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This paper presents a history of The Romanian System for Conservation and Restoration of Cultural Heritage, in its 45 years of operation. The data are presented in two periods, 1975-1990 and from 1990 to the present. The system has organizational-functional elements and its own education and professional accreditation within the Ministry of Culture.
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The stated purpose of this article is to sensitize the specialists and responsible institutions on some conservation interventions that are required in the current situation, years after the first emergency interventions started in 1980 at Voroneț.
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The problem with the original in the era of its digital reproducibility concerns both photography, which until recently dominated media in contemporary art, and more conventional art forms, such as painting and music, which entered the digital universe and became irreversibly devalued because of the accessibility and malicious democracy of the new digital meta universe. Entering the second decade of the 21st century, the economic trap in which the arts fall is becoming clearer, and the traditional idea of the uniqueness of the original work falls under the pragmatic critique of the consumer world, in which everyone can and wants to own, in the digital format, all the information of interest or need. A new chance for artists to declare the originality of their digital work is the emerging NFT culture, and an interesting question that may arise from now on is whether a potential shift of big capital to the originals in their digital version will not orient the gallery spaces to other purposes than commercial? Obviously, interesting restructuring in the world of art is forthcoming and the emergence of new and more important institutions than galleries and museums is not excluded.
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The study focuses on the educational potential of Bulgarian art museums. The system of these museums is briefly described, indicating the specifics of their cultural activities. The great opportunities for education in-and-through these museums are outlined – with examples and concepts. The thesis about the positives of their wider involvement in the educational process is developed on the basis of data from the work of some art museums. The need to develop emotional intelligence and empathy in students through a deeper reading of art is outlined. In this regard, the role of the treasury of Bulgarian art museums is invaluable.
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The article discusses different aspects related to the analysis of specific cases of culture and heritage management, which are used both to identify the distinctive features of management approaches and to integrate them in search of synergies and beneficial interactions based on their mutual complementarity. Changes in the external environment of culture are considered primarily in relation to the economy, society and the urban environment with its typical infrastructures in order to achieve sustainable development of culture, which ensures that there will be no loss of memory and authenticity of cultural values on account of social or economic benefits.
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The article concerns the Themerson Archive in Warsaw, which for nearly three decades was prepared for publication by art critic Jasia Reichardt. She not only sorted out these collections, but also acted as an intermediary between the artists, the Archive, and the audience. In this case, the curatorship of the archive is an effort to bring the individual parts of the collection closer to the audience by creating a narrative about the history of individual artifacts. The curator has bestowed on the materials a broad biographical context. In her article, Honorata Sroka comes up with the idea of the curatorship of archival collections. She develops a specific approach to curatorship by describing Reichardt’s exhibition methods, i.e., the latter’s strategies of presentation and presence in the Themerson Archive. Sroka moves away from the classic approaches to the theory of archives by regarding the curator’s activities not only as attempts to limit the public’s access to knowledge about the artists and the desire to guard their collections, but rather as organizational efforts aimed at formulating a coherent method for the presentation of materials. Moreover, Sroka emphasizes the fact that Reichardt’s experience as a long-time curator of art exhibitions, the author of numerous articles, and the director of the Whitechapel Art Gallery in London has allowed her to make a highly original contribution to the field of archival studies.
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Collections of manuscripts in Vilnius are stored in three archives: the Lithuanian State Historical Archives, the Central State Archives of Lithuania, and the Lithuanian Literature and Art Archive. They are also stored in the Manuscript Sections of the most important Vilnius libraries: the Library of the Vilnius University, the Wroblewski Library of the Lithuanian Academy of Sciences, and the Lithuanian National Library of Martynas Mažydas. Among the collections are many documents and written texts (referred to by the Latinate word polonica) from different epochs. Polonica texts by Polish writers and poets of the 19th and 20th centuries have been examined mainly by Polish researchers. Vilnius collections consist of many documents presenting the characters of minorum gentium writers such as Czesław Jankowski, Nikodem Erazm Iwanowski, and Maria Rodziewiczówna. Manuscripts are a valuable source of information about these authors. Irena Fedorowicz’s aim in this article is to show the output of archival studies concerning the life and work of 19th- and 20th-century writers. Some of the results have already been published in Lithuanian scholarly publications in the years 2016–2022.
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In 2014, the Archives of Latvian Folklore started developing its digital archive, which, among other things, offers an opportunity to develop new digital tools and resources for indexing folk narratives. Since the 1850s, a sizeable legend corpus has been documented in the territory of Latvia, and extensive collections have been published. While initiating the development of a digital index of legends, this article aims to consider the most comprehensive collections and publications as of today, as well to characterise the applied systems of classification and indexes. It was in the 1850s and 1860s when the first calls to write down folktales and legends were published in the press, and when the Latvian folk narratives started attracting wider interest of both Baltic German scholars and emerging Latvian intellectuals. In 1887, Fricis Brīvzemnieks published the first academic collection of folktales and legends, which included 186 texts. In this collection, the folktales and legends were classified by the genre and subject. The majority of the folktales (1863 texts) and legends (3254 texts) collected in the 19th century was published in the seven-volume edition “Latvian Legends and Folktales” (1891–1903, 2001) edited by Anss Lerhis-Puškaitis. It was the largest collection of Latvian folklore and one of the most sizeable publications of folk narratives in Europe at that time. In the early 1890s, the popularity of British anthropologist Edward Tylor’s theory of animism was growing. As no particular classification system of legends was approbated in international research circles, Lerhis-Puškaitis developed a unique system of legend classification, which was based on the theory of animism to arrange the voluminous text corpus; however, it fell under criticism in the early 20th century. The largest current publication of Latvian folk narratives (4309 folktales and 3586 legends), “Latvian Folktales and Legends” (1925–1937), was prepared for publishing by Prof. Pēteris Šmits. As for systematisation of folktales, Šmits implemented a state-of-art classification system introduced by Antti Aarne based on the historic-geographic method. Unlike folktales, researchers of legends did not have any internationally applied catalogue of legend types available at the time. Šmits classified the legends into four sections: 1) etiological legends, 2) mythological legends, 3) place legends, and 4) historical legends. The Archives of Latvian Folklore (ALF) was established in 1924 with its main task to collect and archive Latvian folklore, including legends. Along with intense activities of folklore collecting, the ALF was publishing and studying the collected materials, yet no developments toward a legend index were initiated. Having recognised legends as a significant genre for the Soviet ideology, a catalogue was initiated in the 1950s by Herta Vaita (the card index of legends). In the early 1960s Alma Ancelāne engaged in the research and classification of legends, and this also concurred with the discussion activated by the International Society for Folk Narrative Research regarding the development of an international catalogue of legends, which indirectly affected Ancelāne’s work. The card index of legends, which was completed after almost 30 years, covers nearly all of the material held in the ALF, some 57,000 texts. The material was primarily divided into etiological, mythological, and historical legends, whereas a more detailed subdivision was created grouping the legends into several sub-levels based on motifs, types, and occasionally by the themes included therein. Although Ancelāne’s card index greatly helps in orientating oneself to the collection of legends held in the ALF, it can hardly be considered as a fully completed index of motifs or types of Latvian legends. After WWII, Latvian émigrés also contributed to the classification of legends. In 1981, Lena Neuland published “Motif-Index of Latvian Folktales and Legends”, which followed the pattern of “Motif-Index of Folk Literature” by Stith Thompson using both Thompson’s names and numbers of the motifs. In 2014, the digital archive of ALF, garamantas.lv, began providing options for the development of new digital tools and resources in the research of folk narratives. Much has been accomplished in the field of legend research by now, yet there is still much to be done. A sizeable number of legends have been collected, and a large portion of them has been published, but this material has not been compiled in a single data corpus. A motif-index of Latvian legends has been developed which is accessible to the international community of legend researchers, but the material it covers equals less than 5% of the entire text corpus. Likewise, a type-index of Latvian legends should also be developed. In addition, an equally wide selection of Latvian legends should be published in English. By developing a mapping tool, the digital archive would allow for the visualization of the geographical distribution of each motif and type. There are plenty of plans and intents to implement. The first impressions gained from an implementation of those will be addressed in a separate article.
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The purpose of the article is to demonstrate the possibilities of using the electronic "Ukrainian National Biographical Archive" (UNBA) in the field of humanitarian knowledge based on a specific applied historical and psychological study. The research methodology is a combination of general scientific methods of analysis of theoretical material and statistical and comparative methods of analysis of specific empirical data, their systematisation and generalisation. The scientific novelty of the research is characterised by the use of information technologies, large volumes of data, and methods of statistical processing in the traditionally humanitarian field of research, which is characterised by a predominantly descriptive approach. Conclusions. On the example of the proposed study, an approach is presented that will allow to significantly expand the possibilities of both specific biographical investigations and studies of socio-historical, ethnological, and historical-psychological directions. Large-scale volumes and detailed structuring of the biographical archive (UNBA) according to its thematic, chronological, and gender distribution allows presenting the system itself as the core of the scientific activity of the virtual historical and biographical laboratory. Analogues of this approach do not exist in Ukraine today due to the uniqueness of the biographical archive (UNBA) itself, which combines the widest possible coverage of national biographical material with its detailed structuring. As a perspective of further research in the presented direction, we see the study of the dynamics of changing the archetypal features of the generalised image of Ukrainians in the temporal perspective. This includes answers to the question: how were the spheres of social activity of men and women correlated in different periods, the scaling of which is possible from centuries to one generation, i.e. 20-30 years? How statistically significant are these changes? We consider another interesting direction to be the identification of archetypal characteristics of Ukrainians depending on the places of social activity, birth, etc. – the so-called geographical rubrics.
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Pansori (판소리), one of the important products of Korean Culture, is the exhibition of a story accompanied by song and music in public places. There are three elements in Pansori performance as singer/narrator, drummer and audience. The singer/narrator is central to the Pansori performance with his narration and body language, while the drummer plays a complementary role in the performance by providing rhythm and singing encouraging words to add excitement to the performance. What makes the Pansori interesting is that the audience also takes part in this performance. During the performance of the artists, the audience occasionally cheers to express their support and appreciation for the artists. Pansori, one of the cultural elements of Korea, is included in the Intangible Cultural Heritage list of UNESCO under the title of “Oral Traditions and Expressions”. Pansori was registered as Korean intangible cultural heritage number five in 1964 and was designated as world cultural heritage by UNESCO in November 2003. Although twelve of classical Pansori works are mentioned in Korean Culture, only five of them have reached today. It is possible to examine Pansori in the fields of music, theater and literature when we consider the elements such as music, fiction/story, audience and the audience accompanying the performers in the content of Pansori. Pansori started anonymously and continued by professional artists. In this study, besides looking at the place of Pansori, the Cultural Heritage of Korea, in Korean culture, its emergence, development and current situation are briefly mentioned. The aim of the study is to introduce an important Korea’s cultural heritage in Turkey, to reveal its importance in Korean culture and set the basis for future comparative studies. Keywords: pansori, sorikkun, Korean cultural heritage, Korean literature, Korean theather Pansori (판소리), one of the important products of Korean Culture, is the exhibition of a story accompanied by song and music in public places. There are three elements in Pansori performance as singer/narrator, drummer and audience. The singer/narrator is central to the Pansori performance with his narration and body language, while the drummer plays a complementary role in the performance by providing rhythm and singing encouraging words to add excitement to the performance. What makes the Pansori interesting is that the audience also takes part in this performance. During the performance of the artists, the audience occasionally cheers to express their support and appreciation for the artists. Pansori, one of the cultural elements of Korea, is included in the Intangible Cultural Heritage list of UNESCO under the title of “Oral Traditions and Expressions”. Pansori was registered as Korean intangible cultural heritage number five in 1964 and was designated as world cultural heritage by UNESCO in November 2003. Although twelve of classical Pansori works are mentioned in Korean Culture, only five of them have reached today. It is possible to examine Pansori in the fields of music, theater and literature when we consider the elements such as music, fiction/story, audience and the audience accompanying the performers in the content of Pansori. Pansori started anonymously and continued by professional artists. In this study, besides looking at the place of Pansori, the Cultural Heritage of Korea, in Korean culture, its emergence, development and current situation are briefly mentioned. The aim of the study is to introduce an important Korea’s cultural heritage in Turkey, to reveal its importance in Korean culture and set the basis for future comparative studies.
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The lack of material monuments of Georgian clothing prior to the XVIII cen-tury poses a significant challenge to presenting a comprehensive picture of Geor-gian costume history and comprehending the process of its development. Foreign sources from various epochs contain useful information for resolving this issue. Among them are the works of Don Cristoforo de Castelli, an Italian Theatine mis-sionary and pastor, who worked in our country in the XVII century. The goal of the present research is to determine if the seventeenth-century Georgian clothing (women’s costumes) and headgears depicted in Cristoforo de Castelli’s work con-form to reality or are merely the artist’s fantasy, what shall be done by analyzing the clothing and comparing to the relevant Georgian and foreign pictorial sources. The research is based on approved art history methods. An in-depth exami-nation of Castelli’s sketches and paintings reveals that the majority of the clothes depicted in the album have a counterpart in Georgian painting (monumental and miniature) and written monuments. Only few of them seem to be distinct, and their use is not confirmed by Georgian sources. In this regard, we should particu-larly note the entire gallery of headgears depicted in the albums, the majority of which are completely alien to Georgian tradition and have analogues only in por-traits of Muslim queens - that is explained by the influence of the Court etiquette and fashion of the eastern super-states. The research confirmed that the various clothing and headgear depicted in Castelli’s album are not a figment of the artist’s imagination, but documentary material created over time by an eyewitness-ob-server, and they reflect, like a mirror, the reality in which the author himself was an accomplice. As a result, his work is still relevant today and is one of the most reliable and important sources for the history and establishment of the process of evolution of Georgian costume.
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The main results of the work of the team of Institute of Mathematics and Informatics at the Bulgarian Academy of Sciences on the project CLaDA-BG – the Bulgarian National Interdisciplinary Research e-Infrastructure for Re-sources and Technologies in Favor of the Bulgarian Language and Cultural Heritage, Part of the EU Infrastructures CLARIN and DARIAH, will be presented during the Information Day within the DiPP2023 conference. The main emphasis will be placed on current and ongoing developments and implementations of CultIS - a web-based software platform for the intelligent digital management and presentation of large data sets and knowledge from the field of culture, humanities and social sciences.
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The theme of well-being and health through culture, heritage, and museums is already established in the European museum world, as evidenced by the fact that the International Council of Museums (ICOM)has proposed this theme as the objective for the year 2023. It is only natural, therefore, that at the national level, the subject generates discussions and interest. In this article, we aim to provide a case study regarding how this generous theme has been approached within acultural institution in Bucharest. A small museum, but one that aims to constantly evolve, the Maps Museum has initiated a project in order to explore the impact of heritage on individuals with cognitive disabilities. An insight into this endeavor might be useful for other small but enterprising museums, by showcasing the developmental journey of the idea as well as the challenges encountered.
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Cultural heritage has changed its definition for the last decades, slowly becoming an important economic resource especially in areas where the sustainable development through tourism is the only economic development solution. These changes happened based on a strong connection with the worldwide awareness of the important role of social actors, creators and beneficiaries of the heritage. In this study, we focus on the particular case of private actors in heritage (communities, NGOs, individuals), found at the interface between rural communities and state institutions, between constraining laws and the freedom of those who create cultural values, but cannot manage. Among those, we refer to the private collectors of ethnographic objects. The tasks they assume for themselves are difficult. Leaders with distinguished moral qualities are needed, leaders that are true „cultural entrepreneurs”, to whom the work for cultural heritage demands a specialization. The paper discusses the problems and tensions that occur during the management of cultural heritage done by the private actors and also present the fortunate case of the RezArt - Museum - Workshops ethnographic collection, Iaz village, Sălaj county, owned by Ligia-Alexandra Pop.
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An integral part of our daily lives, the digital has been an essential part in new strategies formulated by museums and cultural institutions around the world in the context of the COVID-19 crisis. On numerous occasions, various studies have analyzed the impact that the pandemic had on the digital transformation of museums and other cultural spaces. A vector of democratization and inclusion, the digital offers unique aesthetic experiences, and technology is the spearhead launched by many museums to outreach new audiences. However, the acceleration of digital content opens up new issues and raises multiple questions, especially on the environmental and social impact. The digital is responsible for about 4% of global greenhouse gas emissions. These issues are more relevant now that some museums are actively reflecting on whether to integrate or not NFTs (non-fungible tokens) or explore the metaverse. Can digital development be combined with the ecological responsibility approach in the case of cultural institutions? How can we build environmentally friendly digital strategies? What measures can museums take, in terms of digital impact, to plan for a sustainable future and limit global warming to 2° C? This article provides an introduction to the notion of digital sobriety and some practical ideas on how it can be adapted to museums, gathering reflections and examples of good practice, developed by cultural organizations around the world.
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This study identified and analyzed visual resources, more precisely photographs and postcards, with images from Cluj-Napoca, that were digitized and posted on Europeana. European Digital Library by libraries, museums, archives, a cultural center and a community-based photo archive from Romania, Hungary, Austria, Sweden and Italy. Moreover, it provides a research model on the topic, focusing on the scientific potential of the existing digital resources in Europeana. It highlights the importance of the digitization of the cultural heritage, building a digital repository that offers both a general, European perspective, as well as segmental, national, regional and local approaches. The research on Cluj cultural heritage in Europeana reveals the importance of the collaboration among the memory institutions in preserving and facilitating access to their collections in general, and to their local history documents in particular, reconfirming that digitization is an area where collaboration is feasible and with surprising benefits.
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In 2019, the non-European movable cultural heritage belonging to the Franz Binder Museum was relocated in Sibiu, from the Hermes House (no. 11, Piața Mică), to the ASTRA Centre for Heritage (no. 20, Pădurea Dumbrava). In this context, the department of collection care of the ASTRA National Museum Complex, which is mainly responsible for the preventive conservation and administration of the museum’s cultural heritage, was entrusted with the task of carrying out the project. The actual period, from planning, organising, and preparation to the completion of the transport, lasted four months, and the action involved moving almost 4.000 ethnographic objects. With a focus on the planning and packing side, the case study describes in detail the steps taken, providing a benchmark and a model of good practice for those who might be facing a similar challenge.
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