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The research aims to study and analyze the role of visual culture in the field of scientific knowledge and practical training in tourism and cultural heritage, from the point of view of the formation of socio-cultural competence and behavioral adaptability. Outlining the problems and prospects for educational tourism and cultural heritage, an attempt is made to derive the thesis that the flows of visual images and signs dominating the modern cultural situation are the basis of the processes of formation and construction of mental visual perceptions. They bring to the fore the power of images in public and cultural life, outline the density of visual narrative and participate in the creation of a new visual world. Other essential aspects on which the research focuses are the scope of the visual way of presenting the objects and subjects of cultural heritage protection, the processes of impact on users, public and audiences, as well as the problems related to visual discursive digital-media presentations and representations. Against this background is advocated the idea of the formation of new aesthetic needs and the delineation of the symbolic and performative dimensions of postmodern visual culture.
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The Museum as a Catalyst of Community. Case Study: The Exhibition Imagining Futures: Urban Comics from ArtiViStory Collective at the Art Museum in Cluj-Napoca. The present article aims at illustrating the role of the contemporary museum as a conscious central stakeholder that strengthens the community and connects in the era of participatory culture with different types of audiences. Built in two parts, the article points out the main concepts of the new museum philosophy as explored in the expertise in the field and brings on a case study that focuses on the analysis of the cultural mediation program built for an original thematic exhibition, centered around the exploration of the urban future and having as its conceptual stake to draw the viewer into a process of reflection on the different ways of perceiving the surrounding society.Understanding social issues, remembering the past, exploring the ecosystem, acting on change and imagining futures are the invisible problems launched for debate through the creative laboratory of the members of the ArtiViStory Collective whose artworks could be explored within the exhibition. Their visual narratives, gathered in the various sections of the exhibition, have invited the viewers to respond to a series of questions that envisage the role of art in the community, the way we perceive the world around us, the stories that can be told about our past, the need for engaging young people into building inclusive communities or the way we can imagine our future.Through a wide variety of formulas for exploiting the potential of the graphic imaginary (visual documentaries, comic strips, animations, sequential illustrations), the exhibition offers an overview of this space of creative investigation of the urban imaginary and social identity, rendering sequential art not only as a tool of representation but as a catalyst for activating the collective imagination, which can serve to coagulate the common interests of the community. At the same time, the cultural mediation program conceived for the exhibition is an important component that creates engagement and participation of young audiences in a discourse on the future of our community.
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Croatian Ban and Field Marshal Franz Nádasdy and his wife Suzana née Malatinski erected a baroque Sculpture of Saint John of Nepomuk on their Zelendvor estate around 1767. The stone carved image of the Czech priest was placed in the castle's park after she had remarried following the death of her first husband Josip Kazimir Drašković. Today, the sculpture adornsthe south side of the park of the Old Town Castle in Varaždin. Four documents, handwritten in ink and machine typed from the end of August 1932 to November 1933, reveal it was placed there in August 1932 by the Varaždin Museum Society. Local lawyer Nikola Pečornik complained to the Varaždin City Council he would rather have the museum experts place it inside the castle, in the northeast corner of the larger courtyard, to the left of the buttress at the beginning of the smaller courtyard and to the right of the entrance to the room displaying cannons. The preserved appeal outlines the difficulties that arose when placing it outside the architectural monument. On August 24, 1932, Mayor Stjepan Novaković tried to resolve the dispute with the help of other experts and city representatives in the premises of the castle itself. There, architect Artur Kaderávek stated the museum experts had followed his advice regarding the location of the sculpture, while city engineer Viktor Rogina and Varaždin City Council member Mirko Hikec sided with Pečornik, who believed the sculpture in the park would give the impression that it was created in the context of the very castle. In a subsequent hearing, museum experts Krešimir Filić and Adolf Wissert stated they acted in accordance with the law and that the building materials and workers who were building the pedestal for the baroque sculpture had been paid. On August 25, the President of the Varaždin Museum Society Adolf Wissert and Mirko Hikec reached a compromise allowing the workers to finish constructing the pedestal and obliging the museum expertsto remove the sculpture if recommended so by an expert. In 1933, Mayor Stjepan Novaković decided to consult with the conservator Gjuro Szabo, secretary of the former National Commission for the Preservation of Artistic and Historical Monuments in the Kingdoms of Croatia and Slavonia. No documents have been discovered that would reveal what Gjuro Szabo, Filić's longtime friend and adviser on museum and monument protection issues, recommended. Unfortunately, the preserved complaint does not provide a reason for the museumization of the sculpture from the Zelendvor estate which was at the time governed by Josip, the son of Marko Bombelles Jr. Six perserved letters and a postcard, written mostly in 1932, reveal that the sculpture, the client and the exact identification of the saint it represents were discussed by the Zagreb canon and historian Ljudevit Ivančan and a certain Pavao Wittmann, both thinking that it was St. Donatus. On the other hand, don Frane Bulić, the former conservator for Dalmatia, believes that the statue is not suitable for placement in the castle grounds and asks the members of the Varaždin Museum Societa to explain to him the scientific reasons that led them to place it there. The preserved appeal and corespondence document the effort of the Varaždin Museum Society to preserve the baroque artwork for future generations who today enjoy another sculpture in their city.
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Looting and trafficking of cultural heritage in the areas known today as Nigeria started during the exploration and expansion of British territories in Africa. Missionaries, military officers, traders and anthropologists were notorious for their involvement in the illegal expropriation of artefacts. After the independence, looting of Nigeria’s cultural heritage continued in museums, palaces, shrines and other sacred places. However, in recent years, several people and institutions have campaigned for the return of artefacts to their original owners. Consequently, there was a return of two ancient Benin bronze artefacts; a cockerel (Okukor) and UhunwunElao (Oba head) by the Jesuit College of Cambridge University and the University of Aberdeen, Scotland. This however,sparked a row as to who should take custody of the artefacts between Edo State Government and the Benin Royal Palace. This papersuggests that the Benin Royal Palace and other royal houses in Nigeria are custodiansof the peoples’ culture and should keep the artefacts and others that may be returned in future in a community museum. This study was carried out through documentary research approach. Relevant information was sourced in reports, books, monographs, newspapers, magazines, academic theses and internet sources, in order to have a comprehensive review of the previous reports on stolen and returned artefacts.
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This study aims to determine the knowledge level of undergraduate tourism students, each of whom is a cultural tourism ambassador, about the tangible and intangible cultural heritage values of Balıkesir. In addition, the opinions of the students on what should be done to increase the awareness of these values were tried to be determined. Tourism is one of the ways to improve the awareness of cultural heritage values and to protect and transfer them to future generations and adolescents have some responsibilities in this regard. Because adolescents act as a bridge in transmiPing cultural values to future generations. For this purpose, the study population was determined as Balıkesir University Faculty of Tourism students. The questionnaire technique was used as a data collection method in the study. The research was conducted between February and March 2024. Questionnaires were administered face-to-face and 348 were evaluated as suitable for the analysis. Accordingly, it was determined that students know only a few of the tangible and intangible cultural heritage values of Balıkesir. In general, the awareness of cultural heritage values by students is low. Students think that cultural heritage is important for learning culture and that the most important stakeholder in increasing the awareness of the cultural heritage values of Balıkesir is the local community.
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Review of: Mariann Raisma. Muuseumi võim. Muuseum kollektiivse mälu kujundajana Eestis 20. sajandi murranguperioodidel. Dissertationes Academiae Artium Estoniae 41. Tallinn: Eesti Kunstiakadeemia, 2023, 464 lk.
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Review of: Jasminka Ćus-Rukonić, Grboslovna baština cresko-lošinjskog otočja, Cres: Creski muzej, 2023., 247 stranica
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On September 26-28, 2023 took place the Forum “Safe Collections - Safe Heritage: Museums, Libraries, Archives in the Face of Threats”. The event was held under the patronage of the Minister of Culture and National Heritage Prof. Dr. Piotr Gliński, the Chief Director of the State Archives Dr. Paweł Pietrzyk and the Chief Commander of the State Fire Service Brigadier General Andrzej Bartkowiak, the Governor of Małopolska Łukasz Kmita and the Mayor of the City of Kraków Prof. Jacek Majchrowski.Translated with DeepL.com (free version)
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The paper presents the Cyrillic XVII-century manuscript “Vinets Khrystov”, comprising Baroque sermons by the prominent Ukrainian preacher Antonii Radyvylovskyi. Special attention is paid to the decorative elements employed for illuminating and structuring the content of the codex, which serves as the model for the namesake edition published in Kyiv in 1688. The study demonstrates that the embellishments of “Vinets” are an integral part of the manuscript, often correlating with its textual part. Initials, headpieces, and tailpieces, as well as the title composition in “Vinets Khrystov”, can be employed to purely decorate and meaningfully illustrate the monument.
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The subject of the research undertaken in this article was a microbiological analysis of all 17th-century prints of funeral sermons (84 volumes) from the collection of the Library of the Count Wiktor Baworowski Foundation in Lviv. The analysis of the degree of microbiological hazard was performed on prints that were characterized by clear microbial activity, i.e. any dirt, numerous stains, discolouration or deformation of the paper. All collections were sampled for the presence of mould. An imprinting method was employed, using a sterile moist tissue paper disc with a diameter of 5 cm, which was imprinted in areas characterized by microbial activity. The collected sample was transferred to a Petri dish with nutrient solution according to the Czapek-Dox method. Samples prepared in this way were kept in an incubator at 28°C. The optimal time interval after which the mycelium would overgrow the entire dish was taken as 21 days. The microbial risk assessment tests carried out showed that in two cases the diameter of all tested volumes. Therefore, the presence of live mycelium in the examined material was established, and thus the object in question is classified for immediate conservation intervention. The remaining items require no interference. The microbiological risk assessment was supplemented by qualitative analysis of microorganisms.
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The purpose of the present article is to bring to light the personality of a salient 20th century museographer of the city of Iași, Eugenia Ursescu, an engineer who spent three decades setting up The Polytechnic Museum of Iași. The present study is a short analysis of the contribution of a person who dedicated her life to the consolidation and development of the Romanian technical heritage.
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The article undertakes a comparative analysis of the protection of craft heritage in Europe and Japan, focusing on the “Living Human Treasures” program within the framework of UNESCO Guidelines for the Establishment of National “Living Human Treasures.” Additionally, the study addresses the protection of crafts based on Regulation (EU) 2023/2411 concerning the protection of geographical indications for craft and industrial products, narrowing its scope to the protection of craftsmanship. It analyzes the foundations of protection, its structure, and presents examples of products qualifying for protection. The comparative study contributes to a nuanced understanding of the diverse approaches and legal frameworks employed by Europe and Japan in safeguarding their rich craft heritages. By juxtaposing the European Regulation and the Japanese “Living National Treasures” system based on UNESCO protection, the article aims to draw insights into best practices and potential areas for improvement in the protection of traditional crafts on a global scale.
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Komisja Rabiniczna ds. Cmentarzy istnieje od 2001 r. i sprawuje nadzór nad cmentarzami żydowskimi w Polsce bez względu na ich sytuację własnościową oraz stan zachowania lub stopień zniszczenia. Zadaniem Komisji jest ochrona cmentarzy w ich historycznych granicach (czyli tych z 1 września 1939 r.) oraz złożonych tam ludzkich szczątków, niezależnie od tego, czy pozostają one w grobach in situ, czy są przemieszane z warstwami ziemi, co jest niemal za każdym razem rezultatem wojennych lub powojennych zniszczeń dokonanych na cmentarzach.
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Art museums in Poland have been undergoing a very profound transformation over the last decades and have been transformed from institution based on the concept of the object-centered museum to the institution based on the concepts of the client-centered museum and the community-centered museum. This direction of the transformation seems to be very rational and completely justified, as the functions that museum institutions can fulfil are highly dependent on visitor interest. However, these changes may not be fully successful, because art museums have very little interest from young adults, who are a very important segment of the cultural audience, as the future of museum institutions will depend on them. The aim of this article is to analyse – based on the results of a qualitative study carried out – the way in which young adults perceive the institutions of art museums and to identify those directions of change that could cause them to become more attractive. The conclusions formulated based on the study make it possible to define the directions of the desired transformations, and their implementation may induce young adults to take a greater interest in the cultural offer proposed by museums.
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In this paper, the author analyzes research results concerning visitors to the Museum of Warsaw. The creation of a new main exhibition at the museum was driven by a turn towards objects, which was a novelty in Poland. The study was conducted using the focus group interview method, with three groups: Polish students from Warsaw universities, Warsaw guides, and students from foreign countries who study at Warsaw universities. The paper presents what different visitors expect from the city museum and how those expectations correspond with the assumptions of the museum’s curators. It also analyzes the role of emotions in experiencing a museum exhibition and the issue of the “authenticity” expected by visitors when they are in the museum. In addition, the author presents how visitors’ expectations are divided between “knowledge” and “experience” categories and the consequences of this division for thinking about how the past is experienced.
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The paper deals with the presence of women in house-museum exhibitions on the ex- ample of the Władysław Broniewski Museum in Warsaw. The framework of the text is the process of creating a museum intervention entitled “Domowniczki”, highlighting three women associated with Broniewski’s house – Wanda Broniewska, Joanna (Anka) Broniewska-Kozicka and Marianna Milewska. Based on this process, I analyse the (in)presence of women in house-museum exhibi- tions and aim at a way to reclaim their presence by opening a dialogue with the exhibition.
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The article examines dissonant heritage on the example of two current Pomeranian regions: Pow- iśle and the Słowińskie Lake District. These places are defined as historical and cultural forms of the borderland, where the influences of the indigenous Slovinian (Kashubian), and Polish, and German cultures intersected.The analysis describes the collections of private regional museums in Sztum and Smołdziński Las, reflecting on their contemporary function in co-creating local identity and collecting evidence of the past, especially in relation to periods omitted by professional museums of both regions: the 19th century and World War II. The concluding section refers to the anthropological category of the „savage” museum and explains the role of private museums and their owners’ commitment in safeguarding and display of regional heritage, in addition to the enforced top-down ideological narratives.In order to show the strategies of contemporary collectors and museologists to preserve and present these „blank spots”, I ask the question how the so-called dissonant heritage of a given Pomeranian microregion and the microhistories associated with it are reflected in the exhibition practice and specific artifacts in regional museums, on the example of the Permanent Regional Exhibition in Sztum and the Regional Museum in Smołdziński Las. Both are amateur institutions, relying on private collections and operated by their founders.
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The aim of the article is to present the case of the synthetic gasoline factory located in Police (near Szczecin), which played a significant role in the economy of the Third Reich during World War II. Rather than create a historical narrative of the Hydrierwerke and its related issues, the focus of the research problem is to provide potential methods of comprehending and interpreting „practicing the past,” which involves the development of local historical knowledge or regional identity.The author is intrigued by the motions of collecting artifacts at the local „Skarb” („Treasure”) Mu- seum. She examines the identity-building and memory potential of the mentioned initiatives, as well as what a historical museum is and how it fits into the „rescue history” paradigm.She also analyzes the possibility of constructing non-academic historical narratives, highlighting the advantages of a non-anthropocentric viewpoint.
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