共查询到20条相似文献，搜索用时 156 毫秒
1.
《青岛职业技术学院学报》2011,24(6):10
11月14日,山东省文物局正式下达批文[鲁文物(2011)227号],同意在青岛职业技术学院设立青岛技术博物馆。今年伊始,在青岛市委、市政府和省、市文物局的关心、支持下,学院就着手启动了青岛技术博物馆 相似文献
2.
《河北软件职业技术学院学报》2013,(4):2+81
河北软件职业技术学院软件与计算机博物馆位于学院东校区综合教学楼,是全国高职高专院校首家以软件和计算机为主题的专业博物馆。本博物馆坚持服务教学和面向社会开展科普活动的基本导向,旨在通过图文展示、实物陈列、多媒体介绍等方式,以丰富翔实的 相似文献
3.
《青岛职业技术学院学报》2011,(3):62
《青岛市国民经济和社会发展第十二个五年规划纲要》中明确提出大力发展职业教育,"支持青岛职业技术学院国家示范二期和青岛技术博物馆建设"。作为首批国家示范性高等职业院校,我院近年来在国家和省市的大力支持下,围绕青岛经济社会发 相似文献
4.
陈列展览是博物馆特有的语言,是博物馆与观众沟通的桥梁,是博物馆生存和发展的重要手段。文章从文化创新的角度,把握陈列展览的几大要素,说明在当前经济社会背景下完成一个好的展览所必需考虑的创新因素,以此顺应文博事业的发展。 相似文献
5.
6.
《兰州教育学院学报》2017,(2):65-66
作为一项极具美学的艺术设计活动,博物馆陈列展览艺术设计能够优化博物馆藏品,表现展品文物艺术性及文化性,营造丰富和谐的精神家园,充分发挥博物馆的社会价值。当前人们对文化的认知需求与日俱增,博物馆需要充分借助文化创新的驱动力量,借由陈列展览艺术设计,更好地体现展品乃至整个博物馆的文化底蕴。 相似文献
7.
朱文元 《中国科教创新导刊》2013,(2):149-149
宣教工作是博物馆与公众联系的纽带和桥梁,是博物馆的本职工作。在文化建设的大潮中,博物馆宣传教育工作更应该锐意创新,本文结合笔者所在单位故宫博物院从陈列讲解、流动展览、电化教育、创新活动等几个角度浅谈博物馆宣传教育工作。 相似文献
8.
《实验室研究与探索》2017,(2):263-265
现以南京理工大学兵器博物馆为例,对兵器博物馆现有展览功能和教学科研功能进行了分析,着重分析了现阶段兵器博物馆在教学科研方面存在的问题。同时这些也是国内其他高校博物馆在教学科研方面共同存在的问题,即主要功能为提供教学科研场所、储存陈列教具,提出了将高校专业博物馆建设成为专业实验教学中心的观点,并对此进行了探讨。 相似文献
9.
范秀萍 《安阳师范学院学报》2014,(3):138-141
博物馆文化产品的开发与营销有利于增强博物馆的发展活力,诠释和宣传博物馆的优秀藏品,提升博物馆的整体品牌形象。中国文字博物馆文化产品的开发与营销,必须与本馆的宗旨、业务相结合,充分尊重历史和文化,依托藏品,将具有文化内涵的＂故事＂融入产品中;将高档化和平民化相结合,同时兼顾艺术性和实用性;注重依托陈列展览,产品开发与陈列展览互相补充;注重与时俱进、不断创新,积极开拓营销渠道。 相似文献
10.
苏雅文 《闽西职业技术学院学报》2019,(2):103-107
馆藏文物数量少、特色藏品单薄,馆舍“先天不足”、陈列展览功能和教育功能弱化,专家型人才缺乏、专业队伍薄弱是地方博物馆普遍存在的问题。新形势下,地方博物馆应通过加强制度建设,加大投入力度,加强科研与开发,整合优势文物,以实现博物馆功能的多元化开发利用。 相似文献
11.
美国博物馆学校是公立学校迎接时代发展与挑战,充分利用博物馆资源支持学校教育以及促进教育机会平等而进行办学创新的结果。美国博物馆学校在育人模式、办学模式、管理模式、学习模式以及课程模式五方面进行了创新,推进了无边界的育人模式、开启了馆校合作的办学模式、创新了博物馆学习模式,以及以展览创建为核心的课程模式,但在可持续发展、博物馆学校模式的推广、馆校合作关系的发展等方面仍然存在问题和挑战。 相似文献
12.
广州市博物馆旅游发展对策研究 总被引：2，自引：0，他引：2
随着全国范围内博物馆免费政策的逐步实施,博物馆旅游受到了前所未有的关注。以位于广州市区内的广东省博物馆、广州博物馆和西汉南越王博物馆为例,通过对旅游者随机抽样问卷调查,对博物馆旅游发展现状进行了调查,进一步提出了发展博物馆旅游发展的建议:改变传统观念,将博物馆打造成为城市文化旅游景区;配套完善设施,提升博物馆的旅游功能;勇于创新,使展览更加吸引游客;改变经营思路,加强纪念品的开发与销售;树立品牌意识,加强博物馆的宣传。 相似文献
13.
Martha Marandino 《Cultural Studies of Science Education》2016,11(2):481-514
In this paper I report on the sociological and educational particulars of The Biodiscovery Space exhibition of the Life Museum of the Oswaldo Cruz Foundation in Rio de Janeiro, Brazil, using Basil Bernstein’s framework of pedagogic discourse and recontextualization. Data for analysis was obtained from interviews with the exhibition developers, field observations of museum visitors and analysis of exhibition documents. Using the ideas of power, classification and framework, among others, I analyzed the recontextualization process of the production of expositive discourse. Thus, working with Bernstein’s idea of classification, I explain the relationship between the discourses of the science of biology, history of science, museology, education, and communication in order to produce an expositive discourse. I also make explicit how agents of the Official Recontextualization Field of the Museum and the Pedagogic Recontextualization Field “....of the Museum determine partly the final expositive discourse of an exhibition”. Using the idea of a pedagogic discourse framework, I discuss how the constraints imposed by objects and texts in exhibitions help to create a specific manner of visitor interaction with these elements, “even if they have some autonomy”. Considerations about the audience and the intended process of acquisition are presented, when I discuss the control strategies of the exhibition. I propose that the Biodiscovery Space exhibit has a visible pedagogy. Finally, using the collected data I discuss the power tensions created in the production of expositive discourse showing how distributive, recontextualization and evaluation rules work in the context of exhibitions. The study of the dynamics in forming the expositive discourse using Bernstein’s framework reveals the individuals and institutions, the selection criteria, the negotiations and the power relations involved. It has the potential to assist both educators and researchers in the museum education field, as well as designers to understand the teaching and learning processes that occur during a visit and to establish relevant criteria to evaluate quality to best produce exhibitions in science museums. 相似文献
14.
Clara Cullen 《History of education》2013,42(1):99-113
The Museum of Irish Industry in Dublin, in its short existence (1845–1867) facilitated the access of ordinary people to popular scientific education, became a cause célèbre and was defended by popular protest when the government recommended its abolition in 1862. Its Director, Sir Robert Kane (1809–1890) was not only an advocate of popular industrial education but also had a lifelong commitment to ‘united’ (or non‐denominational) education believing that only this type of education would achieve the ultimate result of tolerance, religious peace and national prosperity in Ireland. From 1854 a Government School of Science was part of the museum’s educational activities and from 1854 to 1867 the professors attached to the museum offered courses of lectures, both ‘popular’ and formal courses, on physics, chemistry, botany, zoology and geology, and in applied science. With its exhibition collections, its laboratories and the range of educational courses organised by its staff the museum was one of the British government’s most innovative experiments in education in Victorian Ireland. Beyond this, Kane’s determination that the courses offered by the museum would be available to all, with no distinction of creed or gender, distinguishes this institution as a pioneer in providing equal access to scientific education to all in the mid‐nineteenth century. This article will explore the role this unique education played in the educational and social life of mid‐Victorian Dublin. 相似文献
15.
In order better to support children’s learning experiences, art museums have begun to establish interactive art exhibitions designed for family visitors. However, as more of these interactive exhibitions are established, some museum professionals are raising concerns about whether these exhibitions actually facilitate young visitors’ learning or impede them from engaging further with the art objects exhibited. Using the Family Room (FR) of the J. Paul Getty Museum in Los Angles as a case study, this research examines the educational principles considered and the challenges encountered when conceptualising and implementing its interactive exhibition. My research shows that the FR project team emphasised three educational principles to be integrated into the exhibition design: (1) interactive learning, (2) family as a learning unit, and (3) enhance the learning of basic artistic elements. The FR’s overarching educational objective is to encourage transfer of learning between the FR to the Getty traditional art galleries. My research concludes with three suggestions to be considered in future practices of art museum education (1) the limits and potentials of interactives, (2) the interactive exhibition design and scaffolding, and (3) transfer of learning between galleries. 相似文献
16.
吴攀钰 《四川职业技术学院学报》2021,(1)
在博物馆教育中,由于家校教育、博物馆安保工作以及展示空间设计等方面的不足,幼童观众与展品之间出现了一些不和谐的情况,幼童观众意外损坏展品的事件屡屡发生。对于博物馆自身而言,应积极采取加强安全防护,增加幼童展示空间设计,推进公众教育等措施,主动出击应对幼童观众可能带来的风险。 相似文献
17.
Terry Parker Sandra Hiett Donna Marley 《The International Journal of Art & Design Education》2006,25(1):86-95
This paper explores and examines a case study based at Ivy Bank Business and Enterprise College, The Imperial War Museum North, and Liverpool John Moores University. This collaboration took place from November 2004 until February 2005 culminating in an exhibition of children's artwork as part of the ‘Moving Minds’ project at the IWM North. This project was built upon a firm foundation of common goals; an investment in educational and curriculum development; learning through an engagement with contemporary art practice; learning within the context of the museum and a belief that working collaboratively can act as an effective antidote to a perceived orthodoxy in art and design education (Steers 2004). Through practitioner enquiry this paper presents three distinct perspectives. The voice of the trainee teacher, the classroom teacher and the university lecturer demonstrate both elements of commonality and difference within the shared experience of this enterprise. 相似文献
18.
美国博物馆学校是馆校合作深入的产物,提高了对博物馆资源的利用效率,降低了社会的教育成本。它与普通学校教育相比有着自己的运行特点和优势,不仅是对学校和博物馆这两种文化机构资源的整合,更是这两种文化机构适应时代发展做出的反应。其对新的教学方式的探究和应用,一直走在当今美国教育改革的前沿。通过对美国明尼苏达州科技馆学校、纽约市博物馆学校和圣地亚哥儿童博物馆小学这三所比较有代表性的博物馆学校个案的解析,归纳总结出美国博物馆学校的运行特点：办学特色突出,充分利用博物馆的资源;结合正式教育和非正式教育的优势,以促进学生发展为目的;课程设置灵活,鼓励教学方式创新;管理架构开放,交流渠道顺畅。 相似文献
19.
博物馆是社会教育的主要场所,博物馆教育具有社会教育、辅助教育和休闲教育的属性,是学校教育的第二课堂.在倡导素质教育的今天,博物馆如何发挥其在中小学生素质教育中的作用,是博物馆人面临的新课题. 相似文献
20.
When Kenneth Burke visited the Museum of Modern Art exhibition “Road to Victory: A Procession of Photographs of the Nation at War” in the summer of 1942, he most likely did not expect to leave with such intense and intensely contradictory impressions. His visit there offers rhetoric scholars an opportunity to examine the exhibition – important for museum rhetoric because of its propagandistic political message and its innovative visual and material design. Considering the exhibition on its own terms, and the way designers managed problems of circulation and implemented new methods of “extended vision” helps us to present Burke’s then-developing theories (placement, the pentad) as themselves decidedly visual – photographic, even – and concomitantly, for that moment at least, as decidedly war-directed. 相似文献