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Zaštita kulturnog naslijeđa u svakom društvu i zajednici predstavlja kompleksan i složen spektar stručnih, organizacionih tehničko-tehnoloških postupaka s ciljem da se isto sačuva u izvornom obliku. Svi postupci provedeni na planu zaštite i očuvanja kulturnog naslijeđa utvrđeni su strukovnim i drugim zakonodavstvom kako na međunarodnoj, tako i na nacionalnoj razini. Međutim, i pored toga u zemljama tranzicije, među kojima je i Bosna i Hercegovina, ovom važnom društveno-kulturnom segmentu se ne poklanja potrebna pažnja. Duži vremenski period prisutan je nemaran odnos društva i zajednice spram kulturnog naslijeđa i na širem tuzlanskom području, što je dovelodo ugrožavanja i stradanja istog. Stanje je posebno usložnjeno ratnim i poslijeratnim prilikama, gdje su kulturno naslijeđe i kultura uopće ostali na margini.
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Na početku ovog priloga postavljeno je pitanje kako se odnosimo prema vlastitoj industrijskoj baštini i da li napušteni industrijski objekti mogu biti integralni dio graditeljskog naslijeđa i identiteta u našoj zemlji. Ukazano je na moguće pravce aktivnosti da se takozvana „industrijska arheologija“ očuva i na adekvatan način, primjerenom promjenom njezine namjene i funkcije prezentira javnosti. Za ilustraciju stanja kod nas u pogledu zaštite i očuvanja industrijskog kulturnog naslijeđa u ovom prilogu dat je opširniji osvrt na historijat nekadašnje gračaničke željeznice, popularnog „Ćire“, sa posebnim osvrtom na značaj te pruge u privrednom i civilizacijskom razvoju toga grada, te na reminiscencije i sjećanjena tu prugu i sve ono što je za nju bilo vezano, 40 godina nakon njenog ukidanja. Učinjen je pokušaj da se na primjeru gračaničkog Ćire, definišu, kako pozitivna, tako i negativna iskustva u tretmanu i odnosu, pa i zaštiti (makar i ostataka i simboličkih predmeta) takozvanog industrijskog naslijeđa. Što se tiče negativnog iskustva, vrijeme je pokazalo da je tu željeznicu trebalo po svaku cijenu zadržati i koristiti u turističke svrhe, a pozitivno iskustvo je vezano za čuvanje uspomene na to industrijsko naslijeđe u Gračanici. Ukazano je na još neke mogućnosti trajnog obilježavanja i čuvanja uspomene na tu gračaničku željeznicu, iako Gračanica ni na simboličnoj ravni nije obilježila 110 godina od otvaranja i 40 godina od ukidanja te željeznice.
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Masiv planine Konjuh prostire se u jugozapadnom dijelu sjeveroistočne Bosne. Udaljen je oko 30 km jugozapadno od Tuzle. Planinu omeđuju rijeke Seona, Turija, Litva i Oskova na sjeveru, Gostelja na istoku i Krivaja na jugu i zapadu. Konjuh se odlikuje obiljem prirodnih bogatstava. Sadrži brojne spomenike prirode geomorfološkog i hidrološkog karaktera a također i velik broj atraktivnih lokaliteta koji se ističu svojim florističko-faunističkom bogatstvom. Vrlo često u okviru takvog bogatstva zastupljene su rijetke, pa čak i endemične biljne ili životinjske vrste.
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This article refers to the correspondence between Sevastia Mureșianu – the mother and her children in Vienna. Family of six children, three children studied in Vienna and the fourth started a business there. The first Mureșianu to arrive in Vienna was Ioan – the first born (Iancu as he was called by his family), who was put in charge with the supervision of his brothers and sister. In 1864 came Aurel, in 1867 Elena and in 1875 Iacob. The generous correspondence between Aurel and his mother helps us understand this period.Vienna represented for the Mureșianu family the loss of their first born son and the unfinished studies for Elena and Iacob. For their other son, Aurel, Vienna contributed to his future career as editor of the newspaper “Transylvania Gazette”.
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In the article the author explains the notions «documental heritage» and «unique documental heritage»as its part in the context of a term system «culture», «cultural heritage» and «cultural values», as well as their commonness and discrepancy, which is important in the practical activity of archives, libraries and museums. These terms are used in different areas of humanitarian knowledge and professional activity of archives, libraries and museums. The article also covers the meanings of these terms, which are in use in the International law and Ukrainian legislation. It is stated that they are not mono semantic, as they require further specification in such fields of science as Documental Studies, Archival Studies, Book Studies, and during the composition of the State Register of National Cultural Heritage.
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Cultural heritage institutions (e.g. museums) expand the scope of information technology adaptation and make mobile applications available to the users. Up to date mobile devices (like smart-phones or tablets) become fully functional devices for display and interaction with online museum information resources. This type of information dissemination can be exploited efficiently in shaping information literacies for young users for whom mobile device has become a major tool for communication, entertainment and knowledge acquisition. The paper presents the results of comparative analysis of mobile applications for museum information services in Poland. The study covered recent and most popular mobile application for online exhibitions and for accessing museum collections and it has been limited to mobile applications for Android operation system. The analysis was based on selected applications highly rated on Google Play Store and AppBrain.com. The popularity of mobile applications was established based on statistical data - rating score, user comments and the total number of downloads. The study indicates selected features such as mobile devices capacities, built-in mechanisms (gyroscope, GPS, camera), interactivity and multimedia features.
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Wsamym sercu nowojorskiego Central Parku, tuż za Metropolitan Museum of Art, stoi pomnik: na granitowym cokole imponująca sylwetka konnego rycerza z brązu wznoszącego ponad ukoronowaną głową dwa skrzyżowane miecze. Jeździec pobudza wyobraźnię tysięcy spacerowiczów. „Super knight!” – superrycerz, walczy dwoma mieczami naraz – woła z podziwem mały skośnooki chłopiec, patrząc na monument. Z obu stron pomnika wielkie litery „POLAND” przypominają o pochodzeniu tego bohatera, a napis na froncie postumentu wyjaśnia (oczywiście w języku angielskim), kim był ów super knight: „Król Jagiełło, Król Polski, Wielki Książę Litewski, Założyciel Wolnego Związku Ludów Europy Środkowo-Wschodniej, zwycięzca nad krzyżackimi najeźdźcami pod Grunwaldem 15 lipca 1410”. Tą sylwetką i tą tradycją chciała szczycić się II Rzeczpospolita na otwarciu światowej wystawy w Nowym Jorku w 1939 r. Autor pomnika, znakomity rzeźbiarz Stanisław Kazimierz Wacław Ostrowski, który zaprojektował także m.in. Grób Nieznanego Żołnierza w Warszawie, doczekał przekazania monumentu Jagiełły gminie Nowy Jork przez ostatniego konsula II RP w tym mieście w roku 1945. I tak już został – największy pomnik w Central Parku. W środku nowojorskiej stolicy świata Litwin jest symbolem Polski, jej mocy militarnej (Grunwald) i duchowego rozmachu „wolnego związku ludów Europy Środkowo-Wschodniej”.
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This paper examines the influence of globalization on cultural heritage, focusing on the role of UNESCO as the primary initiator and creator of international agreements on the protection of cultural heritage. On one hand, UNESCO is a defender of cultural heritage from globalization, on the other, it is a strong global player who determines and enforces individual policies and practices in the field of the protection of cultural heritage all over the world. The first part of this paper examines selected opinions of experts on the issue of globalization and cultural heritage. The second part is a case study presenting the results of empirical research conducted in Vlkolínec, a UNESCO World Heritage Site since 1993, which aimed to analyze the effect the inclusion of the village in the World Heritage List had on the everyday lives of its inhabitants and the village itself.
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This paper analyzes the role of conservation science in Slovak archives by examining its relationship to archival science and highlighting the wide application of current conservation science by means of research into conservation technologies, data storage devices and media, microbiological processes and the processes of deterioration with age. The latest research in the Slovak National Archives focuses on tracing paper and photographs and underscores the importance of implementing conservation science and its practice in everyday archival work.
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The paper is devoted to the issue of permanent exhibitions, aiming special exhibitions in the Museum of Art, which is recently in the center of international discussions in the field. Using the form of „case study“ it highlights the principles and form of permanent exhibitions, which currently offer museum institutions in Slovakia. The core of the paper is the concept of a new im/permanent exhibition of old art of the Slovak National Gallery in Bratislava titled Nestex. Nestex is untraditional, in many aspects experimental model of Gothic and Baroque art installation offering alternatives for exhibitions of art in a specific area of Central Europe.
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This paper analyzes the theoretical and practical work of Ludvík Kunz (1914–2005) in the fields of ethnography and museology during his tenure at the Ethnographic Institute of the Moravian Museum in Brno. Along with examining the basic theoretical tenets of Kunz’s holistic approach to ethnographic museology, we also trace the circumstances and motivation that led to their formulation during times of major societal changes. In the final section, we focus on the application of these theoretical concepts to the activities of his home institution, his broader work in the context of Czechoslovak museology and his tenure as university lecturer.
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This paper surveys the most prominent examples of short-term exhibitions in Slovak museums and galleries in the years 2014 and 2015, highlighting current trends in exhibition design. Despite the great number of such exhibitions which take place every year in Slovakia, their logistical aspects often leave a lot to be desired (for example, hard copy catalogues with full lists of exhibited objects, when printed at all, are usually lacking) and only small fraction is reprised. The public‘s engagement with such exhibitions in form of professional reviews as well as their social and economic effectiveness are virtually non-existent and thus a great desideratum.
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The UNESCO Chair of Museology and World Heritage was established at the Masaryk University in Brno in 1994. It commenced its activities in full in 1996 and Vinos Sofka (1928-2016), appointed in March 1995, became the first chairholder. The Chair was focused on the UNESCO transition project that dealt with the documentation of the totalitarian and postcolonial past of many countries in the former Soviet bloc, Latin America and other parts of the world. It was supported by the General conference of UNESCO resolution on Heritage, museum and museology for social, cultural and environmental transition (Transition project) in October 1995 and the Czech Ministry of Education. The institution obtained a good reputation abroad while it remained somewhat controversial at home and it was eventually joined with the UNESCO International Summer School of Museology. In 2002, Vinoš Sofka left Brno and Jan Dolák became the new chairholder.
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This paper analyzes the development and the current state of axiology in Slovak museums in its historical and legislative context. Additionally, we attempt to define the values that are – or should be – applied to the valuation of objects in museum collections, as well as said valuation’s philosophical, economic and museological underpinnings. The final section of the paper then proposes a pricing tool specifically designed for the evaluation of pricing offers and purchase prices of museum objects during the creation of museum collections.
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Výbor UNESCO na ochranu nehmotného kultúrneho dedičstva ľudstva na svojom 10. zasadnutí v dňoch 30. novembra až. 4. decembra 2015 v namíbijskom Windhoeku zapísal na Reprezentatívny zoznam nehmotného dedičstva ľudstva (Representative List of Intangible Cultural Heritage of Humanity) dve desiatky nových prvkov. Medzi nimi schválil do zoznamu aj nomináciu Slovenskej republiky – Gajdošskú kultúru. Po zápise Fujary (v roku 2005) a Terchovskej muziky (od 2013) je to ďalší prvok, ktorý na tomto výberovom zozname UNESCO reprezentuje slovenskú kultúru.
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For the purposes of this paper, I define technology as the society‘s constantly developing activity focusing on manufacturing processes and related conditions. As such, technology has always closely followed the society‘s development in general and the broadening of its scientific horizons in particular and it has always been inexorably tied to philosophy. The documentation of technology in a museum environment must be viewed as a part of the scientific effort which must be very well documented. Museums of technology emerged gradually as the society‘s interest in technology in general deepened in the Age of Discovery and the subsequent Industrial Evolution. In the historic lands of the Czech crown, the emergence of museums in general and technology museums is tied to the nationalist revival and the related expansion of education to a wider share of the population which is reflected in their nature and scope. The period of 1989 then sees a wider proliferation of technology museums to such extent that while a basic typology of such museums can be established, there are institutions of this type which are very difficult to classify and label.
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Vychádzajúc zo zákona o archívoch a registratúrach patrí medzi hlavné úlohy archívov okrem získavania, ochrany a evidencie aj sprístupňovanie archívneho dedičstva Slovenska. Archívne dedičstvo je súčasťou kultúrneho dedičstva Slovenskej republiky. Vyššie uvedený zákon priznáva každému prístup k archívnym dokumentom. Archív umožňuje prístup k svojim dokumentom viacerými spôsobmi. V prvom rade štúdiom priamo v bádateľni archívu, respektíve pomaly i zverejňovaním na webovom sídle, a nakoniec verejným vystavovaním archívnych dokumentov. Archív predkladá na štúdium originál archívneho dokumentu iba výnimočne. Kópiu archívneho dokumentu predkladá vždy, ak ide o archívny dokument, ktorý vznikol pred rokom 1526, obsahuje informácie, ku ktorým je obmedzený prístup a ak by pri štúdiu mohlo dôjsť k jeho poškodeniu alebo možnosti jeho poškodenia.
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V dňoch 2. – 6. mája sme mali možnosť zúčastniť sa ďalšej z našich obľúbených odborných exkurzií. Tentoraz sme zavítali do Poľska, naším cieľom bolo mesto Krakov a jeho okolie. V prvý deň sme skoro ráno vyrazili v ústrety novým zážitkom. Cestou autobusom sme si tradične čítali naše referáty, aby sme sa vopred zoznámili s miestami, ktoré sme navštívili počas piatich dní exkurzie.
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Výučbu sekcie Muzeológie a kultúrneho dedičstva Katedry etnológie a muzeológie FiF UK v Bratislave v akademickom roku 2015/2016 pedagogicky zabezpečovali štyria interní pedagógovia na plný pracovný úväzok: prof. PhDr. Pavol Tišliar, PhD.; PhDr. Jan Dolák, PhD.; Mgr. Ľuboš Kačírek, PhD. a Mgr. Lenka Ulašinová Bystrianska, PhD. (v súčasnosti už na materskej dovolenke) a šiesti pedagógovia s čiastkovými úväzkami: PhDr. Tibor Díte; Ing. Alena Maková; PhDr. Peter Maráky; Mgr. Miriam Pocisková; PhDr. Radoslav Ragač, PhD. a RNDr. Branislav Šprocha, PhD. Od októbra 2015 pôsobí na našej sekcii prvá doktorandka s ukončeným vzdelaním v odbore muzeológia Mgr. Lenka Vargová. Nastúpila na interné doktorandské štúdium v odbore slovenské dejiny (keďže nateraz 3. stupeň PhD. štúdia muzeológie na Slovensku zatiaľ nemáme) s témou Premeny života meštianskej rodiny v prvej polovici 20. storočia na artefaktoch slovenských múzeí, školiteľ P. Tišliar. Popri spomenutých pedagógoch sa na výučbe podieľali aj viaceré kolegyne a kolegovia z ostatných pracovísk FiF UK.
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