Museum Interpretation Research Papers

about Simon Janashia Museum of Georgia

“Museums are sometimes described as the storehouses of the human condition. While museums can house artifacts and specimens from across time and place, it is how these items inspire others that truly gives them value. The same object or... more

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- by Alberto E . Rey
- •
- 20
  Museum learning, Museum Studies, Museum Education, History of Museums

"Earlier provisional title was "Archaeology, Tourism, Museum...." "This chapter is divided into two distinct sections that are positioned in a point-counterpoint structure of dialogue. These two position statements invoke the... more

"Earlier provisional title was "Archaeology, Tourism, Museum...."

"This chapter is divided into two distinct sections that are positioned in a point-counterpoint structure of dialogue. These two position statements invoke the etymological meanings of the word essay, to attempt, put to the test, trial, to act out, to explore, travel, and travail. The first is an historical analysis written in the third person by an anthropologist whose expertise includes the ethnography of archaeology and the anthropology of tourism. The second is a counterpoint commentary written in the first person by an anthropologist whose specializations include Pre-Columbian and historical archaeology. Both of us have significant research experience in same area of the Maya world in Yucatán, México. From these two differing vantage points, we chart our perspectives on the relationship between archaeology and tourism in terms of the problems of exploration, protection, and exploitation.
In the first section, Castañeda takes an historical approach to the emergence of archaeology in the institutional context of the modern museum. He essays an analytical and theoretical manifesto about the deep, intimate interconnections between tourism and archaeology as revealed through an understanding of the museum. In his historical analysis of the role of archaeological representation in the museum, he identifies the sociological creation of universal heritage. He theorizes a notion of the universal citizen-heir as the implied benefactor of this universal heritage. In the second section, Mathews elaborates a commentary on this historical analysis of archaeology, tourism, heritage and the museum. Specifically, she counter-argues and assesses Castañeda theoretical and analytical claims through the use of archaeology and tourism at sites that are not postcard worthy. Together these two “attempts” grapple with the historical and contemporary interconnections between archaeology and tourism. Together we put to the test our typical assumptions about the ethics of archaeologists, tourists, and tourism promoters in the contemporary contexts in which we are now beginning to ask how and why archaeology and tourism are interwoven phenomena in today’s world.""

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- by Quetzil Castañeda
- •
- 107
  Cultural History, Cultural Studies, Geography, Archaeology

Hallel. Carmel. Bezalel The Exhibitions: Halel. Carmel Winery 'Judaica Now!': Goblets and Kiddush Cups of the Bezalel School These two exhibitions: "Halel. Carmel Winery" and "'Judaica Now!': Goblets and Kiddush Cups of the Bezalel... more

Hallel. Carmel. Bezalel

The Exhibitions:
Halel. Carmel Winery
'Judaica Now!':
Goblets and Kiddush Cups
of the Bezalel School

These two exhibitions: "Halel. Carmel Winery" and
"'Judaica Now!': Goblets and Kiddush Cups of the Bezalel
School" focus on two pioneering phenomenon. Both of them,
each one in its own specific field, established a material
and cultural infrastructure for the renewal of the Jewish
settlement in Eretz Israel. The two integrated exhibitions
presented here show the primary aspects where these two
enterprises overlap. The principal point here is the fact that
their produce, wine in Rishon Le‑Zion and art in Bezalel,
symbolized the regenerated Jewish settlement. Moreover,
most of their products were purchased by Jews in the
Diaspora as an emotional gesture of love for Eretz Israel
together with a contribution for the realization of the idea
for its settlement.
The "Halel. Carmel Winery" exhibition tells the story of
the winery from its historical perspective. The winery
symbolized the realization of the dream of settling
Eretz Israel. Thus, it became a source of pride and a center
of attraction for the leaders of the people and the world
who pinned their hopes on it and visited the winery. The
historical exhibition aims to show how innovative the
Rishon Le-Zion winery was during its early years as it was
recognized as the prominent modern agricultural-industrial
plant in the Middle Eastern region. The winery played a key
role in the economic life of Rishon Le-Zion and the Jewish
settlements in the surrounding area. The exhibition displays
its development, achievements, challenges, transitions,
connections with the Diaspora and how it influenced
Rishon Le-Zion and the Yishuv in Eretz Israel. The exhibition
focuses mainly on the first few decades of the winery's
existence which were also the most momentous years in
its history, during which a modern industrial model was
developed leading to a breakthrough in the country.
The Bezalel exhibition 'Judaica Now'!: Goblets and
Kiddush Cups of the Bezalel School"is displayed from the
contemporary artistic standpoint. In this exhibition also
some 48 exhibits of contemporary wine and Kiddush cups,
handmade by artists and designers belonging to the Bezalel
School, are displayed. The philosophy and artistic language
of the School's members, men and women, were apparent as
expressed in the holy vessels and articles. The participants in
this group show had all attended Bezalel either as students
or teachers, some served as department heads. A large
group among these artists later became the elite of leading
Judaica artists, whose creations now enrich the collections of
important museums in Israel and throughout the world.

Curators:
"Hallel. Carmel Winery": Yona Shapira
"'Judaica Now!': Wine goblets and Kiddush cups of the
Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy

הלַלֵּ. כרמל. בצלאל
התערוכות:
הַללֵּ. יקב כרמל
'יודאיקה עכשיו!':
כוסות וגביעי יין לקידוש
של אסכולת בצלאל

שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון
ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו
תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.
שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני
המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,
היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה
רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של
יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת
מבט אמנותית עכשווית.
היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן
שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה
"הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון
בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב
המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות
הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,
קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.
עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים
המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני
ופורץ דרך בארץ.
התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת
בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים
ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם
ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי
בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:
בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק
נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם
מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.

אוצרים:
הלל, יקב כרמל: יונה שפירא
'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש
של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי

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- by Shirat-Miriam Shamir and +1
  Ido Noy
- •
- 151
  Business, Art History, Jewish Studies, Design

This document was published as a centrepiece for Post Lifestyle, The Post Newspaper in 2010. It is technically a profile of the Livingstone National Museum in Zambia and is stored here by the author purely for archival purposes.

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- by Andrew Mulenga
- •
- 31
  African Studies, Museum learning, Museum Studies, Museum

There is no doubt that rapid technological change is sweeping the museum industry, just as it is transforming the world around us. The question is no longer will we embrace technology, but rather how we will do so. Museum professionals... more

L’immagine del museo si forma anche attraverso la sua rappresentazione cinematografica. Il cinema ha fatto spesso ricorso alle sale dei musei per ambientare le scene dei film. D’altra parte, i primi decenni del Novecento vedono un grande... more

Бойко-Гагарін А.С. Застосування соціальних мереж у музейному маркетингу / А.С. Бойко-Гагарін // Матеріали міжнародної науково-практичної конференції, присвяченої 75-річчю Ізмаїльського державного гуманітарного університету ["Дунайські... more

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- by James Gill
- •
- 32
  Archaeology, Classical Archaeology, Roman History, Art History

Empathy is one's ability to connect with others by relating to their personal experiences. It takes insight and a willingness to engage. The Empathetic Museum posits that cultural institutions can relate to their communities in the same... more

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- by Stacey Mann and +2
  Janeen Bryant
  Gretchen Jennings
- •
- 14
  Museum learning, Museum Studies, Museum Education, Museum Anthropology

There are more than 15,000 historic house museums (HHMs) in the United States (Godfrey). Outnumbering McDonald’s restaurants, they are the meat and potatoes of Americans’ public history experience, representing by far the nation’s... more

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- by Michelle Moon
- •
- 18
  History, Maritime History, Climate Change Adaptation, Social Justice

DO NOT TOUCH! Please Don’t Touch. Please Touch Gently. Try it and find out! Museums have come a long way towards involving visitors in their exhibitions. Innovative design, vastly improved labels and text and great exhibits. And,... more

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- by judy mckinty
- •
- 8
  Museum learning, Museum Education, Museum Interpretation, Museums

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- by Pere Izquierdo i Tugas and +1
  Pere Izquierdo
- •
- 10
  Cultural Heritage, Landscape Archaeology, Phenomenology, Archaeoastronomy

To make domestic heritage sites useful to their communities, we must acknowledge discourses, define structures and critically examine the interplay of our own and others' practices of commemoration. How do agendas of remembering and... more

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- by Christina J. Hodge
- •
- 8
  History, Archaeology, Public Archaeology, Museum Studies

Museums have long been thought of as “quiet” spaces, in which visitors walk slowly through galleries to look at material cultures in glass cases. Music and sound have begun to pervade the quiet spaces of museums in the forms of aural... more

Museums have long been thought of as “quiet” spaces, in which visitors walk slowly through galleries to look at material cultures in glass cases. Music and sound have begun to pervade the quiet spaces of museums in the forms of aural installations and performance-based programs. They are no longer galleries for solely visual engagement, but loud spaces in which visitors and audiences listen to recordings, experience live performances, and participate by themselves singing and playing in workshops, classes, installations, and impromptu demonstrations. This article explores three case studies in exhibiting music. The first is the exhibition Ragamala: Garland of Melodies, which was on display at the Royal Ontario Museum and sought to demonstrate the fluidity between the South Asian arts. The second is an investigation of some of the formal and informal performance-based programming at the Aga Khan Museum. The last case study focuses on a future project, in which collectors of Indian audio cultures will submit contributions to help construct a history of sound in India. Each case study is motivated by a series of central questions: what constitutes “exhibiting music”? What are the broader implications of and consequences for exhibiting music in each case? How does exhibiting music in a museum impact a visitor’s experience? What kinds of new stories are told in exhibiting music and sound? The three case studies respond to these questions and provoke issues and possibilities for further critical inquiry. They show that museums are dynamic spaces with incredible potential to inspire multi-experiential engagement.

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On a longtemps pensé aux musées comme à des espaces paisibles, silencieux, dans lesquels les visiteurs se déplaçaient lentement en observant des objets de culture matérielle dans des vitrines. La musique et le son ont commencé à se propager dans les espaces tranquilles des musées sous la forme d’installations auditives et de programmes à base d’interprétations. Les galeries n’y sont plus des lieux d’investissement exclusivement visuel, mais des espaces bruyants dans lesquels les visiteurs et les différents publics écoutent des enregistrements, vivent des interprétations en direct et participent eux-mêmes en chantant et en jouant dans des ateliers, des classes, des installations et des animations impromptues. Cet article évoque trois études de cas d’exposition de la musique. La première porte sur l’exposition Ragamala. Guirlande de mélodies, du Musée royal de l’Ontario, qui visait à démontrer la fluidité des mélanges entre les arts de l’Asie du Sud. La deuxième interroge certaines des programmations formelles et informelles basées sur l’interprétation au Musée Aga Khan. La dernière étude de cas porte sur un projet à venir, dans lequel des collectionneurs de matériel culturel sonore de l’Inde proposeront des contributions pour aider à construire l’histoire du son en Inde. Chaque étude de cas est motivée par une série de questions essentielles : de quoi se constitue « l’exposition de la musique » ? Quelles sont les implications et les conséquences au sens large de l’exposition de la musique dans chacun des cas ? Comment l’exposition de musique dans un musée influe-t-elle sur ce que vit le visiteur ? Quels nouveaux types d’histoires se racontent dans l’exposition de la musique et du son ? Ces trois études de cas répondent à ces questions et suscitent des problèmes et des possibilités pour d’autres investigations cruciales à l’avenir. Elles montrent que les musées sont des espaces dynamiques ayant l’incroyable potentiel d’inspirer un investissement personnel multi-expérientiel.

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- by Ameera Nimjee
- •
- 7
  Music, Museum Studies, Museum Interpretation, Collecting and Collections

In an age of various kinds of surgical and imaginary penis augmentation the Icelandic Phallological Museum has appeared on the world stage as a tour-de-force of global castration and local creativity. In this timely book Hafsteinsson... more

El presente libro se centra en las vicisitudes que llevaron a la creación de un Museo del textil valenciano en la ciudad de Ontinyent. Desde la constitución de una colección de elementos relacionados con la creación textil, hasta las... more

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- by Rafael Gil and +1
  Marta Berlanga Micó
- •
- 6
  Museum Studies, Museums and Exhibition Design, Museum Interpretation, Museums

Nell’immaginario comune le didascalie sono strumenti scientifici per eccellenza, precisi e definitivi. In verità si tratta di atti interpretativi, situati nel tempo e nello spazio, imperfetti e provvisori. La museologia recente ci parla... more

The concept of ’natural heritage’ has become increasingly significant with the threat of dwindling resources, environmental degradation and climatic change. As humanity’s impact on the condition of life on earth has become more prominent,... more

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- by Ross Wilson
- •
- 58
  History, Geology, Television Studies, Museum Studies

This paper was published in Spanish in: Navajas Corral, O. (2013): Características de los Ecomuseos; en VV. AA (2013): Parque Criollo y Museo Gauchesco Ricardo Güiraldes, Plan de exhibición, Buenos Aires: Exhibir · Comunicación y... more

Museum History Journal, Vol. 6 No. 1, January, 2013, 123–125

Интерпретация наследия – один из главных трендов развития музейного дела в последнее десятилетие. Цель статьи – стимулировать дальнейшую работу по интерпретации объектов наследия в повседневной музейной практике – ставит перед... more

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- by Ivan Grinko
- •
- 16
  Museum learning, Museum Studies, Cultural Heritage, Museum

White Paper Exploring the intersection of social and cultural capital with museums and the role this type of framework might have in rethinking best practices across the industry. Further thinking on this work can be found at The... more

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- by Stacey Mann
- •
- 11
  Museum Studies, Social Capital, Museum Education, Cultural Capital

When the National Museum of Australia’s opened in 2001 it was severely criticised by right-wing politicians, historians and journalists for being too negative and ‘too politically correct’, especially in its depiction of Aboriginal... more

ミュージアム研究の「展示の政治学（ミュージアムの政治学）」理論についての総覧。... more

ミュージアム研究の「展示の政治学（ミュージアムの政治学）」理論についての総覧。

科学や芸術を公に展示するミュージアムという施設にはさまざまな権力構造が絡まりあい、それらの結果として「文化」や「科学」や「芸術」は社会に形を取っている。いかにすればこうした力学を的確にとらえられるのか。こうした観点からミュージアムを研究してきた「展示の政治学（またはミュージアムの政治学）」理論について、日英言語圏を中心に論じた。関心を共有しながらもいくつかの研究領域（discipline）で分けて語られてきた研究群を結びつけるために、次の三つの潮流に体系立てて学説史を整理した。第一に、1980 年代半ばから始まる、ポストモダン文化人類学の流れを受けたポスト植民地主義論的ミュージアム研究。第二に、近代主義思想に関する制度論的研究。第三に、メディア論やカルチュラル・スタディーズの影響下に生まれた、コミュニケーション論的ミュージアム研究である。
本稿を通じて以下のことを明らかにした。第一、第二の議論では、「展示」とは意味を生成するメディアであり、そこには複数の意味が重なっていることが強調された。そして、この理解は研究・現場の双方で強く意識されるようになった。さらに第三の潮流に至り、来館者による展示解釈が、新たな調査対象として前景化する。このことで、対立・協調の過程から生じる展示がもつ意味の重層性について、来館者の観点からも理解すべきとする共通の課題が確認され始めることになった。すなわち、現在の展示の政治学は、受容理論を取り入れることで、論争的な課題を抱える歴史認識論・記憶論の議論を牽引するものになっていると結論づけた。

日本語圏と欧米言語圏の研究相互の関わり合い（や関わり合いのなさ）について日本語で整理することで、ミュージアムや展示について研究する基礎資料としての利用を想定している。

This paper is a historiographic review of the museum studies theory called “politics of display/politics of museum.” It explores the history of museum studies from the standpoint of museum politics: “museum” as a site for power politics and the social dynamics of the relevant actors associated with museums and exhibitions: curators, exhibition designers, educators, museum staff, museum committees, and visitors. This theory considers modern conceptions of “culture,” “science,” and “art” as social constructs emerging from these political processes.

To shape this historiography derived from scholarly works mainly in English and Japanese, this paper narrates these discussions in three roughly chronological currents: 1) the trend of post-colonial museum studies and postmodern anthropology since the 1980s; 2) the tendencies of institutional analyses in the critique of modernism; 3) the tide of communication studies in museum fields, which was strongly influenced by cultural studies and media studies.

In the first and second trends, museums and displays became considered as political sites and complex assemblages that constitute a web of meaning. Throughout these trends, this understanding of how to interpret museums was common in both practical and theoretical fields. As the third stage goes, communication studies focused on the receptive aspect and museum theory focused on the visitor’s experience in the meaning-making process. As a result, it is nearly inevitable for museum scholars to discuss museum politics without mentioning receptions at museums. Through analyzing these three movements, this paper uncovers the historical path of increased significance on reception theory in recent museum politics.

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- by Masaki Komori
- •
- 52
  History, Cultural History, Cultural Studies, Anthropology

РЕЦЕНЗІЯ на методичну розробку «Методичні рекомендації щодо експозиційно-виставкового висвітлення політичних репресій та радянського тоталітаризму у Західному регіоні України (на прикладі музейних установ Львівської області)» Представлена... more

РЕЦЕНЗІЯ на методичну розробку «Методичні рекомендації щодо експозиційно-виставкового висвітлення політичних репресій та радянського тоталітаризму у Західному регіоні України (на прикладі музейних установ Львівської області)» Представлена до рецензування методична розробка на тему «Методичні рекомендації щодо експозиційно-виставкового висвітлення політичних репресій та радянського тоталітаризму у Західному регіоні України (на прикладі музейних установ Львівської області)» виконана завідувачем сектору методології музейної роботи Ведибідою Богданом Олександровичем. Робота обсягом 6 друкованих аркушів, складається з вступу, чотирьох розділів та висновків, списку використаної літератури. Представлена робота є високо актуальною, важливою, складною та якісно виконаною. Методичні рекомендації оформлені у науковому стилі та структурою, що може також її охарактеризувати ширше – як методичний посібник. Структура роботи є логічною, зміст охоплює низку важливих проблем музейної роботи. Праця виконана в оптимальному обсязі, ґрунтована на вагомому та вражаючому списку використаної літератури (160 одиниць) як вітчизняних, так і закордонних дослідників, в тому числі офіційних сторінок музеїв. Робота Ведибіди Б.О. логічно продовжує попередні праці автора, присвячені проблемам декомунізації в Україні, які є вагомим внеском у творення історії сьогодення та соціальної трансформації в Україні. В зазначених рекомендаціях вдало виділені методологія та характерні особливості висвітлення та комплексної оцінки, аналізу питань висвітлення в музейних експозиціях теми політичних репресій та тоталітаризму. Корисною є представлена в роботі повна законодавча база, подана із аналізом. Особливо корисними є дієві практичні поради з побудови експозиції на зазначену тематику в музеях України, підбору експонатів та забезпечення їх збереженості під час експонування. Приємно, що представлені в роботі висновки також якісно підкріплені прикладами із виставкової діяльності Національного музею історії України, зокрема затвердженої Концепції реекспозиції ІІІ поверху музею. Значною в роботі є подана історична довідка. Наглядним і показовим є ілюстративний матеріал. Цілком вдало автором наведені в роботі огляди та аналіз діяльності музеїв Львівщини, що демонструє вже існуючий практичний досвід висвітлення теми в музейній експозиції, що стало важливою та невід'ємною частиною роботи.

This article first appeared in Exhibition (Spring 2016) Vol. 36 No. 1, and is reproduced with permission.

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- by Ellie Miles and +2
  Stuart Frost
  Rebecca Penrose
- •
- 3
  Museum Studies, Museums and Exhibition Design, Museum Interpretation

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the... more

This study aims to examine the extent to which food in Maltese communal gatherings is successfully staged to be understood by both the community and the tourist. Research indicates that distinctive and particular foods have typified such... more

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- by Avellino Stewart Marie and +1
  George Cassar
- •
- 3
  Cultural Studies, Cultural Heritage, Museum Interpretation

Parody has been a strategy within cultural production since the ancient Greeks: “paraodia” referred to a song sung alongside the main narrative thread of a dramatic work; the prefix “para-” also signifies “against.” In A Theory of Parody:... more

Parody has been a strategy within cultural production since the ancient Greeks: “paraodia” referred to a song sung alongside the main narrative thread of a dramatic work; the prefix “para-” also signifies “against.” In A Theory of Parody: The Teachings of Twentieth-century Art Forms, Linda Hutcheon offers this core definition: parody is “a form of repetition with ironic critical distance, marking difference rather than similarity … [with] tension between the potentially conservative effect of repetition and the potentially revolutionary impact of difference” (xii). This and other aspects of Hutcheon’s theory guide my interpretations of works by three contemporary artists working in Canada: Sybil Lamb’s novel I’ve Got a Time Bomb; Ursula Johnson’s (Mi’kmaq) three-part exhibition Mi’kwite’tmn (Do You Remember); and Kent Monkman’s (Cree and Irish) exhibition Shame and Prejudice: A Story of Resilience.
I argue that the presence of parodic elements in these artists’ works enables them to do two things: to claim spaces that enable recognition of their subject positions, and to critique an aspect of hegemonic norms in contemporary society. I read Lamb’s novel as a critique of the heteronormative gender binary via parody of the picaresque genre and of heteronormative discourse/language. Certain pieces in Monkman’s exhibition parody the epistemological and display strategies of traditional Eurocentric anthropological museums and archives, as can Johnson’s work; her sculptural-installations may also be read as parodying the traditions of Mi’kmaw basket-making. The work of both artists critiques colonial narratives that sought (and may still seek) to denigrate and/or erase Indigenous peoples; such narratives of cultural genocide were both tacitly and directly propagated by museums. I analyze these three artists’ works, considering key features of parody (ambiguity; irony and “double-voicedness”; trans-contextualization; and humour), and their effects (defamiliarization; ontological instability; complicity; and laughter). Parody challenges the post-structuralist emphasis on the “decoder,” (viewer/reader) reinstating the “encoder” (artist/author) as agent. Decoders recognize their complicity within the context of the hegemonic narrative, whether the heteronormative gender binary or colonialism, and may come to shift perception – as per Hutcheon’s “potentially revolutionary impact.”

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- by Jane Affleck
- •
- 16
  Gender Studies, Queer Studies, Museum Studies, Canadian History

Основні методичні рекомендації до розробки наукової концепції музеєфікації пам’ятки архітектури – палацу XVI-XIX ст. у смт Меджибіж Летичівського р-ну Хмельницької обл. (охоронний № 764/1). Пропонуються також до розробки наукових... more

„Der zweite Blick“ ist eine neue integrierte Ausstellungsreihe, die sich anhand aktueller gesellschaftsrelevanter Themen multiperspektivisch mit der Dauerausstellung des Bode-Museums auseinandersetzt. „Spielarten der Liebe“, die neue... more

This paper aims to contribute to our understanding and awareness of interpretaion as a cultural product. Through decoding interpretation as provocation, the layers of how meaning is defined and presented through global case studies... more

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- by Alexander Peters
- •
- 3
  Museum Studies, Museum Interpretation, Museology

Рецензія на дипломну роботу Макаренко М. на тему
Музейний квиток як складова маркетингу

An evaluation of the interpretation of the social and economic history of the North Wales slate industry through its museums and visitor attractions. Governance and remits of national and independent museums and attractions are... more

How does the architecture of a museum both achieve and undermine its purpose?

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- by Allison Kopplin
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- 17
  Jewish Studies, Museum Studies, Museum, Jewish History

In 1959, the Bob Jones University Gallery of Sacred Art acquired St. Francis Receiving the Christ Child from the Virgin, a large altarpiece by Denys Calvaert. The painting was altered during restoration, as someone painted a wisp of... more

In 1959, the Bob Jones University Gallery of Sacred Art acquired St. Francis Receiving the Christ Child from the Virgin, a large altarpiece by Denys Calvaert. The painting was altered during restoration, as someone painted a wisp of fabric to cover the exposed genitals of the nude Christ Child. Bob Jones Jr., founder of the collection and then University president, cited the expectations of the University‟s Fundamentalist constituency in defending several such alterations, but the exhibits and publications of the Bob Jones University Museum & Gallery are silent on the matter. In this paper, I analyze the causes and consequences of that problematic silence before offering specific proposals to remedy them.

First, I describe how the acquisition, alteration, and interpretation of the Calvaert conform to the expectations of M&G's founder and its Fundamentalist constituency. M&G has acted to reconcile the Catholic content of the collection with the anti-Catholicism of Fundamentalist tradition, and to maintain a standard of “modesty” appropriate to the perceived preferences of that tradition. Next, I explain why the retouching and the lack of public information about it are unfortunate, emphasizing how they conflict with the museum's own stated educational goals. The nudity of the Christ Child on this altarpiece is integral to its religious, cultural, and art-historical origins. In conforming to the expectations of one segment of its audience, the museum has lost part of the history and therefore diminished the educational potential of its collection.

Finally, this paper offers several specific strategies for incorporating information about the original and altered states of the painting into the existing interpretive structures at the Bob Jones University Museum & Gallery. These proposals include altered text for gallery panels and audio tours, expanded training for docents with new participatory elements for docent-led tours, additional material for student visits and class projects, and improved and updated coverage in print and online publications. By adopting these proposals, the gallery could begin to recover the lost value of the Calvaert for religious, cultural, and art history education by bringing forward the missing elements of the history of the painting and the institution.

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This paper explores the possible spectrum of museum experiences within the remit of the ‘phygital’, and how the physical and the digital can potentially interact to define a museum experience through the lens of museum theory. The... more

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- by Sandro Debono
- •
- 15
  Digital Humanities, Museum Studies, Digital Museum, Museum

This article is concerned with the phenomenon of convergence (institutional integration) of museums, libraries, archives and other cultural facilities. It investigates how such amalgamations impact the capacity of curatorial and... more

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- by Helena Robinson
- •
- 14
  Library Science, Cultural Policy, Museum Studies, Cultural Heritage

This is a presentation given to the staff of Museum Victoria in November 1992, when I was a Children's Museum staff member. Although the document is dated, the principles of interpretation remain the same, and may be even more relevant in... more

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- by judy mckinty
- •
- 15
  Communication, Museum learning, Museum, Museum Education

This article re-examines the theoretical basis for environmental and heritage interpretation in tourist settings in the light of hermeneutic philosophy. It notes that the pioneering vision of heritage interpretation formulated by Freeman... more

Edited and introduced with an introduction by Mirjam Brusius and Kavita Singh. Abstract: Beyond their often beautiful exhibition halls, many museums contain vast, hidden spaces in which objects may be stored, conserved, or processed.... more

Museum Interpretation

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