共查询到20条相似文献，搜索用时 301 毫秒
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传统文化的一朵奇葩——记韩国民俗村博物馆 总被引：1，自引：0，他引：1
韩国位于亚洲东北部,是个半岛国家,总面积22万平方公里,人口有近4700万人。韩国是一个非常重视本国民族风俗和传统文化的国家,十分重视民俗博物馆的建立和运营。上世纪七十年代,韩国在全国范围内开展“地区的社会开发运动”,使韩国的文化事业有了奇迹般的变化。政府于1972年1月组建了关于建立韩国民俗村的咨询委员会,并于1973年8月,在汉城京畿道大约66万平方米的空地上,建立了有30余间房屋的民俗村,1974的10月竣工后正式对外开放。之后经过多次改、扩建,到2000年9月时,已经发展成占地面积约72万平方米、建有282栋各种建筑和设施、拥有400多… 相似文献
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高度重视农业、农村和农民问题．并给予积极的扶持．这是韩国历届政府都始终没有放松的国策．但是从金泳三到卢武铉总统10多年过去了．农村社会发展问题仍在困扰着韩国社会．人们不得不认真面对农村教育这一世纪性难题，2004年．韩国的人均GDP已经达到1.41万美元．今年有望达到1．6万美元．在农民收入与城市居民接近的情况下， 相似文献
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杜文成 《沙洋师范高等专科学校学报》2012,13(5):76-80
行业博物馆是上世纪八十年代开始逐步兴起的一种新的类型的专题博物馆,近两三年发展如火如荼.荆门目前建有两个行业类博物馆,一个是油菜博物馆,一个是蜜蜂博物馆,但经调查,荆门行业博物馆资源还有农耕文化资源、漳河水利资源、古民居资源、石碑石刻艺术资源等,因此,荆门应从现有特色资源出发,努力规划建设中国农谷农耕文化博物馆、漳河水利博物馆、荆门古民居博物馆、荆门石碑石刻艺术博物馆等,以此引导和发展荆门地区的行业博物馆建设. 相似文献
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博物馆是为社会服务的文化教育公益性机构,具有收藏、科学研究、传播科学文化知识、思想道德教育、丰富人民群众文化生活的社会功能。观众既是博物馆的服务对象,也是博物馆赖以生存的社会基础。了解观众、熟悉观众、服务观众、满足观众是博物馆的根本宗旨。博物馆免费开放以来,越来越多的观众走进博物馆,博物馆如何从观众的角度出发,更好地为观众服务,让观众处处感受到博物馆的人文关怀,是一个重要的课题。 相似文献
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敦煌,一颗闪耀在大漠戈壁中的文化明珠,被称为"东方卢浮宫",历经十六国、北朝、隋、唐、五代、西夏、元等时期的兴建,现存的735个洞窟中汇集了大量珍贵精彩的佛教艺术作品,以精美的雕塑和壁画而闻名于世。敦煌"莫高窟"又称"千佛洞"被誉为20世纪最伟大的发现之一。"藏经洞"的发现又衍生了"敦煌学"研究。本文重点讨论敦煌壁画艺术对现代造型艺术研究发展的重要意义。 相似文献
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近年来，互联网正以一种全球化的生存理念冲击着世界。伴随着信息化社会的到来，博物馆也开始利用互联网这种新的信息传播手段，实现了在信息交流和信息共享方面质的突破，称为数字博物馆。我国在数字博物馆方面的建设，目前还相对落后，因此应该积极迎接挑战，这对于在新形势下充分宣扬我国民族化具有重大意义。 相似文献
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How does Education Support the Formation and Establishment of Individual Identities? 总被引：1，自引：0，他引：1
This article examines how education could support the formation and establishment of identities. It focuses on museum education and in particular artist interrogations of museum narratives. These interventions into museum pedagogy are critical reworkings of the presentation of cultural histories in dominant narratives. The aim of this research is to examine the consequences of these interventions for pedagogy in the museum site, when linear narratives are subject to reconstruction by individual agencies. The complexities of museum pedagogy are revealed and analysed in order to identify models of teaching and learning that are inclusive. The work of Fred Wilson, artist and curator of an installation project at the Maryland Historical Society in Baltimore, USA, is applied to explore notions of cultural capital and cultural empowerment through education in the museum. Throughout the article is concerned with investigating how the individual subject is formed and informed through the narrative. Analogies are drawn with the view that the curriculum may not be a neutral and objective selection of knowledge and that in the same way it is worth investigating this claim to enquire whether institutional presentations of history are equally subjective. If museum education projects are set by curators and education officers to meet certain curriculum requirements then there must be questions raised about the structure of narratives and the process by which they are disseminated. This article is an exploration of these actions with far‐reaching applications, to ascertain whether they can successfully promote social justice in education and empower the individual or whether they serve to polarize essentialism and multiculturalism. 相似文献
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Anwar Tlili 《Educational Philosophy and Theory》2016,48(11):1100-1122
Museum professionalism remains an unexplored area in museum studies, particularly with regard to what is arguably the core generic question of a sui generis professional knowledge base, and its necessary and sufficient conditions. The need to examine this question becomes all the more important with the increasing expansion of the museum’s roles and functions. This paper starts by mapping out the policy and organizational context within which the roles of museums have expanded in the UK. It then situates the discussion of museum professional knowledge within a cross-disciplinary matrix bearing on the question of what is professional about occupations classified—or classifiable—as professions. Against the backdrop of the current organizational context of the museum as well as theories of professional knowledge, it highlights the ways in which museum work, more specifically museography, poses a distinctive set of questions compared to other ‘professional’ fields; the paper thus homes in on the question of what it is that constitutes the uniqueness of museum professional knowledge in relation to museographic practice and the type of professional knowledge and expertise that can sustain it and enact its creative and educational potentials and affordances. 相似文献
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Maria Xanthoudaki 《Cambridge Journal of Education》1998,28(2):181-195
Drawing on observations of classroom art practice and visits to one museum and two galleries and on interviews with teachers and museum and gallery educators, this article examines the interactive relationship between school art education and museum and gallery visits. It studies: the ways primary teachers use such visits for art teaching purposes; and the reasons for the existing limitations in incorporating museum or gallery visits into school art education despite the wide acknowledgement of their educational value. The findings suggest the presence of two models of educational programmes which appear to influence differently the ‘three‐part unit’ of preliminary work, visit to the institution and follow‐up activities in the classroom. 相似文献
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Museums and buildings are both considered immutable by the majority of people who use them. A small team from Goldsmiths College, the V&A+RIBA Architecture Partnership and Pimlico School set out to challenge this preconception. The Victoria & Albert museum was taken as a case study to investigate how buildings are a physical manifestation of an institute, and how their physical presence records the way the museum has to respond to outside criteria, from government funding strategies to cultural trends. This article puts forward the argument that a museum building as a subject is a constantly changing environment, through which young learners can develop their historical imagination and critical abilities. It describes the process and findings from a project carried out with students from Pimlico School, who were asked to find and respond to evidence in the fabric of the V&A museum buildings of the substantial physical changes that it is currently undergoing. By choosing specific sites, the students put together a series of PDA‐based threads to describe and archive different narratives about the museum at the moment of their mapping. These are made for future visitors to see, hear and compare the museum environment they are experiencing with the one that the students recorded. 相似文献
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林娟娟 《泉州师范学院学报》2014,(2):110-112
中国闽台缘博物馆是展示中国大陆与宝岛台湾紧密联系的国家级博物馆,基于WebGIS和虚拟现实的闽台缘虚拟美术馆是对闽台缘博物馆的补充,可以通过InternetZ维动态地展示美术馆,满足人们随时随地欣赏画作的需求．文章从虚拟美术馆的系统架构设计、系统功能设计及三维模型设计与实现三个方面阐述闽台缘虚拟美术馆的设计,并应用VRML构建了虚拟美术馆的具体模型及其虚拟场景展示． 相似文献