Ludmila A. "The tiles of Veliky Ustyug in the collections of Russian museums." Podlinnik, no. 5 (March 2025): 79–93. https://doi.org/10.28995/3034-3224-2025-1-79-93.
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The article presents an overview of the complex of tiles produced in Veliky Ustyug in the XVIII–XIX centuries and are in the collections of Russian museums. For the first time, documents on the transfer of tiles from the funds of the Veliky Ustyug Museum-Reserve to the collections of Russian museums, photographs from the archive of A.V. Filippov, images of a number of museum objects from the collection of tiles and photos from the fund of the Veliky Ustyug Museum-Reserve are published. New information is provided from the history of the acquisition of museum collections, and for the first time the location of a number of stove sets has been established. The tiles from the museum's sets, which were attributed in 2023–2024, have been published for the first time. The materials of the Veliky Ustyug Central archive of and the accounting documentation of the Veliky Ustyug Museum-Reserve were used as sources. The data obtained allow us to expand the understanding of the unique regional school of tile production, which developed in Veliky Ustyug in the 18th century and occupies an important place in the history of Russian tiles.
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Cho, Sungsil. "Reproduction of Local Culture Exhibitions at Japanese Local Museums and Community Participation: Focusing on the Case of Urayasu City Museum." Academic Association of Global Cultural Contents 58 (February 29, 2024): 137–55. http://dx.doi.org/10.32611/jgcc.2024.2.58.137.
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This study aimed to examine the reproduction of local history and the participation patterns of residents in exhibitions at local Japanese museums. According to data from the Agency for Cultural Affairs under the Ministry of Education, Culture, Sports, Science and Technology, there are more than 5,700 museums in Japan. Japan's rapid growth after its defeat in World War II accelerated the establishment of museums that store local history and folklore materials. Around 1993, 452 local museums with history and folklore themes were built. This can be interpreted as a measure to respond to the standardization of existing centrally oriented museums due to the triggering of awareness of issues such as local population decline and regional crises. Unlike central or tourism-oriented museums, museums established in local areas tend to focus on residents living in the area. The local museum examined in this study also considers local ‘people’, who put the concept of ‘hometown’ at the forefront, as a significant element of museum operation, and their participation becomes the basis of the local museum's identity. As the leading case covered in this paper, the Urayasu City Local Museum promotes citizen participation by turning the results from various local participation programs, such as collaboration with local schools, student curator system, and regional competitions to transmit local cultural heritage, into exhibition contents. Japanese local museums provide many implications for today's Korean society, especially in the current era where there is talk of local extinction due to population decline, the direction in which the ‘region’ should move, and the social role that museums should take.
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Hemanth, Avni Durga, and Najla Bent M. Alnaser Allani. "The Museum Journey: Phenomenological Exploration of User Experience in the Bahrain National Museum." Proceedings of the International Conference of Contemporary Affairs in Architecture and Urbanism-ICCAUA 7, no. 1 (2024): 1002–9. http://dx.doi.org/10.38027/iccaua2024en0121.
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The design of museums has significantly evolved over the years, from simple exhibitions of artifacts to immersive andinteractive experiences. This paper explores the pivotal role of architectural phenomenology in shaping visitor’sexperience in museum design. We aim to achieve this goal by adopting a qualitative research approach of the BahrainNational Museum. The museum is an excellent example of how architectural phenomenology can cater to creating aspace that has meaning beyond its physical dimensions. By analyzing the museum's design elements, we identify keycontributors to the emotional and intellectual engagement of visitors with the museum environment. The findingsreveal that incorporating phenomenology principles has significantly elevated the overall design quality of the museumand provides visitors with a unique and immersive experience that highlights Bahrain's rich history and culturalheritage. Ultimately, this knowledge can inform future museum designers and professionals, leading to more effectiveand rewarding experiences for museum visitors.
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Larson, Carolyne Ryan. "“The Ashes of our Ancestors”: Creating Argentina's Indigenous Heritage in the Museo Etnográfico, 1904–1930." Americas 69, no. 4 (2013): 467–92. http://dx.doi.org/10.1353/tam.2013.0030.
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On September 28, 1927, the central atrium of the Museo Etnográfico on Buenos Aires's Calle Moreno was crowded with people. More than 100 men and women were in attendance, from Universidad de Buenos Aires rector Ricardo Rojas to Argentine president Marcelo T. de Alvear, wrapped in heavy jackets against the spring chill to participate in the inauguration of the museum's new building. Previously housed in “the gloomy catacombs” of an administrative basement, the Museo Etnográfico had now relocated to an airy, Baroque-style building two blocks south of the city's central Plaza de Mayo. In his inaugural speech on that chilly September morning, museum director Salvador Debenedetti proclaimed that the Museo Etnográfico, until then a predominandy academic museum, was undergoing a powerful transformation: it was becoming a public museum. Debenedetti proclaimed that the museum's new incarnation would be a place “of tranquility and of meditation, which will move the spirit of the people and lead them from epoch to epoch, from region to region, from culture to culture.” He described the museum's public visitors, or “the people,” as active participants in the institution's openly nation-building agenda, and celebrated their participation as a “patriotic conjunction, inspired by die desire for scientific progress, the love of truth, [and] the desire to know better and penetrate in its essence the thought of our native ancestors in the land of América.”
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Chen, Junjie. "Research on the Local Knowledge and Its Cultural Value in Village History Museums: A Case Study of Liugong Village History Museum in Guilin." Journal of Social Science Humanities and Literature 7, no. 2 (2024): 144–50. http://dx.doi.org/10.53469/jsshl.2024.07(02).17.
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This paper employs the theory of local knowledge, taking the Liugong Village History Museum in Guilin as the research object. It classifies the local knowledge in the village history museum into explicit and tacit types. The exertion of this local knowledge is closely related to the dynamic behavior, historical induction, and local context throughout the museum's development process. The cultural value of the village history museum lies in promoting local knowledge. From this perspective, the museum plays a role in localizing rural culture, creating cultural landmarks, and constructing a folk discourse system, thus becoming a "new" coordinate in the context of rural cultural revitalization.
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Zou, Ziyi, and Lirong Zeng. "Analysis of the Exhibition Design at the Gansu Jiandu Museum." Economic Society and Humanities 2, no. 1 (2025): 34–39. https://doi.org/10.62381/e254105.
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The design of museum exhibitions, through the integration of art and technology, creates a bridge between history and the present, enabling the transmission of cultural memory and the promotion of civilizational values. The Gansu Jiandu Museum, known for housing the largest collection of Han dynasty wooden and bamboo slips in China, serves as the focus of this analysis. This paper begins with an overview of the museum's general situation, followed by an in-depth analysis of the content design across its four exhibition halls. It further investigates the museum’s design in terms of spatial layout, artifact display methods, lighting effects, color schemes, and audience experience and interaction. The purpose of this study is to provide valuable insights for the future optimization and development of exhibition design at the Gansu Jiandu Museum.
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Liston, J. J., and L. F. Noè. "The tail of the Jurassic fish Leedsichthys problematicus (Osteichthyes: Actinopterygii) collected by Alfred Nicholson Leeds - an example of the importance of historical records in palaeontology." Archives of Natural History 31, no. 2 (2004): 236–52. http://dx.doi.org/10.3366/anh.2004.31.2.236.
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The specimen of the tail of Leedsichthys problematicus, now in The Natural History Museum, London, was one of the most spectacular fossil vertebrates from the Oxford Clay Formation of Peterborough, but as an isolated find it shares no bones in common with the holotype of the genus and species. However, a letter from Alfred Nicholson Leeds and related documents cast valuable new light on the excavation of the tail, indicating that it was discovered with cranial bones, gill-rakers, and two pectoral fins, thereby including elements that can potentially be compared with those of the holotype. The documents also clearly indicate that The Natural History Museum's specimen is not part of the same individual as any other numbered specimen of Leedsichthys as had been speculated on other occasions. The maximum size of the animal represented by The Natural History Museum's specimen was possibly around 9 metres, considerably less than previous estimates of up to 27.6 metres for Leedsichthys. Historical documentary evidence should therefore be rigorously checked both when studying historical specimens in science, and in preparing text for museum display labels.
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Burlina, Elena. "From Bonn to Yekaterinburg: chronotope of the modern museum." KANT Social Sciences & Humanities, no. 7 (July 2021): 68–78. http://dx.doi.org/10.24923/2305-8757.2021-7.7.
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The article is devoted to the comparative analysis of innovative trends in domestic and foreign museums. The analysis is interdisciplinary and methodological in nature. The main purpose of the article is to show examples of fundamental changes and the communicative nature of museum forms, dictated by the massization of museums, which changed the quantitative and qualitative composition of the public. According to the author, the museum includes directing and design necessary for communication with the mass audience. In this aspect, the article analyzes the exposition principles of two museums located in different countries. The philosophical foundations of one of the most authoritative museum centers in Europe: the "House of German History" in Bonn are presented in the most detailed way. Noting the integrity of the exhibition in the "House of German History", the author identifies several key principles of the museum exhibition: including:"museum drama", "path", "local space" (chronotope). These staging techniques are comparable to the "Yeltsin Center": the path through 7 rooms is the basis of the exhibition. "Problem Rooms" and the chronotope "Paths" form a common dramatic concept. The scientific novelty of the article also lies in the substantiation of the connection between the museum's drama and mass character. The flow of visitors could not but influence the choice of techniques that are easily read by the mass audience.
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V., Khodzinskyi, and Cheremnykh N. "Mole (Talpa europaea L., 1758) in funds of the State Natural History Museum of the NAS of Ukraine." Proceedings of the State Natural History Museum, no. 34 (August 20, 2018): 29–36. http://dx.doi.org/10.36885/nzdpm.2018.34.29-36.
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The natural collection (n = 280 specimens) of the mole (Talpa europaea L., 1758) from the collections of the State Natural History Museum of the NAS of Ukraine was studied. The main material was collected in May-August by 23 collectors during the period 1868-1998. Morphometry of 86% of mole specimens was carried out, 52% of the individuals were weighed before preparation, the sex was set at 81% of individuals, and the age – 73%. Natural mole from the museum's funds are extracted or found in Bulgaria (1 gathering place) and six regions of West of Ukraine (30 collection sites). The ratio of the sexes of mole individuals, exhibits which are stored in the museum's funds, is 1.0 : 0.7 (♂ : ♀), age groups – 1.0 : 0.3 (ad. : subad.).
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Povroznik, N. G. "WEB ARCHIVES IN RECONSTRUCTING HISTORY OF VIRTUAL MUSEUMS: POTENTIAL AND LIMITATIONS." Вестник Пермского университета. История, no. 4(51) (2020): 95–105. http://dx.doi.org/10.17072/2219-3111-2020-4-95-105.
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Web archives are repositories of unique sources on the history of the information society, including the cultural segment of the World Wide Web. The relevance of studying the web history of museum information resources refers to the need to understand the past and contemporary processes of the development of the museum's digital environment in order to more effectively build strategies for future advancement with a valuable impact on society. The article, for the first time, attempts to assess the information potential of web archives for studying the web history of virtual museums and discusses the limitations that prevent the reconstruction of their web history. Web archives are designed to observe web pages and web sites saved at a certain point in time; they analyze the structure and content of the museum web, interpret the visual aids and sections' titles, and track statistics of publication activity. Tracing changes in the role and significance of the digital environment in museum activities, as well as trends in the development of museums, and predicting future trajectories are possible based on the analysis of the dynamics of museums' web content. At the same time, the peculiarities of search engines in web archives, technical restrictions, incompatibility of modern software with earlier formats, limits on scanning information on the World Wide Web to save it, uneven preservation by domain zones in the Internet Archive, and the lack of specialized web preservation programs at national and regional levels restraint the possibility of a comprehensive study of the history of virtual museums. The author concludes that it is necessary to expand national web archiving programs in favour of a more detailed preservation of the cultural segment of the web as a digital cultural heritage, as well as the content of social networks and mobile applications, for future use by researchers.
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Eyster, Jason. "United States v. Pre-Columbian Artifacts and the Republic of Guatemala: Expansion of National Stolen Property Act in its Application to Illegally Exported Cultural Property." International Journal of Cultural Property 5, no. 1 (1996): 185–91. http://dx.doi.org/10.1017/s0940739196000288.
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One of the major issues confronting U. S. courts in international cultural property cases is the significance of foreign export restriction violations. This is a particularly sensitive issue for museums in art purchasing nations since aggressive support of the view that export restriction violation is theft could result in the return of much of a museum's collection. In fact, Thomas Hoving, past director of New York's Metropolitan Museum of Art stated, “almost every antiquity that has arrived in America in the past ten to twenty years has broken the laws of the country from which it came.”
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Okhotnikov, S. B. "The Odessa Museum of Archaeology." Ancient Civilizations from Scythia to Siberia 1, no. 1 (1995): 75–79. http://dx.doi.org/10.1163/157005794x00345.
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AbstractThe Odessa Museum of Archaeology was founded in 1825 by local antiquarians. The museum's collection grew in part due to excavations of classical sites in the region, in part due to gifts and purchases from dealers in classical antiquities. Up to the Second World War the focus of the Museum's activities was classical archaeology. In the post-war period this expanded to include the whole of the ancient history of the region from the Stone Age to the Middle Ages. The museum now houses one of the best collections of Classical Antiquities in the former Soviet Union and the third-ranking Egyptological collection. The museum formed from 1972 part of the Soviet Academy system and undertook fieldwork on the Lower Dniester at Bronze Age sites, as well as at classical sites such as Tyras, Nikonion, the site of the ancient Odessos, and Leuke and medieval sites such as Belgorod.
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Spicer, Dag. "The Computer History Museum's 2023 in Review." IEEE Annals of the History of Computing 46, no. 1 (2024): 75–79. http://dx.doi.org/10.1109/mahc.2024.3369258.
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Botticelli, Peter. "Curating Digital Surrogates in a Museum Archives: The Historic Boards Collection at the Peabody Museum of Archaeology and Ethnology at Harvard University." American Archivist 83, no. 1 (2020): 128–43. http://dx.doi.org/10.17723/0360-9081-83.1.128.
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This work uses a case study to examine the practice of digital curation in a museum archives, with a focus on convergence between museum and archival methods for providing online access to individual items as well as to collections. The case study focuses on the recently digitized Historic Boards (or “H boards”) collection at the Peabody Museum of Archaeology and Ethnology at Harvard University. This collection includes approximately 25,000 photographs depicting Harvard-led research expeditions beginning in the mid-1800s. By the early 1900s, museum staff had organized the photographs into groups and pasted them onto mat boards, with each board showing multiple views of a particular geographic location. As the H boards were created as a resource for educators and students, they provide a valuable source of documentation for both the museum's curatorial history and the pioneering work of Harvard ethnographers. With digital surrogates now accessible through the museum's Collections Online portal, the H boards project offers detailed examples of how the evidence contained in archival photographs and accompanying text-based records can be more sharply focused or, alternately, obscured, by the decisions made in constructing and displaying digital surrogates online. More generally, the H board project offers insights on how archives and museums may benefit from treating digital curation as an iterative practice shaped by an ever-shifting technology landscape, by the resource constraints faced by many repositories, and, ultimately, by the historic opportunities afforded by making archives visible in digital form.
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James, K. "A mineral collection in the Ulster Museum matched with a lecture syllabus of Sir Charles Giesecke (1761-1833)." Geological Curator 7, no. 5 (2001): 167–73. http://dx.doi.org/10.55468/gc448.
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Sir Charles Giesecke (1761-1833) was a mineral collector and dealer before becoming Professor of Mineralogy at the Royal Dublin Society in 1813. After his appointment he continued to deal in minerals and he supplied collections to museums in Europe, to Trinity College, Dublin and -- it seems -- to his students. One such student collection was recently discovered in the Ulster Museum, where it had been stored unrecorded for nearly a century. It was recognised by linking numbered specimen labels to an original lecture syllabus in the museum's archives. The history of the collection was established from a succession of signatures. The uncovering of this early 19th century collection resulted from careful observation during practical hands-on curation.
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Lofgren, Donald L. "Students as Museum Scientists." Paleontological Society Papers 2 (October 1996): 35–44. http://dx.doi.org/10.1017/s1089332600003119.
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The Typical visitor thinks of a natural history museum as a place to go to view interesting displays. They expect to come away from the experience with increased knowledge and appreciation of the educational message of each exhibit. However, few visitors are aware that a natural history museum is much more than exhibits. Typically, such a museum has less than five percent of its specimens on display. What function does the other ninety-five percent serve? How are specimens obtained? What happens to specimens once they are included in a museum's permanent collections? These are questions which few visitors think about as they view displays in a natural history museum.
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Schiele, Melissa, Lorraine Cornish, and D. Parsons. "The Taunton Project." Geological Curator 9, no. 3 (2010): 127–32. http://dx.doi.org/10.55468/gc219.
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This paper describes the palaeontological conservation carried out at the Natural History museum London, from 2008 until 2010, on the Taunton Museum's marine reptile collection. Taunton Museum is located in the county of Somerset and is governed by Somerset County Council. The collection of specimens encompassed ichthyosaurs, plesiosaurs, and chelonia (turtles) all found in and around the Taunton and Somerset area. A few select specimens were conserved and prepared for wall mounting in the museum's new exhibition space. The other, smaller specimens were conserved and readied for placement into the newly built storage space back at Taunton Museum. This paper also focuses closely on the conservation and minor preparation of a large ichthyosaur, which was found in Lyme Regis (Lower Lias). This specimen was complete, though piecing it back together and stabilizing it for display proved much more challenging then one would expect.
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Lee, Seung Yong, and Ji Hun Park. "A Study on the Spatial Structure Analysis of history museum using the Complex System." Korean Institute of Smart Media 11, no. 8 (2022): 21–28. http://dx.doi.org/10.30693/smj.2022.11.8.21.
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Currently, as we enter the 21st century, the level and interest of society, culture, economy, and science are rapidly developing, but science education is still struggling. In order to increase the efficiency of science education, it is most important to focus on elementary education based on basic science. Therefore, this study aims to analyze the main causes of Korea's science museum's regression as a museum focusing on experience, interest, and fun such as simple science experience centers and science theme parks. To this end, the influencing factors were identified by applying the algorithm of the actor-based model based on the data on the exhibition space and the exhibition movement of the science museum completed and operated in Korea over the past 5 years, and the problem of the visitor movement in the exhibition space was analyzed through the space system. In this study, it was confirmed that the exhibition environment was the best when the linear plot movement system and the picalesque plot were applied simultaneously in the museum's exhibition narrative theory, and the arrangement of major exhibition spaces, width of exhibition spaces, and separation of spaces for exhibition purposes were derived.
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Harun, Nor Zalina, and Amirah Athirah Yaacob. "The Role of Museums in Advancing the Preservation of Historical Sites as Cultural Heritage." Jurnal Kejuruteraan 37, no. 2 (2025): 657–65. https://doi.org/10.17576/jkukm-2025-37(2)-09.
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This study explores the role of museum settings in enhancing visitor engagement and interest at local museums situated near cultural heritage sites. Previous research has shown a lack of studies focusing on the impact of museum settings in such locations, especially compared to renowned sites like Borobudur and Angkor Wat. Initial investigations of four local museums at heritage sites revealed that the surrounding historical sites failed to effectively leverage the museum's potential. This research delves into how history, ancient monuments, and the natural environment influence visitor attraction and local socio-cultural dynamics. The primary aim of this study is to examine the role of museums located at heritage sites, focusing on their planning, development strategies, and the integration of local history and culture. Four local museums near historic sites were selected as research locations. A qualitative approach, involving an exploratory review of existing literature on museum management, cultural heritage, and heritage tourism, was employed. Findings indicate that, despite their proximity to culturally significant sites, the museums often lack coherent strategies or thoughtful development. Some museums were not initially designed as such, and many suffer from the absence of short- or medium-term strategic plans that incorporate the historical and physical attributes of their surrounding heritage sites. This planning gap hampers the museums' potential for long-term success and visitor engagement. The research aims to serve as a resource for enhancing the local community’s understanding of cultural and historical heritage, offering insights for future museum development. The findings suggest that the Department of Museums Malaysia can use this study to support the transformation of local museums into professional, globally recognized institutions that attract a broader international audience.
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Armansyah Armansyah, Ananda Dewi Cinta Ramdhanisya, Arnold AF Sihombing, Satriadi Satriadi, and Rachmad Chartady. "Service Learning Program in Sultan Sulaiman Badrul Alamsyah Museum, Tanjungpinang - Indonesia." International Journal of Community Engagement and Development 3, no. 1 (2024): 01–19. https://doi.org/10.59581/ijced.v3i1.37.
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Museums should function not only as places for storing artifacts, but also as venues for education, recreation, and research that engage visitors, particularly the younger generation. One solution to enhance the appeal of museums is through the Service Learning Program, which integrates academic learning with community service. This program involves students in various museum activities, such as exhibition management and visitor education, aimed at increasing understanding of local culture and history, as well as strengthening the role of museums as centers of learning and cultural interaction. The implementation of the Service Learning Program at the Sultan Sulaiman Badrul Alamsyah Museum in Tanjungpinang , Indonesia adopts a participatory and collaborative approach, with three main phases: preparation, implementation, and evaluation. The results show improvements in collection documentation, the quality of visitor education, and the development of interactive exhibitions. In addition, the program has had a positive impact on participants' social and professional skills, as well as reinforcing the museum's role in preserving local culture. Although challenges such as limited resources and time management remain, the program successfully raised public awareness of the importance of cultural preservation.
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Widdis, Briony. "Ethnographic collections in Northern Ireland and the Solomon Islands tomako (canoe) at the Ulster Museum, 1898–2023." Irish Historical Studies 47, no. 172 (2023): 303–32. http://dx.doi.org/10.1017/ihs.2023.47.
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AbstractThe World Cultures collection at National Museums Northern Ireland is an essential source for the study of Irish collecting in the wider British Empire. The 2022 redisplay of the collection in the Ulster Museum's exhibition, Inclusive Global Histories, is part of a staged engagement with local and source communities. Given the critical importance of the global museum decolonisation work of which the exhibition is an example, a fresh consideration of this ethnographic collection's history is timely. This article reviews the collection within the context of the three museums that have housed it, and investigates how curators within the institution understood, represented and displayed the collection. It does so through a case study of a war canoe (tomako), that was taken from the Solomon Islands, by John Casement, a captain in the Royal Navy, and is the largest and among the most significant items within the collection. The canoe's centrality to the gallery — built around it in 1925 — that now contains Inclusive Global Histories reveals complex social networks between nineteenth- and twentieth-century collectors, curators and photographers, and aids understanding of how global human cultures have been regarded in Northern Ireland's civic life.
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Vieira Capote Gonzaga, Maria Vitoria, and Margarita Barretto. "Análise histórica expográfica: uma visão geral da exposição principal do Museu Arqueológico do Pireu." Museologia & Interdisciplinaridade 12, no. 24 (2023): 205–36. http://dx.doi.org/10.26512/museologia.v12i24.48239.
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This study focuses on the historical analysis of the core exhibition of the Archaeological Museum of Piraeus, and its relationship with the museum's history and the city. The core exhibition organization has remained unchanged since 1998, although some changes have occurred in the exhibit rooms over the years, such as the addition of new objects, some elements, or loaned pieces for exhibition outside the country. The study is limited by the availability of sources and the specific context of the Archaeological Museum of Piraeus, and the findings may not be applicable to all archaeological museums. However, the study has important implications for the analysis and design of archaeological exhibitions and the potential use of urban space. This study contributes to the growing body of museum design research on historical exhibition analysis by using a mixed-methods approach such as site visit, bibliography, and archive documents to examine exhibitions.
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Plotkin, Howard. "The Iron Creek Meteorite: The Curious History of the Manitou Stone and the Claim for its Repatriation." Earth Sciences History 33, no. 1 (2014): 150–75. http://dx.doi.org/10.17704/eshi.33.1.2457k54466405851.
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Canada's Iron Creek meteorite, a 320 lb (145 kg) Group IIIAB medium octahedrite iron, was long venerated by the First Nations in Alberta as their sacred Manitou Stone, but it was taken without authority from them by Methodist missionaries in 1866. That began the meteorite's long odyssey, as it was transferred first to the Methodist Mission in Victoria (now Pakan) Alberta; then to the Red River Mission in Winnipeg, Manitoba; then to the Wesleyan Methodist Church's Mission Rooms in Toronto, Ontario; then to Victoria College in Cobourg, Ontario; then to the campus of the University of Toronto in Toronto, Ontario; then to the Royal Ontario Museum in Toronto; and finally to the Provincial Museum of Alberta (now the Royal Alberta Museum) in Edmonton. In recent years, a First Nations movement to repatriate the meteorite to a place near its original find site has been initiated. As of now, the meteorite remains on display at the Royal Alberta Museum's Syncrude Gallery of Aboriginal Culture, where it is a prized showpiece. The present paper explores the curious history and cultural significance of this fabled meteorite, its long odyssey, the issues surrounding the claims for its repatriation, the Royal Alberta Museum's present policy, and a possible way forward.
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Frigo, Manlio. "The International Symposium “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” Paris (France), February 22–23, 2008." International Journal of Cultural Property 15, no. 4 (2008): 437–39. http://dx.doi.org/10.1017/s0940739108080260.
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The Musée du Quay Branly held an international symposium, “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” in Paris on February 22–23, 2008, at the museum's Théatre Claude Levy Strauss. The main purpose of the 2-day conference—opened by the French Ministry of Culture and Communication's Christine Albanel—was to stimulate an international debate on a multidisciplinary basis concerning the roles and responsibilities of museums in the exhibition and repatriation of human remains. The subject turned out to be topical, originating from the case of thetoi moko, the Maori tattooed head belonging to the collection of the Natural History Museum in Rouen, France, since 1875. The restitution of thetoi mokoto the Papa Museum in Wellington, New Zealand, deliberated by the city of Rouen, was recently banned by the Administrative Tribunal of Rouen, on request of the Ministry of Culture at the end of 2007. The head actually belonged to a municipal museum, which was in fact part of the Musées de France, and therefore it was considered part of a public collection. Accordingly, the 2002 French statute providing for the inalienability of state properties was applicable.