共查询到20条相似文献，搜索用时 31 毫秒
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Shiyanthi Thavapalan 《Curator: The Museum Journal》2014,57(1):137-145
The curators of the exhibition Uruk: 5000 Years of the Megacity claim that Uruk is the earliest known city in the world, the birthplace of writing, bureaucracy, monumental art, and architecture. Their reconstruction of this ancient metropolis in present‐day Berlin suggests to visitors that modernity and Mesopotamia are perhaps not worlds apart after all. The sumptuous new exhibition—organized by the Vorderasiatisches Museum/Staatliche Museum Berlin, the Reiss‐Engelhorn Museum Mannheim, and the Curt Engelhorn Foundation in collaboration with the German Archeological Institute and the German Oriental Society (DOG)—commemorates the centennial of the first German excavations at the site of Warka in southern Iraq. 相似文献
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David Carrier 《Curator: The Museum Journal》2008,51(1):81-85
You may enjoy and learn something from the depiction of a religious legend, but you find salvation only in Jesus Christ, Who was made to be sin for us that we might be made the righteousness of God in Him.—text panel, Bob Jones University Museum and Gallery. 相似文献
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Jeff Hayward 《Curator: The Museum Journal》2010,53(4):483-490
Abstract The exhibition, Changing Places: From Black and White to Technicolor, at the Levine Museum of the New South, in Charlotte, North Carolina, is more than a story about a changing community—it’s a platform for an experience that engages its local audience. 相似文献
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Ellen W. Lee 《Curator: The Museum Journal》1994,37(3):172-184
Many American and European art museums are now featuring small, highly-focused shows in their exhibition programs. In 1990, the Indianapolis Museum of Art organized an exhibition that reunited, for the first time in a century, the four landscape paintings created by neo-impressionist Georges Seurat during the last summer of his life. Using Seurat at Gravelines: The Last Landscapes as an example, this article addresses the advantages — for museums and their visitors — of the small temporary exhibition. 相似文献
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David M. Kahn 《Curator: The Museum Journal》1994,37(4):240-250
Increasingly, some — but not all — urban history museums are facing the challenges of reaching out to and serving growingly diversified populations. Described here is the Museum of London's The Peopling of London, which recognizes the history and contributions of immigrant communities and their descendants. Planning for the exhibition required an about face from the museum's traditional in-house method of exhibition development — involving members of minority communities. Both the planning process and the resulting exhibition serve as a model for consideration and possibly emulation as urban history museums look at the growing diversification of the populations they serve. 相似文献
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Edith Doron 《Curator: The Museum Journal》2009,52(2):169-182
Abstract Describing actual museum‐wide events developed for the culturally charged arena of the Brooklyn Children's Museum, this article explores the philosophical and pedagogical double binds that have brought multiculturalism to a political impasse. Museums have strived to be valued resources in an increasingly diverse society. In aspiring to broaden their audience base, their work has shifted from developing educational policies that are “object‐centered” to those that are “community‐centered” — a change of strategy affecting everything from programs to exhibit design. Children's museums — distinct (if not marginalized) from the serious work of the traditional art or ethnographic or natural history museum — know and indeed say in their very name — “children's museum” — that they are for the sake of someone and not about something. They have always already been attuned to the visitor at the threshold. 相似文献
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Sally Anne Duncan 《Curator: The Museum Journal》2005,48(3):301-316
Speculation about the character and purposes of American art museums has occasioned intense debate since their inception—never more so than today. Whether to be elitist or populist, object‐based or audience‐based forms the crux of many heated arguments. This article asserts that, in the midst of competing philosophies, the successful American art museum has in reality grown from an amalgam of ideas that form a via media or middle path, far more inclusive and pragmatic than is usually noted. This comprehensive philosophy is most effectively demonstrated in the work of Henry Watson Kent at the Metropolitan Museum of Art in New York during the first decades of the twentieth century. The work of Kent and his colleagues at the Metropolitan Museum is here examined as a paradigm for the via media museum practice that speaks to the aspirations of America's current art museum leadership. 相似文献
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Marsha L. Semmel 《Curator: The Museum Journal》2010,53(2):155-162
Abstract The Institute of Museum and Library Services (IMLS) has funded hundreds of projects that promote lifelong learning in all disciplines and types of museums and libraries, including museum/library partnerships with schools, universities, and other formal learning organizations. Learning Science in Informal Environments: People, Places, and Pursuits (LSIE) is a milestone in a continuing quest to understand and articulate the impact of informal learning experiences. Its recommendations identify significant issues for future research and practice, with implications beyond science learning. This article places the report in the context of previous and future IMLS work, including increased agency focus on—and resources for—research, evaluation, collaborative projects, and professional development. 相似文献
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Doris Ash 《Curator: The Museum Journal》2004,47(1):84-100
This paper explores the role of questioning in scientific meaning‐making as families talk, look and gesture in front of realistic and artful dioramas at the Natural History Museum of Los Angeles County. The focus is on the ways questioning can either enable movement towards scientific understanding or hinder such progress. The socio‐cultural framework of this research emphasizes Vygotsky's interpretation of the zone of proximal development (zpd). Questions are viewed as tools for mediation in the zpd. This paper examines three families' dialogues, excerpted from a larger study of collaborative sense‐making among family groups in a natural history museum. It seeks to understand how collaborative dialogue meshes everyday understandings with canonical science, in this case through the use of questions. 相似文献
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This article provides information on the evaluation of a project between the Australian Museum and the Juvenile Justice department in New South Wales, Australia, where young people who offend of Pacific Islander heritage were introduced to an extensive range of Pacific Islander cultural materials. The key assumption of the project was that young Pacific Islander people who offend struggled with cultural identity issues, and that a meaningful connection with their heritage would improve cultural knowledge and pride—thereby reducing their involvement in crime. However, this assumption was not borne out by the study's results. Firstly, the twenty‐two Pacific Islander young offender study participants were already proud of their heritage, and comfortable in their cultural identities. Secondly, though they enjoyed their visit to the museum, most did not want to visit again, so there was no sustained engagement. Thirdly, the Museum program was not designed as part of a holistic approach with multiple strategies which addressed the complex reasons for youth offending. Despite eight out of the twenty‐two participants reoffending after the Museum visit, there was enough potential for the rehabilitative intervention that the Museum was granted funding to take its program to the community and make it more user‐centered. This, it is hoped, will set it on a path towards more sustained engagement, and the potential for a greater influence on Pacific Islander youth. 相似文献
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Reed W. Smith 《Journal of Radio & Audio Media》2014,21(1):149-162
Between 1977 and 1981, Federal Communications Commission (FCC) Chairman Charles Ferris directed the FCC as it made history by modifying U.S. radio and telecommunications law. It was a revolutionary time, but for the most part neither Ferris, nor the man who appointed him, President Jimmy Carter, has received much credit for their role in remaking regulatory policy. Perhaps even more importantly, Ferris changed the philosophy of how the FCC went about rulemaking, which continues to guide the Commission to this day. This study—utilizing, in part, Ferris' own words—seeks to correct the record regarding the impact he had. 相似文献
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Kelvin L. White 《Archival Science》2009,9(1-2):43-55
This paper summarizes some of the major themes of a larger study that used Afro-Mexicans of the Costa Chica as a case study to understand archival education in Mexico. This study seeks to provide insight on how absences of Mexicans of African descent from the official record and recordkeeping came into being in Mexico; to examine the role that education of archival professionals might play in addressing or contributing to these absences; and to produce recommendations for remedying this under-documentation—at least in part—through changes to what is currently taught in formal archival education at the university level. 相似文献
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Dinosaur reconstructions have been exhibited in public for over a hundred years. During that time, scientific and public understanding of these extinct animals has changed considerably. Changes in perception have influenced and been influenced by the three-dimensional reconstructions mounted in museums and galleries, and these in turn have been influenced by the availability and use of mounting materials and techniques. The dinosaur exhibition in The Natural History Museum (NHM) in London contains examples of original, altered, and new dinosaur reconstructions that are described here—two, Gallimimus and Massospondylus, in detail. The final form of any reconstructed dinosaur is often influenced by factors beyond the control of the conservation, preparation, and mounting workers involved. 相似文献
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David Carr 《Curator: The Museum Journal》2010,53(1):51-70
Fresh encounters with Māori treasures first seen by the author at the Metropolitan Museum in 1984 revealed the concentrated power of these objects and the importance of their presence among the beliefs and continuities of their makers’ culture. A masterwork viewed in a museum may evoke a strong and sometimes inarticulate response. We might say the inability to articulate reflects a larger dimension—an aspect of the infinite—residing in the object. Museum objects return us to the human culture and knowledge we carry with us; they stimulate reflective impulses essential to the shared threads of democracy. They allow us to locate ourselves and each other, and our shared horizons. 相似文献
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蒋凡 《自然科学博物馆研究》2022,(2):82-90
自然史类博物馆是中国近代以来出现最早的博物馆类型之一,中国最早的在华大英博物馆、徐家汇博物院、上海亚洲文会博物馆以及北疆博物院等都是自然史类的博物馆。深入考察这些博物馆建设之初的讨论,并对比这些博物馆建设者的具体意图和办馆实践,可以看出这些博物馆都以服务西方自然史研究为主要目的,但却有着不同的建设取向。这些自然史博物馆不仅为西方的自然史研究提供中国的标本资料,有的博物馆还成为了西方人在华开展自然史研究的平台,为西方提供自然史的研究成果。 相似文献
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HIROYUKI HASHIMOTO 《Curator: The Museum Journal》1998,41(3):200-211
Japan's first history museum—the National Museum of Japanese History (NMJH)—had its tenth anniversary only a few years ago. It is thus a comparatively new national museum, and only a segment of the public is aware of its existence. With many unique characteristics, it offers the potential of new directions for the national museum system. The article reviews the NMJH's past and present and examines the ideologies and practices relating to exhibiting Japanese history and culture. 相似文献
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Minda Borun Margaret B. Chambers Jennifer Dritsas Julie I. Johnson 《Curator: The Museum Journal》1997,40(4):279-295
Can enhanced exhibits produce measurable increases in active family learning? Four Philadelphia area science institutions—The Franklin Institute Science Museum, the Academy of Natural Sciences, the New Jersey State Aquarium at Camden, and the Philadelphia Zoo—have investigated the answer to this question as part of the PISEC (Philadelphia-Camden Informal Science Education Collaborative) Family Learning Project. PISEC is conducting research and exhibit development aimed at increasing the understanding of family learning in science museums and identifying the characteristics of successful family learning exhibits. The PISEC project is organized into three phases: (1) a research study to establish behavioral indicators for family science learning (Borun et al., 1996); (2) the development and evaluation of four exhibit enhancements aimed at achieving family science learning goals (Borun and Dritsas, 1997); (3) a research study comparing the frequency of learning behaviors for treatment families that have used enhanced test exhibits to control-group families that have used only the test exhibits. The results of the first two phases of this project have been discussed previously. This article describes the research study conducted during Phase 3 of the project. Results of the study show that all four modified exhibits produced significant increases in performance indicators. Using seven characteristics of successful family exhibits—multi-sided, multi-user, accessible, multi-outcome, multi-modal, readable, and relevant—as a guide to exhibit development proved to be an effective strategy for increasing active family learning. 相似文献
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This paper seeks to understand how journalists deal with storytelling and truth-seeking in their daily news practice. While storytelling is usually studied through texts, we approached it from a practice perspective, combining data from three ethnographic studies in which 36 beat reporters and 13 journalistic storytelling experts were extensively interviewed. Because of the emphasis journalists place on “finding out the truth” in public discourses, it is tempting for academics to present them as naive truth-seekers. However, by means of an interpretative repertoire analysis of their “practice” discourses, we seek to enlarge the discursive space to talk about the supposed tension between story and reality. Although departing from the idea that all news making is storytelling, the interviewed journalists consider news making and storytelling as distinct—and sometimes opposing—practices. These professional practices serve as the framework around which five storytelling repertoires are organized. 相似文献