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1

BEGINNINGS OF MUSEOLOGY

100%
Popadić M.
Muzeológia a kultúrne dedičstvo
|
2020
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vol. 8
|
issue 2
5 – 16
EN
In this paper, we deal with the beginnings of museology, trying to find the common origin of its many contemporary offspring. Rather than define museology, we aim to discuss the idea of museology. We assume that beneath the diverse manifestations of museology one can see today, there is a common root and we call this root the idea of museology. Based on examples tracing the history of other scientific disciplines, in this paper we track two developmental stages in the field of museology: the development from an idea to professional knowledge, and the development from professional knowledge to academic discipline. By these means, we aim to establish some of the crossing points in the progress of museology as a science.
2
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MUSEOLOGY, MUSEOGRAPHY, MUSEUM STUDIES (Muzeologia, Muzeografia, Muzealnictwo)

100%
Folga-Januszewska D.
Muzealnictwo
|
2006
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issue 47
9-14
EN
An international conference organised in Madrid 1934 by l'Office international des Musees (a predecessor of ICOM) became known as the first museological event. From that time on, the concept of 'museology' became a permanent part of the vocabulary of the European humanities, and denotes a science dealing with the construction (architecture) and administration of museums. Its complete, and still topical, definition was proposed in 1981 by Georges Henri Riviere (1897-1985): Museology is an applied science about the museum. Its domain encompasses reflections on the role of the museum in society, research and conservation, manners of presentation, animation and dissemination of architecture raised for museum purposes and 'museum-like' architecture (adapted for the purpose of museums), investigations of the sites and obtained objects, selections, as well as typlogy and deontology. Museography is, according to Riviere, a set of technical and practical principles implemented in museums. Moreover, he also distinguished settings, a range of creative activity taking into consideration the formal and material outfitting of exhibitions. Riviere, and subsequently many other theoreticians-museologists, drew attention to a fundamental difference between museology conceived as a science making use of many active domains (philosophy, aesthetics, sociology, psychology, management, theories of financial law, and the historical, natural sciences and exact sciences) and the history of museums perceived as one of the specialisations of history. The term 'museum studies' has been used in Poland since the 1940s (and was applied already by Stanislaw Lorentz). In time, the range of its meaning has become very wide, and now includes all the questions associated with the functioning of museums and their history, as well as assorted philosophical and sociological reflections. The extent to which it had been adopted by the Polish language is evidenced by the fact that the title 'Muzealnictwo' has been granted to the only Polish annual about museum studies, for which this article has been written. The term in question, therefore, embraces both museology, museography and the history of museums, a fact which makes it even more difficult to formulate a more precise definition. At the beginning of the twenty first century, museology is becoming one of the most dynamically developing sciences; on the one hand, this is the outcome of the pan-museum cultural and social policy which regards the museum as one of the most relevant instruments for shaping non-formalised education. On the other hand, museology is becoming the domain of artists who apply its experiences and theories for building their own projects, frequently based on the 'religion of the object', practised in museums.
3

KRITIKA KRITICKÉ MUZEOLOGIE

100%
Dolák J.
Muzeológia a kultúrne dedičstvo
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2016
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vol. 4
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issue 2
21 - 33
EN
Recently, museological scholarly literature has seen a lot of critiques of current museum practice and even attempts at a coherent theory of critical museology or critical heritage studies. While these approaches undoubtedly make a positive contribution to the debate on the current state of museology, they nevertheless display a number of shortcomings which must be evaluated from methodological and philosophical standpoints.
4

FORMOVÁNÍ A VÝVOJ TECHNICKÉ MUZEOLOGIE V ČESKÝCH ZEMÍCH V LETECH 1948–1989. ČÁST I. – DOBOVÉ KONCEPCE, ANGAŽMÁ V OBLASTI HISTORICKÉ MUZEOLOGIE, VÝZKUMY PUBLIKA

75%
Kirsch O.
Muzeológia a kultúrne dedičstvo
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2017
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vol. 5
|
issue 1
123 – 135
EN
This paper discusses the phenomena, activities and events related to technical museology in the Czech parts of the Communist Czechoslovakia between 1948 and 1989 which influenced the contemporary understanding of museums as a phenomenon or reflected the fundamental nature thereof. Using a focused sample approach, we analyse the period ideas on the nature and mission of technical museology, the participation of its representatives in the research on the history of collecting and museum studies and audience research.
5

LEOPOLIS COLLECTION, MUSEUM OF INDEPENDENCE – WELLSPRING OF KNOWLEDGE, STATE OF RESEARCH AND RECOMMENDATIONS

75%
Załęczny J.
Muzeológia a kultúrne dedičstvo
|
2021
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vol. 9
|
issue 3
113 – 131
EN
The Leopolis Collection (at the Museum of Independence) constitutes a valuable source of knowledge on the past of Lviv and its surroundings as well as the fate of the Polish people living there. Created in 1992 as a result of the efforts of borderland circles, its contribution is used for research by museum specialists, professional historians and researchers of the borderlands past. The artefacts, archival materials and publications collected there are made use of for preparing exhibitions, scholarly articles and monographs. These valuable collections in relation to exhibitions are still awaiting a systematic study. Research undertaken so far has borne fruit in the form of valuable monographs and studies, but there are many valuable materials still waiting to be unearthed. For the purposes of accessing the museum materials the creation of a Leopolis Collection catalogue is necessary so that its contents can be more broadly made use of – both in historical research and that pertaining to museum-based studies.
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