scholarly journals Museums, museology and cultural heritage studies in Sweden 1993–2017. Some experiences and effects

1970 ◽  
pp. 119-129 ◽  
Author(s):  
Eva Silvén
Keyword(s):  
Cultural Heritage ◽  
Cultural History ◽  
Local History ◽  
Traditional Concept ◽  
History Museum ◽  
The Public ◽  
History Museums ◽  
Heritage Studies ◽  
History Of ◽  
Diversity Issues

In the last twenty-five years, the Swedish museum landscape has expanded and contains today several thousand museums, from the single local history museum to the merged governmental central museum, many of them organized in different networks. During the same period contemporary collecting, diversity issues and difficult matters became both attractive and urgent topics for the public cultural history museums. Also, museology and cultural heritage studies were established at several universities, with professorships as well as basic educational programmes. As a consequence, the perception of museology as research done at museums was replaced by research on museums, often with a critical view of the history of collections and exhibitions. During the last few years, however, a polarized media debate reveals that there might still be a gap between the actual, contemporary museum and the more traditional concept of the museum in (some) people’s minds.

scholarly journals THE EXPERIENCE OF NON-STATE MEDICAL-TECHNOLOGICAL AND LOCAL HISTORY MUSEUMS' COLLECTION CREATION ON THE TERRITORY OF SANATORIUM "AVANGARD" IN NEMYRIV CITY, VINNITSYA REGION

2020 ◽  
pp. 57-64
Author(s):  
Oleksandr Gladkey ◽  
Volodymyr Kilivnuk
Keyword(s):  
Local History ◽  
Medical Rehabilitation ◽  
Practical Significance ◽  
Museum Collection ◽  
Museum Collections ◽  
History Museum ◽  
Main Research ◽  
Advantages And Disadvantages ◽  
History Museums ◽  
History Of

Goal of the article consist in analyzing and systematizing of experience in creating a non-governmental medical-technological and local history museum collection on the territory of SE "Clinical Sanatorium "Avangard" located in Nemyriv city, Vinnytsia region. Method. The methodological basis of this study is a general scientific dialectical method. The main research methods are: the method of literary, illustrative, descriptive, analytical and scientific synthesis. Results. Local history, technical-technological, medical-rehabilitation and sanatorium-medical aspects of creation a non-governmental medical-technological and local history museum collection on the territory of SE "Clinical Sanatorium "Avangard" located in Nemyriv city, Vinnytsia region are revealed. The key preconditions for the appearance of the museum collection have been identified. The funds of the museum collection, the history of their collection and the modern exposition are described in detail. The key organizational, legislative, economic, employee and managerial problems of the museum collection's existence have been identified. Practical significance. The experience of creating a non-governmental medical-technological and local history museum collection on the territory of SE "Clinical Sanatorium "Avangard" located in Nemyriv city, Vinnytsia region can be used in the practice of other sanatoriums of Ukraine as well as can be used for further organization of non-governmental museum collections with medical-technological and local history profile. Scientific novelty. The scientific novelty of this article consist in the attemption of the first comprehensive analysis in Ukraine of the advantages and disadvantages in organization of non-governmental museum collections in sanatoriums, rest homes and other medical and health facilities of general profile.

scholarly journals The value of museum communication: the cases of the Paper and Watermark Museum in Fabriano and the Ascoli Piceno Papal Paper Mill Museum in Ascoli Piceno

2018 ◽  
Vol 16 (4) ◽  
pp. 049-058
Author(s):  
Patrizia Dragoni
Keyword(s):  
Cultural Heritage ◽  
Cultural History ◽  
Paper Mill ◽  
Heritage Management ◽  
External Effects ◽  
The Public ◽  
Artistic Value ◽  
History Of ◽  
Landscape Value ◽  
Production Value

Guaranteeing the survival of cultural heritage, increasing its accessibility, both physical and intellectual, and the creation of countless benefits for different categories of stakeholders depends both on a perfect comprehension of the interests and abilities of users to take advantage of what is offered and, above all, on identifying and analysing the various types of value that can be attributed to it. According to Montella, there are three types of value that may be analysed for this purpose: a presentation value, informative in nature and inherent in the historical, cultural and possibly artistic value implicit in the heritage; a landscape value, extended to the context, inherent in the factual information services aimed at supporting policies of preventive and programmed conservation: and a production value, commercial in nature, which concerns the external effects generated by cultural heritage management to qualify the products and the images themselves of the businesses in order to make them stand out from the competition. The aim of this article is to inquire into whether, in what way and to what extent the communication of the Paper and Watermark Museum in Faabriano and the Ascoli Piceno Papal Paper Mill Museum in Ascoli Piceno creates presentation value and therefore leads the public to understand how far paper production has influenced the economic and socio-cultural history of the area in which they are located.

scholarly journals ACTUALIZATION OF THE MUSEUM AS A CULTURAL AND EDUCATIONAL CENTER IN THE FRAMEWORK OF THE OPEN PUBLIC SPACE (On The Example of Melitopol City Local History Museum)

2017 ◽  
pp. 123-135
Author(s):  
Nataliya Ivanova
Keyword(s):  
Cultural Heritage ◽  
Public Space ◽  
Local History ◽  
History Museum ◽  
The Public ◽  
Strategic Direction ◽  
Research Activities ◽  
Development Participation ◽  
The Right ◽  
Further Development

The article reveals the ways of the museum transforming from a permanentplace of preservation of artifacts of cultural heritage into open and dynamicsocial space of social interaction on the example of the Melitopol City LocalHistory Museum over the past 5 years.The Melitopol City Local History Museum is a cultural and educationalinstitution with a 95-year old history and interesting experience. Nowadaysthe museum sees its future activity as a balance between the traditional functionsof a museum institution and advanced art technologies. The strategictasks of the museum’s staff are the promotion of such values as openness,dynamism, and modernity through the perception of the museum space as aterritory where history comes to life.In the article, author describes the separate directions and examples ofmuseum work in the field of design and research activities, the organization of educationalprograms, the introduction of the latest and updating of the content oftraditional forms of work, cooperation with public organizations at differentlevels are discussed.Among the main factors of successful museum’s being up to date authormentions several ones on:– election of the right strategic direction of development;– participation in educational activities to improve the professionalismof museum workers;– cooperation and exchange of experience with leading museums ofUkraine and the world;– activation of participation in the project activity;– introduction of innovative forms and participatory practices into theirwork;– strengthening cooperation with NGO and individual cultural and educationalinitiatives.The prospects for the further development of the museum are to preservethe contribution of previous generations to the cultural heritage of Ukraineand to seek new ways of using, popularizing and enriching it through the widestpossible involvement of the public.

Emotions in performance: Poetry and preaching

2017 ◽  
Vol 54 (1) ◽  
pp. 67-102
Author(s):  
Carla Petievich ◽  
Max Stille
Keyword(s):  
Cultural History ◽  
Rhetorical Analysis ◽  
Cultural Tradition ◽  
Public Performance ◽  
The Public ◽  
Collective Emotions ◽  
Performance Poetry ◽  
Performance Traditions ◽  
History Of ◽  
Modern Nation State

Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of the changing forms of reader address shows how the modern nazm genre has been deployed for exhorting the collective, much-expanded Urdu public sphere. Emphasising the sensory aspects of performance, the analysis of contemporary waʿz mahfils focuses on the employment of particular chanting techniques. These relate to both the transcultural Islamic soundsphere and Bengali narrative traditions, and are decisive for the synchronisation of listeners’ experience and a dramaticisation of the preachers’ narratives. Music-rhetorical analysis furthermore shows how the chanting can evoke heightened emotional experiences of utopian Islamic ideology. While the scrutinised performance traditions vary in their respective emphasis on poetry and narrative, they exhibit increasingly common patterns of collective reception. It seems that emotions evoked in public performances cut across ‘religious’, ‘political’, and ‘poetic’ realms—and thereby build on and build up interlinkages between religious, aesthetic and political collectives.

The South African Cultural History Museum Library

1995 ◽  
Vol 20 (4) ◽  
pp. 25-26
Author(s):  
Annemarie Greyling
Keyword(s):  
Cultural History ◽  
South African ◽  
The South ◽  
History Museum ◽  
The Public ◽  
Museum Staff ◽  
Independent Existence

The South African Museum (cultural history) opened in 1966 as part of the South African Museum; in 1969 it began an independent existence as the South African Cultural History Museum, with a mission to enable the ‘entire community… to enjoy and to learn about our Cape and international heritage’. The library dates back to the opening of the museum, and now comprises some 12,000 books, 900 pamphlets, and 190 current journals on art related topics. Although the library exists primarily to serve the museum staff, it is open to the public and is well used by students.

scholarly journals Between Metropole and Province: circulating botany in British museums, 1870–1940

2020 ◽  
Vol 47 (1) ◽  
pp. 124-146
Author(s):  
Caroline Cornish ◽  
Patricia Allan ◽  
Lauren Gardiner ◽  
Poppy Nicol ◽  
Heather Pardoe ◽  
...  
Keyword(s):  
Economic Botany ◽  
Local History ◽  
Cambridge University ◽  
The Public ◽  
Botanical Museum ◽  
Personal Connections ◽  
History Of ◽  
Royal Botanic Gardens ◽  
And Migration ◽  
The Relationship

Exchange of duplicate specimens was an important element of the relationship between metropolitan and regional museums in the period 1870–1940. Evidence of transfers of botanical museum objects such as economic botany specimens is explored for the Royal Botanic Gardens, Kew, and six museums outside the capital: Cambridge University Botanical Museum, National Museum Wales, Glasgow Museums, Liverpool World Museum, Manchester Museum and Warrington Museum. Botany became an important element in these museums soon after their foundation, sometimes relying heavily on Kew material as in the case of Glasgow and Warrington, and usually with a strong element of economic botany (except in the case of Cambridge). Patterns of exchange depended on personal connections and rarely took the form of symmetrical relationships. Botanical displays declined in importance at various points between the 1920s and 1960s, and today only Warrington Museum has a botanical gallery open to the public. However, botanical objects are finding new roles in displays on subjects such as local history, history of collections, natural history and migration.

scholarly journals From San Francisco to Tōhoku – 111 yr of continuous earthquake recording in Göttingen

2014 ◽  
Vol 5 (1) ◽  
pp. 1-10
Author(s):  
H. Steffen ◽  
W. Brunk ◽  
M. Leven ◽  
U. Wedeken
Keyword(s):  
Cultural Heritage ◽  
San Francisco ◽  
Historic Buildings ◽  
The Public ◽  
Scientific Investigations ◽  
History Of ◽  
University Of Göttingen ◽  
The University ◽  
Observational Record ◽  
Almost Continuous

Abstract. In 1902, the so-called Erdbebenhaus (earthquake house) was built in the garden of the Institute of Geophysics of the University of Göttingen to host and protect the very sensitive and fragile seismographs designed by Emil Wiechert. These instruments were the standard at their time, and they are still in operation today, documenting 111 yr of almost continuous seismological observations. Since 2005, the observatory is owned by the Wiechert'sche Erdbebenwarte Göttingen e.V. (Wiechert's earthquake observatory in Göttingen, registered society). This society aims at extending the observational record and protecting the observatory as a cultural heritage. In this paper we review the history of the observatory in the last 111 yr. Special attention is given to the developments in the last decade, when the observatory and further historic buildings and instruments changed ownership. Due to the efforts by the society, the observatory is still running now and open to the public. In addition, it is a part of the German Regional Seismic Network and, thus, observations can be used for scientific investigations.

scholarly journals An Electronic Сatalogue of Slobozhanshchina Icons of the Late 18th – Early 20th Centuries: Prerequisites for Creation, Purposes, Functions

2021 ◽  
pp. 109-117
Author(s):  
И.В. Краснова
Keyword(s):  
Twentieth Century ◽  
Cultural Heritage ◽  
Significant Part ◽  
History Museum ◽  
Documentary Sources ◽  
Great Patriotic War ◽  
History Of ◽  
The Creation ◽  
Private Collections ◽  
The Way

В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.

scholarly journals Religio-cultural heritage of libation, memory and Obang cultural history, Northwest Cameroon

2020 ◽  
Vol 76 (1) ◽  
Author(s):  
Felix K. Esoh ◽  
Chammah J. Kaunda
Keyword(s):  
Social Change ◽  
Cultural Heritage ◽  
Cultural History ◽  
Cultural Memory ◽  
Cultural Resilience ◽  
Traditional Societies ◽  
History Of ◽  
Northwest Region

This article argues that libation, often associated with the ancestors, artefacts, images and pre-Christian religious devotions, constitutes sources for articulating authentic African cultural history of Obang community in the Northwest Region of Cameroon. It highlights that among traditional memory carriers, the ritual of libation remains trust worthy and pervasive, even among communities challenged by globalisation and colonising effects of Christianity. The article demonstrates the immense potentials of libation as an epitome and stabiliser of cultural memory, and a maxim in cultural resilience in contemporary Africa. Thus, the article calls for revisiting this ancient ritual to expose its potentials as a veritable memory repertoire in cultural–historical studies, especially at a time when social change and modernism continue to challenge the memories of traditional societies.

De cómo el arte se convirtió en el arte

1970 ◽  
Author(s):  
Luis Puelles Romero
Keyword(s):  
Cultural History ◽  
The Public ◽  
Las Casas ◽  
History Of Art ◽  
History Of ◽  
Artistic Theory

RESUMENSe dedican estas pá´ginas a unos pocos comentarios surgidos de la lectura del libro de Larry Shiner "La invención del arte. Una historia cultural" (Barcelona, Paidós, 2004). Además de apreciable por sus contenidos, esta obra destaca por sus implicaciones epistemológicas, no siempre explicitadas, y su capacidad para reunir procedimientos historioráficos y objetos intelectuales de diversas disciplinas afines a lo artístico. Bajo la exigencia de una "historia cultural" Shiner consigue que la teoría estética y la teoría artística, instituidas en la modernidad, se encuentren con otros factores, materiales, como el mercado, el origen del público o la aparición de las casas de subastas, habitualmente poco presentes en los índices de las historias del arte y de la estética de mayor divulgación.PALABRAS CLAVEESTÉTICA-ARTE-MODERNIDADABSTRACTThese pages deal with some reflections upon the book by Larry Shiner "The Invention of Art" (Barcelona, Paidós, 2004). In addition to its remarkable contents, this work is outstanding due to its epistemological presuppositions, not always explicitly mentioned, and its ability to join historiographic devices and intellectual subjects from various diciplines related to the artistic domain.. Under the scope of a "cultural history", Shiner succeeds in making that artistic theory and aesthetics theory, both of them institutionalised in modernity, encounter other material factors such as the market, the emergence of the public or the auction´s houses rarely mentioned in the usual table of contents of books about history of art and aesthetics.KEYWORDSAESTHETICS-ART-MODERNITY

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