Suchergebnisse

In the second half of the 20th century, important changes took place in the relationship between the museum world and society, which led to appearance of new approaches in museum theory and practice. First of all, they affected the principles of interaction between museums and their audience. The evolvement of communication approach to museology, where a visitor is considered the main figure in museum activity, dates back to this time. The peculiarities of museum audience behaviour were studied from the beginning of the 20th century. The exposition is the main channel of communication between a museum and its visitors, therefore, the use of modern technical means that allow an objective assessment of the quality of such communication is a priority when studying the museum audience. Due to the development of technical progress by the beginning of the 21st century there is a possibility of using technological methods of qualitative and quantitative recording and analytics of main indicators of interrelation between museums and their target audience. The present research considers new technical means of studying specific features inherent to visitors behaviour at exhibitions (tracking, eye tracking, video analytics). Such studies have been carried out in some of Russian museums in recent years.

Rapid information development of society requires new approaches to the exposition of artillery of the 14-18th centuries in Ukrainian museums. The article analyses a number of problematic issues that arise when exposing cannons of the 14-18th centuries and suggests possible solutions. It considers some problems of cleaning and taking care of cannons depending on their material and condition. The possible ways to fill the exhibition using the latest technologies to create an interactive exhibition and integrate the history of artillery in the modern information space were suggested in the article. ; В статті аналізується ряд проблемних питань які виникають сьогодні в музеях при експонуванні гармат XІV– XVIІІ ст., пропонуються можливі варіанти їх вирішення. Розглянуто специфічні особливості чищення та догляду за гарматами в процесі експонування. Запропоновано можливі варіанти наповнення виставки з використанням новітніх технологій для інтеграції історії артилерії в сучасний інформаційний простір. В радянський період історії України під впливом політичних факторів зброєзнавство як наука не розвивалося. Невелика кількість праць українських науковців того періоду побачили світ виключно завдяки ентузіазму та старанням їхніх авторів. Ідеологічне навантаження радянських праць на тему створювало викривлену історичну картину розвитку артилерії в Україні. Такий стан речей відображався й на музейних експозиціях, які, в своєму інформаційному наповненні, повинні опиратися на фахові наукові дослідження. На сучасному етапі накопичення української військово-історичної історіографії спостерігаємо становлення українського зброєзнавства як науки. Це створює якісно нове підґрунтя для побудови та інформаційної наповненості музейних виставок зброї.Одним із важливих показників розвитку держави є рівень технічного розвитку її зброї. Важливим показником культурного розвитку нації є ставлення до свого історичного минулого, вміння його шанувати та возвеличувати. Історія артилерії XІV– XVIІІ ст. – це історія великих перемог та нищівних поразок видатних полководців та їхніх армій. Артилерія – бог війни на полі бою. Будуючи музейну експозицію необхідно демонструвати гармати XIV– XVIII ст. як зброю, що стала рушійною силою для кардинальних змін не тільки в тактиці та стратегії ведення війни, але і сприяла своєю появою значному розвитку фортифікацій. Стрімкий розвиток інформаційного суспільства вимагає якісно нових підходів до експонування зброї в українських музеїв та нового, фахового висвітлення історії розвитку артилерії.

Rapid information development of society requires new approaches to the exposition of artillery of the 14-18th centuries in Ukrainian museums. The article analyses a number of problematic issues that arise when exposing cannons of the 14-18th centuries and suggests possible solutions. It considers some problems of cleaning and taking care of cannons depending on their material and condition. The possible ways to fill the exhibition using the latest technologies to create an interactive exhibition and integrate the history of artillery in the modern information space were suggested in the article. ; В статті аналізується ряд проблемних питань які виникають сьогодні в музеях при експонуванні гармат XІV– XVIІІ ст., пропонуються можливі варіанти їх вирішення. Розглянуто специфічні особливості чищення та догляду за гарматами в процесі експонування. Запропоновано можливі варіанти наповнення виставки з використанням новітніх технологій для інтеграції історії артилерії в сучасний інформаційний простір. В радянський період історії України під впливом політичних факторів зброєзнавство як наука не розвивалося. Невелика кількість праць українських науковців того періоду побачили світ виключно завдяки ентузіазму та старанням їхніх авторів. Ідеологічне навантаження радянських праць на тему створювало викривлену історичну картину розвитку артилерії в Україні. Такий стан речей відображався й на музейних експозиціях, які, в своєму інформаційному наповненні, повинні опиратися на фахові наукові дослідження. На сучасному етапі накопичення української військово-історичної історіографії спостерігаємо становлення українського зброєзнавства як науки. Це створює якісно нове підґрунтя для побудови та інформаційної наповненості музейних виставок зброї.Одним із важливих показників розвитку держави є рівень технічного розвитку її зброї. Важливим показником культурного розвитку нації є ставлення до свого історичного минулого, вміння його шанувати та возвеличувати. Історія артилерії XІV– XVIІІ ст. – це історія великих перемог та нищівних поразок видатних полководців та їхніх армій. Артилерія – бог війни на полі бою. Будуючи музейну експозицію необхідно демонструвати гармати XIV– XVIII ст. як зброю, що стала рушійною силою для кардинальних змін не тільки в тактиці та стратегії ведення війни, але і сприяла своєю появою значному розвитку фортифікацій. Стрімкий розвиток інформаційного суспільства вимагає якісно нових підходів до експонування зброї в українських музеїв та нового, фахового висвітлення історії розвитку артилерії.

There is a powerful trend in museums today of asking visitors to participate in the exhibitions, co‐create content, and to be active and engage with one another in the museum space. While welcoming the participatory agenda as an initiative of democratizing art museums, we argue in this paper that the rise of the participatory agenda also redefines the purpose of the art museum in a way that risks overlooking the kinds of experiences people undergo in art museums. Based on qualitative and phenomenologically inspired interviews with museum visitors, we present a sketch of a class of aesthetic experiences that ought to be taken into consideration in curatorial practices. Developing a picture of the phenomenology of aesthetic experience, we argue that such experiences should be taken into account when considering the question of the purpose of the art museum.

Citation: Drollinger, Della. Influence of expositions. Senior thesis, Kansas State Agricultural College, 1902. ; Morse Department of Special Collections ; Introduction: It would not be easy to overestimate the educational value of the objects of beauty, monumental architecture, galleries of painting and sculpture, and museums that are found in some of the old European towns, for such things, stimulate the imagination, increase a thirst for knowledge, and awaken and educate the aesthetic faculties. Much of the marvelous beauty and wealth of public architecture and art in small European towns has been due to earlier political conditions. The town at some time probably was the seat of government of some small kingdom, but in these days of great empires those old time motives have passed away and something new must take their place. The tendency to create expositions is a valuable part of the outworkings of these new motives.

The process of forming the fund and the features of the military-historical exposition of the Museum of History of Education in Barnaul is considered. The institution has been operating since 2008 under the direction of O.V. Kakotkina. Museum Fund it is more than 12, 5 thousand of items. Considerable attention has been paid to manning collections reflecting wartime events. The article analyzes the exposition of the hall "Education in Barnaul during the Great Patriotic War (1941-1945)". The museum staff and artist-designer N.A. Burdina carried out the exposition. When creating the exposition, the principles of scientificness, subjectivity and communication are observed. Over 230 exhibits are presented in the sections of the exposition: letters, photos, awards, archival documents, household items 1930-1940, artifacts obtained as a result of excavations at battlefields in the Novgorod region, etc. A variety of modern museum equipment was used to accommodate them. About 7000 people visit the museum annually. They get acquainted with the exposition of the hall during museum or in their own. It is noted that the activities of the museum are important for the preservation, study and promotion of the heritage of Barnaul educators.

In nineteenth to twenty-first-century Lithuania, the exhibits of almost all museums reflect a certain aspect of Lithuanian history. These exhibits are the quintessence of museum concepts and are presupposed by society and the groups within it, historical memory, scientific and ideological discourses. The most important themes of Lithuanian history exhibits include Lithuanian prehistory, past glory, statehood, resistance to foreign occupation, repressions, exile, trauma, struggle for independence and its restoration and certain personalities who were involved in these processes. Exhibits of Lithuanian prehistory have remained constant since the nineteenth century. Other tendencies of Lithuanian history exhibits in museums have been shaped by time, ideology and politics. Since the Republic of Lithuania in the Interwar period (1918–1940), popular museum themes include Vytautas the Great, the Battle of Žalgiris, medieval castles, rebellions against Russia and especially the prohibition of the Lithuanian press in the nineteenth century. Since the second half of the twentieth century, the musealisation of the memory of personalities, especially writers, is intensifying. After restoring Lithuanian independence in 1990, museums have tackled the acute themes of Soviet occupation, anti-Soviet resistance, exile, trauma and Lithuania's pursuit of independence. Current museological representations of Lithuanian history are rising, fostered by concepts of "living history" and "the past for the present".

In nineteenth to twenty-first-century Lithuania, the exhibits of almost all museums reflect a certain aspect of Lithuanian history. These exhibits are the quintessence of museum concepts and are presupposed by society and the groups within it, historical memory, scientific and ideological discourses. The most important themes of Lithuanian history exhibits include Lithuanian prehistory, past glory, statehood, resistance to foreign occupation, repressions, exile, trauma, struggle for independence and its restoration and certain personalities who were involved in these processes. Exhibits of Lithuanian prehistory have remained constant since the nineteenth century. Other tendencies of Lithuanian history exhibits in museums have been shaped by time, ideology and politics. Since the Republic of Lithuania in the Interwar period (1918–1940), popular museum themes include Vytautas the Great, the Battle of Žalgiris, medieval castles, rebellions against Russia and especially the prohibition of the Lithuanian press in the nineteenth century. Since the second half of the twentieth century, the musealisation of the memory of personalities, especially writers, is intensifying. After restoring Lithuanian independence in 1990, museums have tackled the acute themes of Soviet occupation, anti-Soviet resistance, exile, trauma and Lithuania's pursuit of independence. Current museological representations of Lithuanian history are rising, fostered by concepts of "living history" and "the past for the present".

In nineteenth to twenty-first-century Lithuania, the exhibits of almost all museums reflect a certain aspect of Lithuanian history. These exhibits are the quintessence of museum concepts and are presupposed by society and the groups within it, historical memory, scientific and ideological discourses. The most important themes of Lithuanian history exhibits include Lithuanian prehistory, past glory, statehood, resistance to foreign occupation, repressions, exile, trauma, struggle for independence and its restoration and certain personalities who were involved in these processes. Exhibits of Lithuanian prehistory have remained constant since the nineteenth century. Other tendencies of Lithuanian history exhibits in museums have been shaped by time, ideology and politics. Since the Republic of Lithuania in the Interwar period (1918–1940), popular museum themes include Vytautas the Great, the Battle of Žalgiris, medieval castles, rebellions against Russia and especially the prohibition of the Lithuanian press in the nineteenth century. Since the second half of the twentieth century, the musealisation of the memory of personalities, especially writers, is intensifying. After restoring Lithuanian independence in 1990, museums have tackled the acute themes of Soviet occupation, anti-Soviet resistance, exile, trauma and Lithuania's pursuit of independence. Current museological representations of Lithuanian history are rising, fostered by concepts of "living history" and "the past for the present".

In nineteenth to twenty-first-century Lithuania, the exhibits of almost all museums reflect a certain aspect of Lithuanian history. These exhibits are the quintessence of museum concepts and are presupposed by society and the groups within it, historical memory, scientific and ideological discourses. The most important themes of Lithuanian history exhibits include Lithuanian prehistory, past glory, statehood, resistance to foreign occupation, repressions, exile, trauma, struggle for independence and its restoration and certain personalities who were involved in these processes. Exhibits of Lithuanian prehistory have remained constant since the nineteenth century. Other tendencies of Lithuanian history exhibits in museums have been shaped by time, ideology and politics. Since the Republic of Lithuania in the Interwar period (1918–1940), popular museum themes include Vytautas the Great, the Battle of Žalgiris, medieval castles, rebellions against Russia and especially the prohibition of the Lithuanian press in the nineteenth century. Since the second half of the twentieth century, the musealisation of the memory of personalities, especially writers, is intensifying. After restoring Lithuanian independence in 1990, museums have tackled the acute themes of Soviet occupation, anti-Soviet resistance, exile, trauma and Lithuania's pursuit of independence. Current museological representations of Lithuanian history are rising, fostered by concepts of "living history" and "the past for the present".

The purpose of the article is to identify features and regularities in representation of part of collection of the Dnipro Art Museum of the verge of 19th and 20th centuries, presented in the block of the main museum exposition "Modern. Avant-Garde. Symbolism" from 19 May 2018 to 23 February 2022. The research methodology is based on the application of a systemic approach in a combination of general scientific and special methods of cognition, such as analytical, formal-stylistic, systematisation, and generalisation. The application of the specified methods and approaches contributed to a profound study of the identified issues and made it possible to formulate reasoned conclusions. The scientific novelty of the work lies in a comprehensive approach to the analysis and generalisation of a range of issues regarding the peculiarities of the representation of fine art pieces at the turn of the 20-21 centuries presented in the block of the permanent exposition of the Dnipro Art Museum "Modern. Avant-Garde. Symbolism". Conclusions. Based on the results of the present research, the author can state that permanent exhibition hall of the Dnipro Art Museum "Modern. Avant-Garde. Symbolism", which consisted of four thematic blocks, is an example of a successful combination of expositional and scientific work, which made it possible to represent the relevant section of the museum collection at a decent level. One of the notable features is the non-trivial solution of exhibition space in colour, which was characterised by accented contrasting zoning. Among the notable features, the author notes the balance found between the demonstration of artworks of recognised masters of the modernist era and representatives of the regional art centre. The inclusion in the main exposition of a number of paintings by the local symbolist artist Mykhailo Sapozhnykov contributed to a certain extent to the integration of his figure and creative work into the line of Ukrainian fine art development in the first third of the 20th century.

The object of this master thesis – three museums of occupation in the Baltic states: Museum of occupations and freedom fights in Lithuania, Museum of occupation in Latvia, Museum of occupations and freedom in Estonia. The goal of the thesis – study how a museum works as an instrument of memory politics in the Baltic states on a specific case. Main tasks of the thesis: analysis of the narratives of museums' expositions, the web-sites of these museums, other information about their activities (history of creation, features of functioning, educational programs, etc.) and further comparative analysis of the narratives of the three museums. Methodologically, the study is a case study based on examples of applied work in the field of memory studies and representation of memory politics in museums. In the analysis of museum narratives, it was concluded that the museums of occupation in the Baltic states are the mediums of the history politics of their countries and are objectified by national discourses of memory politics. The common European trends of memory politics can be seen in museums rarely, it is usually included artificially into the body of the narrative: in particular, this concerns the representation of the Holocaust in the museum expositions. This master thesis can be useful to the researchers of memory politics, lecturers and students.