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The paper is focused on the theoretical museology. It deals with the theory of communication, theory of presentation, description of different contexts of museum exhibits, the use of different exhibition languages and the use of modern technologies. The author attempts to define the basic principles of the museum exhibition formation.
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Bernhard Heigl – Petra Rezac – Thomas Sindilariu: Archivführer zur Geschichte der Deutschen in Kronstadt und dem Burzenland. De Gruyter Oldenbourg Verlag, München, 2016
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Heritage tourism aims to protect the existential values of the past as a means of commercial activity for modern society. Many tourism centers of attraction experience difficulties to sustain and pass on their inheritances to next generations. On one hand, it is reasonably expected that both academic researches and to finance these researches will help to overcome those difficulties. On the other, academic surveys and studies on the topic give the impression of either replicating each other or being conducted independently or on the subjective standpoints of their authors. Studies in different disciplines generally stay within the boundaries of their respective disciplines and barely reach or completely fail to find voice in other disciplines. Therefore, it is the chief objective of this study to examine the studies of different disciplines on Safranbolu, included in the World Heritage List to be protected as a cultural value, within meta-analysis and provide a new perspective on the future of destination in the context of heritage tourism. The present study further applies content analysis within qualitative research method and concludes that Safranbolu is at intersection point of tourism, geography, architecture, art history and sociology while giving special emphasis on the protection of cultural heritage, sustainability, tourism planning, diversity in tourism, transport capacity, consciousness building as well as on the thoughts of host society and guests
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In this study, the experiences of the visitors to Turkey’s first culinary museum, Emine Göğüş Culinary Museum have been reviewed. In Tripadvisor.com website, visitor comments made during the April 2012-August 2017 period have been reviewed by content analysis method. It has been observed that following the analysis, experiences of the culinary museum visitors have been categorized into five themes, education, esthetics, escapism, historic evoking and the experience with staff. It has been reported that visitors were mostly impressed with the educational experience, as their trip showed them there were different dishes they did not know about in the region. At the end of the study, recommendations towards museum directors and planners have been developed.
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Review of: Branislav Krstić "Spomenička baština – svјedočanstvo i budućnost prošlosti"; Publishers: Author, Synopsis, Sarajevo, Synopsis Zagreb; Official Gazette, Belgrade, 1990/2010 by: Sreten Vujović
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Today’s territory of Serbia early appeared on geographical maps as it was a direct result of its territory in relation to the centres of the ancient Greek and Roman civilizations. However, cartographic displays have long been scarce and uneven. Serbia’s separation from mainstream European cartography has affected its inaccurate displays, taking over data from old maps and relying on chronicles. This is why Serbia’s displays on maps and its cartographic heritage have to be observed dualistically, simultaneously as European cartographic displays of Serbia and Serbian cartography. [Projekat Ministarstva nauke Republike Srbije, br. 176008]
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Antiseptics are chemical compounds or mixtures of chemical substances that are used for protecting cultivated plants, which also may be used as a new generation biocides in the protection against microorganisms and preservation of library books. The basic component determining the specificity of a plant protection product used for book conservation is the substance biologically active in relation to certain organisms, i.e. which causes the disorder of the physiological processes by blocking the activity of the respective enzymes.The aim of the study was to investigate a group of fungicides, not yet in full use in agricultural practice, in terms of their usefulness in protecting old books. For the investigation triazole derivatives were chosen (as a group of asymmetric fungicides), whose mechanism of biological activity is the inhibition of ergosterol, the substance building blocks of the cell membrane. Before the actual investigation, the biological activity of the fungicides was referred in old books preservation process, involving the appointment of the so-called. ED50 coefficients, i.e. what amount of the substance is needed to destroy half of the pathogen population. The ED50 is used to determine the concentration of working fluid which should be sprayed on the surfaces of the protected material: paper, parchment, leather or fabric, providing the required protective efficacy.
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Incomplete definitions of geodiversity and geoheritage caused the domination of clearly geological approach to these scientific problems. That is the reason why some of the integral elements of geographical environment were neglected. Wrong theoretical assumptions reflected negatively the determination and advancement of this scientific discipline. The reasons for such condition are mentioned in the paper, as well as the necessity of different and more comprehensive perspective of geodiversity and geoheritage, by which the directions of the future development are implied.
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Until recently hydrological heritage has practically existed in science neither as an idea nor a subject. Definitions of the main terms, general classification of hydrological heritage, as well as expanded classification of hydrological heritage of Serbia are presented in the paper which is the starting point needed for further determination of new direction in hydrology and geoheritage. The paper has also pointed to the key reasons for the previous unfavourable status of hydrological heritage and its scientific and national significance, as well as the necessity of its existence and complex development.
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This article presents an investigation of the classification, chronology, production, and usage of the technical ceramics from the ‘Didysis’ Narkūnai Hillfort (Utena District, Leliūnai Eldership). An attempt to resolve the problem of classifying vessels as miniature cups or crucibles was made using XRF, microchemical qualitative, SEM/EDX, and x-radiography analyses. Based on the results, a significant quantity of the miniature cups previously interpreted as crucibles are now considered to be unrelated to metallurgical activities. 3e revision of these technical ceramics is prompting a reassessment of the itinerant metalworker hypothesis as the collection is sparse, indicating a specialized metalworking level and an episodic chronological character.
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Significant amount of illegal excavations and information regarding Internet trade of protected artifacts, the number of criminal cases and other violations strongly implies that Latvian archaeological heritage is endangered. The detailed situation unfortunately is not precisely known since correspondent statistical data are not being processed and analysed on regular basis. Different methods are being used in order to reduce illegal obtainment and trade of antiquities, however, it is usually hard to find relatively efficient and at the same time fast solution. One of practical solutions to the problem has to do with enhancing awareness of different audiences involved. Thus, after six months of hard work, the Catalogue of Endangered Latvian Archaeological Artefacts was published in June 2016. The analysis of national situation regarding protection of archaeological artifacts, combined with survey of controlling institutions as well as study of foreign information sources allowed for some conclusions at the broader level:o awareness-raising activities seem to be necessary and valuable as legislative acts do not contain all the information needed for different audiences. Awareness raising achieved by information dissemination concerning protected archaeological artifacts and related issues seems to be accelerated comparing to other possible solutions;o understanding the factors that push to wrongdoing or influence abstention from it in the context of current political and socio-economic situation is probably the key aspect for facilitating protection of cultural heritage;o the combination of informational, legal, law enforcement, analytical, coordination, organization and mutual cooperation activities is important for more effective protection.
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Over the last decades the museum sector has experienced substantial changes. The need for change has been stressed by such well-known museologists and practitioners as Stephen E. Weil, David Flemming and others. Moreover, the change of and within museums has arisen as one of the most important topics of several professional networks and conferences, such as "We Are Museums", which was created in 2013 as yearly event at the intersection of culture and innovation. Thus, we can speak about paradigm of change in contemporary museums that affects their performance and future strategies. This paradigm of change in museum sector seems especially interesting if we think about the symbolic role of a museum. Traditionally a museum is an institution that keeps our heritage intact and until recently this task has been perceived as its main function. Not without reason the museum has been used as symbol for standstill, unchangeable in art and literature. Yet now we are asking for museums to change themselves and their public offer. The aim of the article is to track the development of paradigm of change in museum sector and to outline the most important fields that had been affected by change during past decades. The change of museum sector has been viewed in regional context, marking the most important trends: 1) changes in the models of museum funding; 2) changes in museum's strategic priorities; 3) changes in our perception of a museum. Still, it is important to remember that an organization can never change just one thing - in most cases museums are subjected to more than one of these trends. The results in almost all cases are similar - growing importance of museum management.
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The article examines the question of the role of museums in contemporary society. Clarifies the concept of "socio-cultural activities" and highlights the evolution of museology. Review and comparison of different periods of historical development of society has made it possible to allocate the following stages of the development of museum work: 1) a natural accumulation of cultural values; 2) amateur collectors; 3) the transition to collecting scientific basis; 4) social and state control in the sphere of protection of historical and cultural heritage, the gradual disappearance of private collections; 5) The museum acquired the right of national importance. The study analyzes the problems of didactic and hedonistic model of museums. Since the social sphere related to the care of a person, creating conditions for dignified material and spiritual life as well as its full development. There is a need to study the activities of museums as socio-cultural phenomenon, not only in terms of philosophy, art, muzeyeznavchoyi, historical nonfiction, and deep immersion in culturological perspective. In this regard, the concept of socio-cultural activities will be considered in a broad sense. When social points on the outer and culture – on the inside of the integral development of environmental phenomena people. Thus, social and cultural activities of museums will be reduced to their role within only social or only cultural spheres. In socio-cultural activities understood meaning museums to society as a whole. The socio-cultural activities of museums – a system of measures to promote the organization of leisure. In the process of cultural activity is consumption and spiritual values. The essence of such work is the human attraction to cultural activities, enhance its creative potential. Cultural and educational work is part upravlyayemoyu social and cultural process. Therefore, the study of the evolution of views on the social function of museums, makes it possible to draw attention to the problem of conceptual design exhibitions functioning museums. Today the museum is closely related to the cultural life of the social environment that affects the content of his work. Trends in contemporary society show the emergence of a large number of interesting new forms of work with audience of museums. In addition, the modern audience increasingly does not want to just get the relevant information, but also want to experience it. That is, a visitor does not want to just listen and hear the story of the event or museum objects, and wants to join the same event to get a vivid emotional feeling. Therefore, in recent years has intensified social and cultural activities of museums. A separate analysis of the specificity of modern museums, their feature set and issues as a social institution. The question of the expansion of the social functions of museums, which contributed to the transformation of cultural and educational institutions in the multipurpose socio-cultural institution. Considering the specific activities and operation of modern museums determine their characteristics and issues as a social institution. In this respect, analyzed specific forms of cultural-educational or socio-cultural activities, their functions and tasks undertaken by museums in organizing entertainment society. Today the museum is used in the various forms: informational, artistic, educational and entertainment programs. It is noted that the socio-cultural process has three interrelated activities: cultural creativity, cultural and educational work, cultural and leisure activities. Today the priorities of social and cultural institutions of culture are cultural events that provide access to various arts, expanding the social sphere, and geography demand of professional art. The subject of constant attention of cultural institutions is increasing audience. Thus, the museum includes a modern cultural space of Ukraine, interacts with other social and cultural institutions. Improving staff leads museums to finding innovative ways of forming their own cultural and educational space, including the creation of different social and cultural programs that integrate basic functions of museums and represent them as a partner to other social and cultural institutions of socio-cultural sphere.
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This paper deals with the research of foundation and activity of the Association of Librarians of Serbia in 1947 and 1948, in honour of the seven decades of existence of the biggest and oldest library association in Serbia, known today as the Serbian Library Association. An analysis of primary and secondary sources included a time span of one year, which was very important and dynamic in the history of the most important library association, as well as in the history of librarianship in Serbia. ¢anks to the fact that preserved archival material are kept in the Serbian Library Association o¤ce in Belgrade, and from 2017 this material has been digitized, an analysis of key events, dates and participants was applied, which at the same time provided additional information on major impacts on the overall development of librarianship in Serbia a¥er the Second World War. Applied analysis included the historical, cultural and socio-political contexts of the postwar society in Yugoslavia.
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The present article gives an overview of the activities of the professional organisation of librarians in Bulgaria (ULIW/BLIA) by focusing on the main tasks of the organisation, its international connections and successfully completed national and international projects and programmes. Since the organisation is a part of the nongovernmental sector in the country, a special attention is paid to the activities aimed at promoting civil society.
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The aim of this paper is to provide insight into the work of the Historical Archives Library in Subotica. By giving a historical overview, from the establishment of the Archives and the library within it to the present time, attempts are made to draw attention to the specific conditions and ways of working with the researchers, the type of library and archival materials, as well as the structure of the library users. From 1960, when the creation of the Archives Library started, until today, efforts were made to enrich the Library collections with monographic and serial publications, which will provide users with answers to their chosen case studies. By constantly working on the promotion, the Archives points to its cultural importance, and by doing so, it aims at gaining new users, who will have a great opportunity to work with several hundred years old historical texts and documents.
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The article is devoted to analyze the conceptions and principles of placing of fine art with the status of masterpiece in the world art museum exhibitions. Masterpiece (from the French. Chef-d`oeuvre - letters.: "produced with General created") – a work of art, architecture, literature that stands out against the background of high levels of skill, its uniqueness or innovative nature for past achievements in the appropriate form art, and for a long time not losing the aforementioned qualities. In the original sense of the word – during the Middle Ages in Western Europe – a masterpiece of craftsmanship was evidence, which craftsman apprentice had to submit samples of their products to the shop in order to obtain a master's degree. New, modern sense of the word acquired at the end of the XVIII century., When the world began to form a large number of museums, which selected works of special artistic perfection. The works of modern, mostly avant-garde art, not fit with the traditional system of exposure that caused the search for new principles of public display in art galleries, exhibition halls, and, eventually, museum expositions. Specificity works of modernist art transformed them into individual exhibiting artifacts. In our view, today the problem of exhibiting works of art to the status of masterpieces should be viewed as a kind of problems to be solved within the concept «exhibit in focus». Updating problems exhibiting masterpieces falls to the brink of the nineteenth and twentieth century’s. When it was suggested the division of museum collections for scientific collection and demo collection. The material for this writing became a full-scale observation and reliance on photo and video stationary and exhibits European art museums: the Louvre and Orsay in Paris (France), the Uffizi Gallery and the Gallery of the Academy of fine Arts in Florence (Italy) Reyksmuzeumu in Amsterdam and Frans Hals Museum in Haarlem (Netherlands), Alte Pinakothek in Munich (Germany). Feature museum of life in the Netherlands is that in this country there is no museum of the universe, like the Louvre or the Hermitage, which would focus the vast majority of artistic treasures. Museums all over the country and the glory of many of them based on the national school of painting masterpieces that belong to a particular museum. Uffizi Gallery in Florence chronological principle combined with thematic exposition: general view movement begins with painting XIII, In the course of deployment "historical perspective exhibition" halls filled with the works of individual artists. In Russian museums, including Tretyakivskiy art gallery, in the early twentieth century. the first to introduce changes in exposure famous artist and restorer I. Grabar. In implementing historical and chronological exhibition, he tried to highlight the most important works of art through the manipulation of space and color. Grabar proposed to keep more distance between paintings, consider the aspect ratio of the pictures and their coloristic interrelation. The challenge to attract attention and to concentrate on its masterpiece in the exhibition is solved in another way, for example, drapery room or accommodations paintings. The museum practice for accentuation masterpiece commonly used manipulation of spatial placement of paintings or sculptures rarefied pieces around masterpiece, or even their elimination. Emphasis on techniques can be considered a masterpiece of the principle of graduation: smaller format paintings surroundings, which are located on the basis of increase. If the reception is the possibility of placing items on the principle of symmetry, where the "axis" with the status of work on display masterpiece. The auxiliary techniques serve coloristic decision exposure (similarity or contrast planes (walls, draperies) and exhibit). In the role of museums, where works of art, which recognizes the status of masterpiece, often favor their own masterpieces of architecture and religious buildings, the exhibition in which works of art has its own specifics. Coverage of the status of masterpiece, its acquisition criteria and range of objects that fall under this category require separate thorough study.
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Purpose of Article. The study aims to evaluate the policy of Turkmenistan in shaping the system of international cultural relations and, in particular, the United Nations Educational, Scientific and Cultural Organization (UNESCO). Methodology. The basis of the choice of methods of study were the principles of systematic and integrated approach. The historical-chronological principle was used in the research, and the practice of documentary analysis was used, which allowed to trace the development of directions of cooperation between Turkmenistan and UNESCO in a time perspective. The use of these methods of research contributed to obtaining their theoretical results. Scientific novelty of the obtained results consists in the formulation and development of an actual topic, which is investigated in scientific research for the first time. The idea of the formation of the geocultural space of Central Asia is substantiated, and in this context, the interaction of Turkmenistan with the United Nations Organization regarding the implementation of cultural diversity policy in the region is considered. Conclusions. The principles on which the foreign policy course of Turkmenistan has been constructed are clear benchmarks for the development and strengthening of bilateral and multilateral relations of Turkmenistan with the states of the world. In the cultural sphere, Turkmenistan is working closely with the United Nations Educational, Scientific and Cultural Organization (UNESCO). It is stated that international cooperation in the humanitarian field occupies a special place in Turkmenistan's politics on the world stage and opens the culture of the Turkmen people to the world.
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In the Princes Czartoryski Museum in Krakow there is a Roman headstone with the following inscription: For the best and most faithful wife (coniux) Threpte, well distinguished, put up by Eutyches, a slave of Atilius Agricola (CIL VI 27389a – 1st/2nd c. AD). They were probably slaves from Hellenized eastern regions. Eutyches is explicitly described as a slave (EUTYCHES ATILI AGRICOLAE SERVUS), while Threpte’s status is clarified by her name, which is the Greek word for a slave, conceived and raised up in the family of a master (Roman verna). In legal terms, the only relationship they could enter was contubernium. Possibly, Atilius Agricola had two slaves whom he treated in a friendly manner allowing them to maintain a relationship; he also agreed for Threpte to be buried in a separate grave with an inscription. It is one of many texts suggesting cordial relations between slaves and Roman families in the early period of the Roman Empire. Interestingly, the ashes have remained in Roman soil, while the plate with the inscription has found its way to Krakow.
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