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This article is devoted to the transfer of the Polish coronation sword, known as «Szczerbiec» (the Jagged Sword), from the Hermitage to Poland in 1928. The author refers to the facts concerning the XI Article of the Treaty of Riga as well as to the previously unknown document in the historiography of the sword, from the State Hermitage Archive, which is a draft copy of the response of A. A. Аvtonomov, the custodian of the Hermitage’s Arsenal, to the articles of the Polish Memorandum. The document, cited in the article, is an expert assessment of the authenticity of «Szczerbiec», made by the Soviet arms and armor historian. The purpose of the article is to introduce this source into the scholarly use and to fill the gaps in the national historiography.
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Contemporary art and cinema have been crossing paths in contemporary art exhibitions. Videography & cinematography works started to be more frequent in galleries, biennales and in museums where we can see contemporary art. They can be seen either singular or on multiple screens, either fixed to a wall or mounted, either with singular channel or multiple channels projected to either walls or curtains or in a dark room like in movie theatres. Ruben Östlund’s movie The Square, is awarded “Golden Palm” in 70th Cannes Film Festival. With his movie, he is showing us the insights of contemporary art museum and its curator. By doing so, he is inviting his viewers to the contemporary art world and moves the contemporary art environment and actors & actresses to cinema world. The aim of this study is to analyse the contemporary art environment in the movie and how it has been reflected to its audience. Overall, discussions and definitions about contemporary art have been searched through a literature and with all the information found, connections have been made with contemporary art world in the movie. All comments on contemporary art and diatribes about art have intersections and disintegrations with the ones in the movie.
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In this article, a copper coin registered in the inventory of the Museum of Anatolian Civilizations and got minted by Salah Ad-Din Ayyub (Salahaddin) in Nusaybin in the year of 578 (1183) was examined. On the front side of the coin, there is a bust dressed in the Byzantine clothes and wearing a Sassanian style king’s crown with three tips. The bust has a round face, slanted almond eyes and Seljukian facial features. An inscription on the back side of the coin draws attention. In this inscription, Salah Ad-Din used an assertive title which is “Yusuf Ibn Ayyub Muhyi devlete Amir al Mu-minin”. This expression which means “the one who maintains the State of Islam” was given personally to Salah Ad-Din by the Abbasid caliph Al-Mustad in the year of 566 (1170) when he dethroned the Fatimid caliph al-Azad. As a result of the research, it was concluded that the use of the Sassanian and Byzantine kings’ style coins did not begin with Salah Ad-Din Ayyub and that Arabs and Artuqid Turkomens used particularly Roman and Byzantine style coins for many years. When all findings are set forth, it was concluded that this coin is a rare example and the value of the coin rose even more.
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The assessment of the status of contemporary art is theoretically justified in the context of institutional theory, developed in the works of George Dickie and Arthur C. Danto. Museums are pillars of the institutional theory, as they mainly provide art with an undisputed status. The phenomenon of the museum boom of the present day, as the phenomenon of the emergence of the concept of “imaginary museums” in the second half of the 20th century, is associated with longing for “true” art, which ultimately leads to museums, or to the idea of museum. If in a classical museum a viewer expected to see “authentic”, as in “not fake”, works of the old masters, in a museum of contemporary art they expect to see at least “true” art, i.e. works “with the status of art.” Museums give art the quality of “authenticity”, hence the interest in museums and museum projects nowadays, despite the abundance of publicized images of museum artefacts in the media. Instead of these “simulacrums”, museums offer “real” artworks, and the idea of museum attracts a considerable attention, reflected in numerous curatorial projects dedicated to the image and the idea of museum. Among such projects were, for example, the exhibition Voices of Andre Malraux’s Imaginary Museum at the Pushkin Museum of Fine Arts in Moscow and the exhibition The Keeper at the New Museum in New York.
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Nowadays technologic exhibition systems has become an important area of museum exhibits. Especially technology and exhibition relation is reviewed in this study in which technology and exhibition concepts are considered within the framework of museology. Exposition, exhibition and elements aiding to exhibit terms are generally nested concepts. While these concepts may solely be effective in museology from time to time, they may feed on each other in some cases. But this situation can be diverse in museums. The reason is usage of technology that makes itself apparent in interactive applications in museums shows certain differences depending on museum types, target groups and purpose of use in exhibitions. These differences which are searched under the title “Museum Technologies and Exhibition Differences” highly affect the relation of the museum with its visitors. However in this paper museum exhibits and various examples are dealt with in the topics reviewed under the title “Differing Technologies According To The Contents In Museums”. The methods of this article are literature search and field investigation (Strasbourg Historical Museum & Strasbourg University Planeteryum).
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This research is based on intangible cultural heritage values, which have been conspicuous in recent years, however there are limited number of studies about it in the literature, and the typologies of cultural tourists. In this research, it is aimed to determine how much the intangible cultural heritage assets are of importance while the cultural tourists decide on their destinations. The target population of the study consist of the international cultural tourists who visited Konya in 2015. In this context, a questionnaire, prepared in English, German, Japanese, Korean, and Persian, was conducted to 496 international cultural tourists around Mevlana Museum and Mevlana Culture Centre, which are the most important tourism centres of Konya, and 481 valid survey data were obtained. The data obtained were analysed using SPSS program and the factor analysis revealed that the Intangible Cultural Heritage values were divided into “customs”, “traditional craftsmanship”, “dance and music” and “oral traditions” and that the importance of cultural tourists to Intangible Cultural Heritage values were significantly different for each dimension of Intangible Cultural Heritage.
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"Agenda Parva. In commodiorem usum Sacerdotum Provinciae Livoniae conscripta" (Brunsbergae 1622) from the collections of the Library of Warmia Seminary „Hosianum” in Olsztyn is the only existing copy of this book. Furthermore, it is the oldest copy preserved that contains sentences printed in Estonian language. The book itself was created in order to support numerous Jesuit missions operating both within Lithuania and Livonia. The article provides the information about the incunabula, lending procedures related to its passage to the Estonian National Museum in Tartu and the visit of Polish delegation and its participation in the opening ceremony of the exhibition and the new museum building.
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The article presents the characteristics of Częstochowa parish press. A formal and subject analysis of parish newsletters has been carried out. A brief information on the parish and the number of the faithful was presented taking into account the administrative division of the Archdiocese of Czestochowa. Suggestions and reflections on the role and function of the parish newsletters in Czestochowa were put forward.
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Ogólnopolski konkurs na glosę do orzeczenia Trybunału Konstytucyjnego w sprawie zasad wpisywania zabytków ruchomych na Listę Skarbów Dziedzictwa.
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The standpoint according to which museums present objective and unbiased facts dominates both the public and professional discourse. However, the widely accepted idea that museums can be trusted – because they are prestigious authorities, independent research institutions, morally and intellectually neutral, in constant quest for knowledge – is essentially wrong. From the inception of museums, over their many types, till today, not a single museum nor a museum professional, has been neutral. Museums are social constructs, and politics is a part of their base. Nevertheless, the myth of museum neutrality perseveres, especially thanks to a large number of museums whose staff still proudly use their knowledge in order to collect and represent the museum material in an allegedly neutral and objective fashion, without interferences of reality and everyday life. The hypocrisy is evident in Serbia too, particularly in the case of historical narratives, but also obvious in permanent displays and exhibitions of archaeological material, as well as in the domain of museum archaeological research. The paper investigates the examples of apparent neutrality, the national, regional and local museums authorizing the achievements and superiority of the nation, glorifying the mediaeval history or celebrating the link to the Roman Empire, the ones that are the prestigious demonstration of authority, but as well the examples of personal interests and values that have formed the public discourse. These considerations raise the issue of ethics in museums.
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Due to the strong influence of heritological concepts and the concern for the future of heritage, an ever increasing accumulation of the past is taking place, as well as the unconrolled influx of cultural goods into museums. Consequently, an increasing number of museums expresses anxiety for the future of the collections stored in the already overcrowded depots. Concerning the large quantity of material, the archaeological collections form a special category, differing in the ways of collecting and the dynamics of growth of the number of objects in the museum funds. The existing approches to the collecting of archaeological record include the unpredictable annual increase and in itself present an untenable concept of long-term management of archaeological heritage. The consequence is the neglect towards the already collected material in the post-excavation phases, as the vital part of the “life” of archaeological objects. At the same time, the huge amount of inaccesible material points to the professional horror vacui, fear that a certain proof or trace will be lost from the process of understanding the past, or to the tendency to safeguard the imperative of preserving the heritage for the future generations. Due to the poorly regulated processing of archaeological remains the issue arises of how the traditions of collecting and organizing of artefacts influence the value assessment of archaeological record and formation of the images of the past. Bearing this in mind, the paper presents a critical assessment of the problem of long-term management of archaeological material and museum collections. The possible paths of changes in the practice of usage and redefinition of value of the “unpacked” archaeological heritage are also discussed.
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The museum collections in Serbia, along with one mummy and two coffins, include a little over one hundred fifty artefacts from Ancient Egypt, acquired mainly as gifts by the end of the 19th and beginning of the 20th centuries, with only one scarab discovered during the archaeological excavations in the country. The Egyptian antiquities in our museums, scientifically studied and published almost without exemption, have long been inaccessible to the public, or occasionally available to a limited number of visitors (part of the collection of the National Museum in Belgrade situated in the Archaeological Collection of the Faculty of Philosophy). They are not mentioned in the web presentations of the museums where they are kept, i.e. the museums in Vršac, Belgrade, and Sombor. Potential reasons for this invisibility will be discussed, especially the issue whether these antiquities are perceived as heritage, in what category of heritage are they listed, and according to what criteria.
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The case of the Roman baths in Čačak presents the study of the marginalization of the heritage of Western Serbia. Although situated in the modern centre of the city Čačak, from the time of their discovery in 1970, the baths have remained hidden from the public view, considered as an obstacle by the inhabitants, local small business and the city administration. The theoretical consideration of the location of the baths indicates minimal risks for their successful revitalisation in relation to their environment, but in reality the attempts at their material preservation have been utterly unsuccessful. The missing link in effective revitalization of this site is the lack of the constructive relationship baths – individual – community, of the climate they mutually create in the space, or the particular characteristics of the space itself. The key for the protection of cultural heritage in Serbia lies in the education of the local public, cooperation with the local authorities in the changes in the urbanistic policies of the city, and taking the cultural heritage as the incentive for local development and identity, and the example of the Roman baths in Čačak may indicate the path for overcoming the obstacles.
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This article discusses the shifting role of visitors to contemporary museums and critically explores the idea of public participation in art museums. Different forms of public involvement in museum practice, including crowd-sourcing, story-sharing and exchange with amateurs, are quite common in advanced history museums and science centres. It seems to be more problematic with art museums as the production and perception of art require more expertise and specialist knowledge. Leaving aside both enthusiastic and sceptical interpretations of participation within the context of contemporary democracy, the paper relates the participatory ethos to the history of museum institutions and their background in the culture of curiosity. Such a reading allows us to re-consider the forms of public participation in art museums as a different form of the construction of knowledge based on transgression, affect and subjectivity rather than modern disciplinarity, logical persuasion and false objectivity.
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The article is an attempt to come out with Yuriy Vynnychuk’s compiling activity. The author tries to analyse anthology as a separate literary genre, the brief description of Vynnychuk’s collectanea has been presented. The prominent contribution of the writer into contemporary Ukrainian literature has been discerned.
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The Khoja Apak Mausoleum is the holiest Muslim site in Xinjiang. However Apak Khoja (1626–1694) is Uyghur’s controversial hero. It should be noted that the sources and literature about Apak Khoja go beyond the functionality of devotional religious texts in the world of Islam. Examining the sources about the history of Apak Khoja, the evolution of his worship and also the bitter criticism of his adversaries, one should take into consideration not only the facts but also the importance and meaning of these facts among the Uyghurs. The great meaning of Apak proves that, regardless of the system of values, Apak is a reference point in the history of Uyghurs and the whole history of modern East Turkestan. The presented analysis leads to the following conclusions: Firstly, Apak’s reputation depends on the political and social context. For example, the negative image of this khoja caused opposition within Sufism Nakshbandiya in Altishahr (the strong competition between Aqtaḡlïq – Nakshbandi sufis from the “White Mountains” and Qarataḡlïq – Nakshbandi order from the “Black Mountains”), which provoked critical literature by Apak’s opponents. In the 20th century Apak did not also have good reputation in the People’s Republic of China, which propagated a sharp criticism on the basis of dialectical materialism during the Mao rule to 1978. Secondly, the importance of Apak depends on the form of Islam. Uyghurs usually were under the influence of the traditional Maliki sunnism. Although many of them accepted beliefs about the saint Sufis, a part of their community preferred the idea of the salafiya, e.g. the return to the sources of Islam, which – according to salafiya – is only Koran and sunna. From this point of view, Sufism is a heresy, impure Islam. Apak and his kind of Nakshbandiya is automatically the enemy of this group. In turn, the followers of popular Islam in villages refer with great reverence to the sacred heroes of the past. The mausoleums such as Apak’s monument in Kashgar are sources of their identity. Thirdly, the personality of Apak is an object of emotional discussion between his supporters and opponents. The ambiguous interpretation of the activity of Apak is consequently developed since the 18th century. An attempt to reach a balanced modern and independent interpretation of the facts must take into consideration the diverse range of sources. Finally, the continuation of the Apak worship and the national function of his mausoleum in the turbulent history of East Turkestan has produced the literary genre of maqāmāt/manāqib and taẕkiras. They confirm once again the age-old truth of historical analysis that not only facts but also the importance of the events for the community is the key to the understanding of many historical phenomena. It is quite obvious that history consists of facts and interpretations. This mechanism of interpretation of facts in the taẕkiras caused the popularity of Apak and continuity of his worship, despite the criticism of his adversaries.
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Exhibitions represent one of the basic media through which museums present the results of their activities, but also their instrument for the realization of added revenues. They are the work of the author, who as a rule is employed in the museum and achieve copyrights by realizing permanent or occasional obligations from employment. Such an attitude raises issues related to the legal obligation and the real practice of exercising copyrights. The paper deals with the theme of the exhibition as an author’s work, the rights of the museum as an employer and employees as an author, analyzes the key articles of the Copyright and Related Rights Act regarding author works created in the work relationship, and the special property rights of the author of the exhibition.
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