Search results

1

O potrzebie parametryzacji muzeów

100%

Kunecki D. P.

Zbiór Wiadomości do Antropologii Muzealnej

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2019

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issue 6

PL

What should be done to make the role of museums at the service of the public a constant subject of reflection and discussion among stakeholders? Is it possible to link the amount of subsidies to the quality of the tasks carried out by the museums? The author, referring to the currently functioning reporting models and bringing closer the results of research on the model of dissemination of funds (private and public) for culture, draws attention to the benefits that could result from the introduction of museum parameterization. Parameterization is understood as a quality management system that allows an objective and measurable assessment of the quality of museum operations.

2

The Census, Maps, and Museums, or a Way of ‘Translating’ Identity

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Mihály V.-I.

Acta Universitatis Sapientiae, Philologica

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2014

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vol. 6

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issue 1

35-43

EN

The Census, which aims at recording pieces of information about the members of the population of a country, the historical and geographical maps drawn at the orders of the government, as well as national museums, may be more than the mere sum of the collected data to be presented. Based upon Benedict Anderson’s theory, as shown in his book entitled Imagined Communities: Reflections on the Origin and Spread of Nationalism (2006), in my paper I shall try to point at the subtle ways in which official governmental institutions have tried to use the Census, maps and museums in order to shape national identity and influence the image of a nation. Quite often what one can read about the results of the Census, what one can see on a map or encounter in a museum are not objective facts, but items placed there carefully, fulfilling specific purposes. On the one hand, they target the compatriots, on the other hand, the foreigners. Could we say that what we are dealing with here is not only an act of cultural mediation, but also a specific way of ‘translating’ identity? The next couple of pages shall try to analyze the topic and find an answer to the question above by giving examples.

3

The European Night of Museums in Warsaw - a research commentary

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Bojanowska E.

Uniwersyteckie Czasopismo Socjologiczne

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2016

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issue 16

67-71

EN

The team of the Research Laboratory of the Polish Measurement of Attitudes and Values (PPPiW) already for the fourth time measured the participation in the European Night of Museums in Warsaw. The research was conducted during the night of 16th to 17th of May 2015. The sample was N = 1,102 respondents varied in terms of gender, age, education, place of residence and income. 20 museums, located in different districts, were selected for the research, which enabled the spatial stratification of the sample. The research commentary refers to the following issues of communing with culture: the frequency of reaching for the sources of knowledge about it, the frequency of visiting facilities being its vehicle, and readership. At the same time, it needs to be said that participation in culture refers mainly to its passive consumption, namely by means of the cinema and television. Therefore, the source of knowledge about art lies in the image which supersedes the traditional role of text. Participation in culture becomes a characteristic feature of more and more narrow, elite social group. Participation in high culture to a greater and greater extent becomes the measure of social distances. It leads to the deepening of socio-cultural distances between the groups with higher positions and less educated social groups, also between the residents of cities and villages.

4

Two paintings by Rembrandt: “Girl in a picture frame” and “Scholar at his writing table” from the collection of the Royal Castle in Warsaw – history, examination and conservation

100%

Czernichowska J., Dmowska R., Nowicka A.

Opuscula Musealia

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2011

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vol. 19

9-23

EN

In 1994, the Warsaw Royal Castle was honoured with an unequalled artistic and historically valuable art collection in Poland – a donation from the Lanckoroński Family – including two paintings attributed to Rembrandt Harmenszoon van Rijn (1606–1660): Girl in a picture frame and Scholar at his writing table. The most precious of the Polish eighteenth century royal collection pieces were considered lost for about fifty years and that is why Rembrandt’s authorship was put into doubt, mostly as far as the Girl’s portrait is concerned. New research for an up-to-date attribution of both pictures became the main focus for the Warsaw Royal Castle team: between 2004 and 2006 the paintings were examined, treated and reattributed as a result of the cooperation of Polish scientists, conservators and art historians – under guidance of professor Ernst van de Wetering, the head of the Rembrandt Research Project. The two pictures are not typical portraits – they are depictions of unknown persons referred to by the Dutch term tronie. Both models are picturesquely depicted in historical costumes, a frequent Rembrandt feature. Since the 1994 Lanckoroński family donation, Rembrandt’s paintings were on display in the Warsaw Royal Castle, whose museum undertook a project concerning their thorough examination focusing on confirmation of their attribution to Rembrandt. Technical examinations of both paintings were carried out in Cracow and in Warsaw. Experience resulting from the conservation treatment of Rembrandt’s Landscape with the Merciful Samaritan from the Czartoryski Museum in Cracow was helpful to the Warsaw conservation project, as did the support from Martin Bijl, a restorer of Rembrandt’s paintings, a collaborator of the Rembrandt Research Project and former Head of the Conservation Department at the Rijksmuseum. An interpretation of the technical examinations results was consulted with Karin Groen from the Netherlands Institute for Cultural Heritage, another collaborator of the R.R.P. The following types of examinations were carried out: observation in visible (day) light; normal, raking, reflected light and macro photography; IR examination; UV – induced luminescence of paint layers; X-ray examination; identification of wooden panels; stratigraphic analysis and examination of pigments, fillers and binders in samples from the paintings; microscopic and micro chemical analysis; analysis on cross-sections with a LMA 10 laser microspectral analyzer with a ruby laser; microscopic and microchemical analysis realization of scans and spectra images with the SEM-EDS method; examination of paint layer binders with GC-MS and FT-IR as a complementary technique IR absorption spectrophotometry and gas chromatography in connection with gas spectrography.

5

Artefacts on Display: Museum Narrative for the Bulgarian National Revival Period

100%

Velikov I.

Zbiór Wiadomości do Antropologii Muzealnej

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2020

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issue 7

EN

Bulgarian museums, which present the National Revival period, form a whole category of exhibitions, the specifics of which are recognizable to a wide range of audiences. Themessages in these museums are not entirely unknown; on the contrary - there are certain preliminary expectations for them, the answer to which leads to satisfaction from the visit. In the minds of many Bulgarians, visiting these exhibitions, as well as the satisfaction of this act, are "mandatory". The artefacts construct an idea of the dynamics of social development, in which the virtues of the "old" society are complemented by modern European ideas of the era, and innovations in the life of Bulgarians happen only for the better. The presence of the exhibits in the museums of the Bulgarian National Revival is completely subordinated to the general presentation idea. Their main function is to illustrate the specific topic - the photograph visualizes a figure or location, the document testifies to them truth, and the personal belonging evokes adoration. From this point of view, artefacts play a supporting rather than a catalytic role - instead of "items with history", museums show "history complemented by items".

6

The struggle of Fortinbras and Horatio in Romania: removal and re-collection of the communist past in Romanian museum

100%

Iemima D. Ploscariu I. D.

Sprawy Narodowościowe

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2013

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issue 42

37-49

EN

Over twenty years after the dismantling of communist regimes began in Central and Eastern Europe, the governments and people in these former Soviet bloc countries are faced with varying and often opposing ways to approach and present the communist past. Focusing on post-1989 museums in Romania, especially the Sighet Museum in Sighetul Marmaţiei and the Romanian Peasant Museum in Bucharest, the article will examine three themes that appear in museum exhibitions of Romanian communist history: the marginalization of the communist past, the victimization of a nation, and the need by curators to “rescue memory.” These approaches to the communist past leave a great deal out. Limited and biased portraits hinder a healthy coming to terms with the past initially intended by these institutions in Romania and similar institutions across Central and Eastern Europe. However, some attempts have been made to bring in more voices and face the past on its own terms apart from the political motivation or desires for retribution, which often motivate the current interpretation of the past

7

KATARZYNA JAGODZIŃSKA, CZAS MUZEÓW W EUROPIE ŚRODKOWEJ. MUZEA I CENTRA SZTUKI WSPÓŁCZESNEJ (1989–2014), KRAKÓW 2014

100%

Zugaj A.

Muzealnictwo

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2015

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vol. 56

180-182

XX

The value of Katarzyna Jagodzińska’s book is enhanced by the fact that there are still not enough such studies. She guides her readers through the theoretical discourse on museums in an accessible and knowledgeable way. She describes the presentation of contemporary/modern art in the former East-Bloc countries while introducing and describing their most important institutions. The value of this publication is unquestionable. It may be recommended without hesitation to people with various interests: museum professionals and museologists, art historians (in particular those dealing with contemporary art), architects, anyone interested in European art issues, the history and culture of the Visegrád Group as a whole or of each particular country forming it. It is also an excellent read for tourists planning their visits to Hungary, Czech Republic, Slovakia or those travelling in Poland; apart from the commonly-known monuments and museums already described in every guidebook, here one may find those places which are not so well-known but equally interesting.

PL

Książka Katarzyny Jagodzińskiej jest pozycją ważną, między innymi dlatego, że tego typu opracowań bardzo brakuje. W kompetentny i przystępny sposób wprowadza czytelnika w teoretyczny dyskurs o muzeum, na jego tle przedstawia specyfikę prezentowania sztuki współczesnej/nowoczesnej w krajach zrzeszonych niegdyś w Bloku Wschodnim, a jednocześnie prezentuje i opisuje najważniejsze instytucje w tych krajach. Jest to publikacja bardzo użyteczna. Można ją bez wahania polecić odbiorcom o bardzo różnych zainteresowaniach: muzealnikom i muzeologom, historykom sztuki (szczególnie współczesnej), architektom, wszystkim zainteresowanym zagadnieniami sztuki europejskiej, historią i kulturą Grupy Wyszehradzkiej jako całości, jak również poszczególnych państw wchodzących w jej skład. To także świetne uzupełnienie dla turystów wybierających się na Węgry, do Czech, Słowacji, podróżujących po Polsce; oprócz zabytków i muzeów powszechnie znanych i opisywanych w każdym przewodniku, znaleźć tu można te mniej znane, a równie ciekawe.

8

Szczątki ludzkie w azjatyckich muzeach a prawa ludności rdzennej

88%

Pilarz Ł.

Azja-Pacyfik

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2022

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issue XXVI

45-62

EN

The work concerns the restitution of museum remains as a special cultural asset found in archaeological museums. The research problem concerns reverence towards human remains constituting museum exhibits on the example of Singapore museums. This type of museum inventory has become the subject of intensified restitution activities on the part of tribal minorities, indigenous peoples, who claim the right to them based on the right to worship after their deceased ancestors, the right to protect cultural, religious, and traditional heritage. Such law is based particularly on the Declaration on the Rights of Indigenous Peoples. The research objective focuses, first of all, on the legal grounds resulting from the Declaration, and secondly, on the analysis of the inventory of selected Singaporean museums, which contain exhibits that are human remains in their collections. The main research hypothesis focuses on the statement that Singapore, as one of the few Asian countries, maintains a special regime of pietism towards the deceased, which is manifested in the way of treating and storing human remains as museum exhibits. It may be due to the country’s cultural conditions on the one hand, and religious and legal conditions on the other. That, in turn, translates into the approach of museums to restitution claims, which are increasingly being put forward by representatives of indigenous peoples in connection with the return of the remains of their deceased ancestors. These claims find their legal basis in acts of international law and collective human rights. Therefore, the work answers the questions whether museums in Singapore duly respect international law in protecting human remains and the rights of indigenous peoples, and how this translates into reverence for this type of exhibits in museum practices in connection with ICOM regulations.

9

The struggle of Fortinbras and Horatio in Romania: removal and re-collection of the communist past in Romanian museums

88%

Ploscariu I. D.

Sprawy Narodowościowe

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2013

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issue 42

EN

The struggle of Fortinbras and Horatio in Romania: removal and re-collection of the communist past in Romanian museumsOver twenty years after the dismantling of communist regimes began in Central and Eastern Europe, the governments and people in these former Soviet bloc countries are faced with varying and often opposing ways to approach and present the communist past. Focusing on post-1989 museums in Romania, especially the Sighet Museum in Sighetul Marmaţiei and the Romanian Peasant Museum in Bucharest, the article will examine three themes that appear in museum exhibitions of Romanian communist history: the marginalization of the communist past, the victimization of a nation, and the need by curators to “rescue memory.” these approaches to the communist past leave a great deal out. Limited and biased portraits hinder a healthy coming to terms with the past initially intended by these institutions in Romania and similar institutions across Central and Eastern Europe. However, some attempts have been made to bring in more voices and face the past on its own terms apart from the political motivation or desires for retribution, which often motivate the current interpretation of the past. Walka Fortynbrasa z Horacym w Rumunii: likwidacja i ponowne przypomnienie komunistycznej przeszłości w rumuńskich muzeachPo ponad 20 latach od chwili, gdy zaczęły się rozpadać komunistyczne reżimy w Europie Środkowo-Wschodniej, rządy i społeczeństwa byłych krajów bloku sowieckiego doświadczają odmiennych, często przeciwstawnych podejść do komunistycznej przeszłości i sposobów jej przedstawiania. Skupiając swą uwagę na muzeach w Rumunii po roku 1989, zwłaszcza Miejscu Pamięci Ofiar Komunizmu i Ruchu Oporu w Sighetu Marmaţiei (Syhot Marmaroski) oraz Muzeum Chłopstwa Rumuńskiego w Bukareszcie, autorka niniejszego artykułu analizuje trzy zagadnienia, które przewijają się w muzealnych ekspozycjach poświęconych dziejom Rumunii w czasach komunistycznych; są to: marginalizacja komunistycznej przeszłości, wiktymizacja narodu i potrzeba „ocalenia pamięci” przez kustoszy. Powyższe podejścia do komunistycznej przeszłości ignorują wiele kwestii. Niepełny i tendencyjny obraz opóźnia zatem dojście do ładu z przeszłością na zdroworozsądkowych zasadach, co w myśl początkowych założeń miało w Rumunii nastąpić dzięki muzeom, jak też dzięki podobnym placówkom w całej Europie Środkowo-Wschodniej. Jednakże podejmowane są wciąż nowe próby, aby dopuścić do głosu więcej różnych opinii i stawić czoło przeszłości niezależnie od motywacji politycznych bądź dążenia do zemsty, które często stoją za bieżącymi interpretacjami przeszłości.

10

Two perspectives on the act on museums

88%

Jagielska-Burduk A., Stec P.

Muzealnictwo

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2021

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issue 62

254-257

EN

In the paper the analysis of two newly published commentaries (2021) on the Act on Museums is conducted: the first commentary by A. Barbasiewicz, a lawyer specializing in cultural heritage, and the other by a team of scholars: Z. Cieślik, I. Gredka-Ligarska, P. Gwoździewicz- -Matan, I. Lipowicz, A. Matan, K. Zeidler specializing in administrative proceedings and legal protection of historic monuments. Both publications represent various perspectives on the same issue, thus complementing one another. The difference in the approach makes them both useful to experienced practitioners on the one hand and those who happen to confront these topics for the first time one the other. Importantly, both have been written in a clear language comprehensible to non-lawyers. Their high-rating cannot be diminished by the few critical remarks formulated in the paper.

11

CURRENT STATE OF MILITARY MUSEOLOGY IN SLOVAKIA

88%

Šteiner P.

Muzealnictwo

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2020

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vol. 61

66-74

EN

The area of the Slovak Republic has served over history as a ‘melting pot’ of civilizations and migrations. Thus during numerous conflicts and wars it turned into a stage of military operations. It is remarkable that a relatively small surface of the country gave so much space to numerous armies. Those campaigns have left many traces, represented by battlefields, monuments and also movable items, militaria. However, since Slovakia is a relatively young republic, several problems are present with respect to building military museology on the national level. In the past, Slovakia’s military museology was presented mostly in museums in other countries. The fall of the Communist regime enabled to transform the existing military museums into serious institution to present and research into the national military history. Currently, the process of the development of military museology in our country can neither be considered as completed nor as satisfactory.

12

Remembrance and education about the Holocaust and Gulag crimes at selected museums and memorial sites in the context of learning from the past and human rights education

75%

Ambrosewicz-Jacobs J.

Studia nad Autorytaryzmem i Totalitaryzmem

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2018

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vol. 40

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issue 3

65-86

EN

Different historical narratives and collective memories linked to the constructions of national identity still divide Western and Central-Eastern Europe. The framework of Human Rights Education addressing universality and interdependence of Human Rights may have a potential to overcome divisions connected with national approaches to history. They may connect young people to “negative” memory and shameful, hidden, distorted historical narratives of the past of their own countries. The attitude of European societies towards the Holocaust is one of the themes still not included in many curricula. The history of the Holocaust and Soviet crimes in many countries still waits for contextual approaches. Museums and memorial sites in this context are carriers of memory of wars, genocides, slavery, totalitarian regimes, crimes against humanity, mass atrocities and memories of their victims. They are also signifi cant agents of historical socialisation. History education at memorial sites is a form of historical education based not on teaching about but rather on learning through the past. The text deals with empirical studies focused on education at museums and memorial sites and will explore issues related to education about the Holocaust and Gulag in selected case studies.

13

The Holocaust in Polish and American culture. Deliberations, politics and watershed moments.

75%

Krawiec A.

Res Gestae. Czasopismo Historyczne

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2023

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vol. 16

132-148

PL

Artykuł porusza zagadnienia związane z edukacją o Holokauście w dwóch emblematycznych miejscach - w Państwowym Muzeum Auschwitz-Barkanu (PMA-B) i Narodowym Muzeum Holokaustu w Waszyngtonie (The United States Holocaust Memorial Museum - USHMM). Niniejsza praca pokazuje polską i amerykańską perspektywę edukacji o Holokauście w ramach tych muzeów, bowiem ośrodki te są zinstytucjonalizowane - są odpowiednio państwową i federalną instytucją. Ich sposobu edukacji nie da się zrozumieć jednak bez kontekstu historycznego, kulturowego i politycznego. W Auschwitz zapisana jest bowiem historia byłego obozu koncentracyjnego i zagłady, a sama instytucja związana jest z też z historią kolejnego totalitaryzmu. W USA, Narodowe Muzeum Holokaustu wiąże się z latami deliberacji o tym, dlaczego państwo to powinno upamiętnić w ofiary żydowskie i dlaczego pomnik pamięci powinien stanąć w National Mall w Waszyngtonie, miejscu związanym z amerykańską demokracją. Szerokie spojrzenie na temat, zarysowany w artykule, nie tylko pozwala na uświadomienie sobie czym są te ośrodki i jak edukują, ale jednocześnie pozwala zrozumieć ich perspektywę, która wyklucza szereg krytyk, które powzięłyby za cel unieważnienie ich dyskursu, jednocześnie gloryfikuje krytykę w oparciu o fakty historyczne.

EN

This article addresses issues related to Holocaust education in two emblematic sites: the Auschwitz-Birkenau State Museum (A-BSM) and the United States Holocaust Memorial Museum (USHMM) in Washington, DC. Every year, these institutions are visited by millions of people, which contributes to their enormous impact on the memories of future generations. Their method of education, however, cannot be understood outside its historical, cultural and political context. Auschwitz contains the history of a former concentration and extermination camp, and the institution itself is also linked to the history of another totalitarian regime. In the United States, the National Holocaust Museum underwent years of deliberation over why the country should nationally commemorate Jewish victims, and why a memorial should stand on the National Mall in Washington, a place associated with American democracy. A broad view of the subject, as outlined in the article, not only allows for an awareness of what these centres are and how they educate, but it allows for an understanding of their perspective, excluding numerous criticisms that would seek to invalidate their discourse, while favouring criticism based on historical facts.

14

Nasza niepamięć. Losy zbiorów polskich w latach 1914–1920

75%

Łaskarzewska H.

Roczniki Biblioteczne

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2014

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vol. 58

49 - 86

EN

The article is devoted to the fate of Polish collections, including book collections, during the wars that swept through Poland’s territory in 1914–1920: events on the eastern front of WWI, civil war after the Bolshevik revolution in Russia, Polish-Ukrainian conflict of 1918–1919 and Polish-Bolshevik war, the apogee of which came in 1920. Polish collections suffered heavy losses as a result of evacuation of a huge number of historical items to Russia, as a result of warfare, pillaging and deliberate destruction. The collections that were most affected were private collections in the eastern part of pre-partition Poland and in the territories incorporated into the Russian Empire. Safe-guarding of historical heritage was undertaken by Polish societies for the protection of historical heritage, established in the Kingdom of Poland and in Russia. They compiled the first inventories of lost and damaged cultural goods as well as those taken to Russia. Documentary work was under-taken by individual scholars as well; in addition, the first publications dealing with the matter began to appear at the time. The work was continued with a view to future restitution of the goods to Poland, which regained independence in 1918.

15

Museums in cultural tourism in Poland

75%

Krakowiak B.

Turyzm

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2013

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vol. 23

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issue 2

23-32

EN

The article presents the museums, their potential and their significance for cultural tourism in Poland. Its aims are achieved through a presentation of registered national museums, ‘monuments of history’, museum buildings and the cultural activities undertaken by these institutions.

16

BADANIA PROWENIENCYJNE W EUROPIE I STANACH ZJEDNOCZONYCH

75%

Romanowska-Zadrożna M.

Muzealnictwo

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2015

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vol. 56

230-243

EN

The term „provenance” which describes the history of the ownership of works of art, etymologically originated from Latin, and in Polish meant „origin” or „income”. When it comes to art objects, both terms have a certain correlation – the better-documented the origin, the higher the value of the object, which influences its market price and academic significance. The deliberate falsification of provenance was the result of the desire to make a profit, interest potential buyers in the subject for sale, raise prices or disguise the true fate of the object. Misreading ownership titles led to its unconscious falsification. Provenance studies gained great importance in cases related to war confiscations, plunder, thefts and interiors, as a result of which works were deprived of their origin. Painstaking research is often required in order to restore their history to them. Partially unresolved cases as a consequence of World War II of cultural goods returned in the 1990s under pressure from the Jewish lobby. During conferences in Washington (1998), Vilnius (2000) and Prague (2009), declarations urging museums to review their collections for exhibits of unknown origin or which had gaps in their histories between 1933-1945 were adopted. In 2000, the American Association of Museums [now the American Alliance of Museums - translator’s note] published a handbook of provenance studies, and since 2003 the website The NaziEra Provenance enables American museums to publish the results of such studies. Centres for registering, analysing and seeking war losses and carrying out provenance studies have been founded in Europe, including in Poland. The complicated fate of Polish collections during and after World War II impinge on the scope and need of such studies. Objects transported from German repositories which remained unidentified lost their provenance. Works lent to decorate governmental offices and relocated without the consent of the proprietor were also covered. Recently published catalogues of museum and private collections are examples of reliable provenance studies.

PL

Słowo „proweniencja” określające dzieje własności dzieł artystycznych, etymologicznie wywodziło się z łaciny i przyswojone w języku polskim oznaczało „pochodzenie” lub „dochód”. W kontekście dzieła sztuki oba te znaczenia wykazują swoistą korelację – im lepiej udokumentowane pochodzenie, tym większa wartość dzieła, wpływająca na jego cenę rynkową i znaczenie naukowe. Celowe fałszowanie proweniencji wypływało z chęci zysku, zainteresowania potencjalnego nabywcy przedmiotem sprzedaży, podbicia ceny, lub ukrycia prawdziwych losów dzieła. Błędne odczytanie znaków własnościowych zafałszowywało ją nieświadomie. Badania proweniencyjne zyskały ogromne znaczenie w przypadkach dotyczących wojennych konfiskat, grabieży, kradzieży i przemieszczeń, w wyniku których dzieła zatraciły swoje pochodzenie. Potrzeba często żmudnych badań, by przywrócić im ich historię. Nierozwiązane w pełni sprawy likwidacji skutków II wojny światowej w zakresie dóbr kulturalnych powróciły w latach 90. XX w., pod wpływem nacisków lobby żydowskiego. Podczas konferencji w Waszyngtonie (1998), Wilnie (2000) i Pradze (2009) uchwalono deklaracje wzywające muzea do przejrzenia zbiorów pod kątem muzealiów o niejasnym pochodzeniu lub mające lukę w swojej historii w latach 1933–1945. W 2000 r. Stowarzyszenie Muzeów Amerykańskich wydało podręcznik badań proweniencyjnych, a od 2003 r. na portalu internetowym The Nazi-Era Provenance muzea amerykańskie mogły zamieszczać wyniki tych badań. W Europie, w tym także w Polsce, powstały ośrodki rejestrujące, opracowujące i poszukujące straty wojenne oraz prowadzące w tym kontekście badania proweniencyjne. Skomplikowane losy polskich zbiorów w czasie II wojny światowej i po niej rzutują na zakres i potrzebę takich badań. Przywożone z niemieckich składnic rewindykowane przedmioty, nierozpoznane, zatracały swoją proweniencję. Dotykało to również dzieł wypożyczanych do dekoracji urzędów i przemieszczanych bez zgody właściciela. Przykładami rzetelnych badań proweniencyjnych są ostatnio wydawane katalogi zbiorów muzealnych i kolekcji prywatnych.

17

Innovativeness of the museum offer in the cultural education of children and youth: The example of selected museum facilities in Krakow

75%

Alejziak B.

Zeszyty Naukowe Małopolskiej Wyższej Szkoły Ekonomicznej w Tarnowie

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2011

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issue 2(19)

11-20

EN

The museum in the modern world meets many needs of the youth, such as the need of aesthetic experience, deepening knowledge, need of pleasant and quality spending of free time. For this reason, the objective of this paper was analysing the educational offer in the context of its attractiveness and innovativeness, proposed by several selected museum facilities in Krakow. The largest facility was selected for the analysis, that is the National Museum and the units that have specialised exhibition, like for example the Historical Museum, the Natural History Museum, the Salt Mine Museum in Wieliczka, and the "Manggha" Museum of Japanese Art and Technology. From the point of view of tourism and young visitors, the highest significance comes from making the collections available, as well as from their professional explanations and offering interesting educational enterprises based on own collections. To enable museum facilities to change their image from the so-called sanctuaries of culture to modern facilities, attractive for a young tourist, changes in the way their collections are presented are necessary. Using computer technology and knowledge is most important here, which means offering the multimedia aspects of the museum exhibition, making the collections available online, offering museum meetings on the principle of active participation strategy, offering high degree of interactivity and the "hands-on" experience. The museums in question fully meet the above criteria and may be regarded as modern museum facilities which present their collections at a high European level. The characteristic feature of museum tourism is a high share of single-day trips in the specialised offer. The activities of the museums suffer from poor promotion and advertising of their educational products and the resulting local reach and limited knowledge of the offer by tourists coming from outside of the region.

PL

We współczesnym świecie muzeum spełnia wiele potrzeb młodzieży, takich jak: potrzeba doznań estetycznych, pogłębiania wiedzy, potrzeba przyjemnego i wartościowego spędzania wolnego czasu. Z tego względu celem niniejszego artykułu było przeanalizowanie oferty edukacyjnej w kontekście jej atrakcyjności i innowacyjności, proponowanej przez kilka wybranych placówek muzealnych w Krakowie. Do analizy wybrano największą jednostkę, jaką jest Muzeum Narodowe, oraz jednostki posiadające specjalistyczną ekspozycję, do których zaliczyć można Muzeum Historyczne, Muzeum Przyrodnicze, Kopalnię Soli "Wieliczka" Trasa Turystyczna, Muzeum Sztuki i Techniki Japońskiej "Manggha". Z punktu widzenia turystyki oraz młodych zwiedzających największe znaczenie ma atrakcyjne udostępnianie zbiorów, ich fachowe objaśnienie oraz oferowanie ciekawych przedsięwzięć edukacyjnych w oparciu o własną kolekcję. Aby obiekty muzealne zmieniały swój wizerunek z tak zwanych sanktuariów kultury na obiekty nowoczesne i atrakcyjne dla młodego turysty, konieczne jest wprowadzanie zmian w sposobie prezentacji ekspozycji. Najważniejsze znaczenie ma tutaj wykorzystanie technik komputerowych oraz wiedzy informatycznej, czyli proponowanie multimedialnego charakteru ekspozycji muzealnej, udostępnianie zbiorów w sieci, proponowanie spotkań muzealnych na zasadzie strategii aktywnego uczestnictwa, proponowanie wysokiego stopnia interaktywności oraz zasady "hands-on". Analizowane muzea w pełni spełniają powyższe kryteria i można je uznać za nowoczesne placówki muzealne, prezentujące swoją ekspozycję na wysokim poziomie europejskim. Charakterystyczną cechą turystyki muzealnej jest duży udział w ofercie tematycznych wycieczek jednodniowych. Dużym mankamentem działalności muzeów jest słaba promocja i reklama posiadanych produktów edukacyjnych i wynikający z tego ich lokalny zasięg oraz mała znajomość posiadanej oferty przez turystów spoza regionu.

18

Dinosaurs, Racial Anxiety, and Curatorial Intervention: Whiteness and Performative Historiography in the Museum

75%

Magelssen S.

Pamiętnik Teatralny

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2021

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issue 4(279)

101-120

EN

This essay argues that the staged encounters between museum visitors and dioramic display of dinosaur fossils in natural history and science museum spaces have been designed to capitalize on and performatively reify white anxiety about the exotic other using the same practices reserved for representing other historic threats to white safety and purity, such as primitive “savages” indigenous to the American West, sub-Saharan Africa, the Amazon, and other untamed wildernesses through survival-of-the-fittest tropes persisting over the last century. Dinosaur others in popular culture have served as surrogates for white fears and anxieties about the racial other. The author examines early dioramic displays of dinosaurs at New York’s American Museum of Natural History and conjectural paintings by artists like Charles R. Knight to argue that the historiographic manipulation of time, space, and matter, enabled and legitimized by a centering of the white subject as protagonist, has defined how we understand dinosaurs and has structured our relationship with them as (pre)historical objects. Exposing the ways in which racist tropes like white precarity have informed historiographical practices in dinosaur exhibits offers a tool for interrogating how racist ideologies have permeated the formations of modernity that inform our modes of inquiry.

19

(R)evolution of museum education during the COVID-19 pandemic

75%

Górajec P., Pasternak-Zabielska M.

Muzealnictwo

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2021

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issue 62

267-272

EN

In the paper the results of research titled Cultural Institutions during COVID-19. Museum Strategies for Reaching the Public are presented. It was conducted by the Forum of Museum Educators as commissioned by the National Institute for Museums and Public Collections (NIMOZ). The main purpose was to show the impact of the pandemic on the operations of museums after 12 March 2020 when the decision was made in Poland to close the culture sector to the public; the aim was also to diagnose and analyse problems that the pandemic caused, and to point to the directions of impact on cultural institutions possible in the future, namely after restoring ‘normality’. The perspective adopted in the research, i.e., institutional and individual one, enables a multifaceted analysis of the processes initiated by museums in response to unclear and often complicated mechanisms of the new pandemic reality, which still today, some dozen months since its outbreak, continues for museums the source of challenges as far as logistics and financing issues are concerned.

20

W oczekiwaniu na Niepodległą – działalność kolekcjonerska Heleny Dąbczańskiej

75%

Gruchała I.

Z Badań nad Książką i Księgozbiorami Historycznymi

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2019

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vol. Tom specjalny: Dla Niepodległej / Special Issue: For an Independent Poland

207-233

EN

During the period following the Partitions of Poland, the partitioning powers took control of cultural institutions, using them to deprive Poles of their national identity. Therefore, an unofficial cultural life had to be organized by the Polish people themselves. The current paper presents the activities of Helena Dąbczańska (1863-1956), a well-known book collector from Lwów, who established a museum in her house. The museum held a large library, a collection of paintings, china, furniture and other works of art. Dąbczańska’s example shows how an energetic and committed individual could make an immense contribution to Polish culture during this period. The sources referred to in the article are H. Dąbczańska’s memoirs, the materials she bequeathed to the National Ossoliński Institute in Wrocław, the existing literature about the collector’s life and legacy, and the results of preliminary research conducted in several museums. During her lifetime, the collector transferred her collections to various museums. The largest portion of her legacy went to the National Museum in Kraków, the Industrial Museum in Kraków and the National Museum named after King John III in Lwów. Smaller bequests went to the Wielkopolska Museum in Poznań, the Podole Museum in Tarnopol and the Ethnographic Museum in Kraków. Today, artefacts from Dąbczańska’s collections are still on display in museums and libraries.

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O potrzebie parametryzacji muzeów

The Census, Maps, and Museums, or a Way of ‘Translating’ Identity

The European Night of Museums in Warsaw - a research commentary

Two paintings by Rembrandt: “Girl in a picture frame” and “Scholar at his writing table” from the collection of the Royal Castle in Warsaw – history, examination and conservation

Artefacts on Display: Museum Narrative for the Bulgarian National Revival Period

The struggle of Fortinbras and Horatio in Romania: removal and re-collection of the communist past in Romanian museum

KATARZYNA JAGODZIŃSKA, CZAS MUZEÓW W EUROPIE ŚRODKOWEJ. MUZEA I CENTRA SZTUKI WSPÓŁCZESNEJ (1989–2014), KRAKÓW 2014

Szczątki ludzkie w azjatyckich muzeach a prawa ludności rdzennej

The struggle of Fortinbras and Horatio in Romania: removal and re-collection of the communist past in Romanian museums

Two perspectives on the act on museums

CURRENT STATE OF MILITARY MUSEOLOGY IN SLOVAKIA

Remembrance and education about the Holocaust and Gulag crimes at selected museums and memorial sites in the context of learning from the past and human rights education

The Holocaust in Polish and American culture. Deliberations, politics and watershed moments.

Nasza niepamięć. Losy zbiorów polskich w latach 1914–1920

Museums in cultural tourism in Poland

BADANIA PROWENIENCYJNE W EUROPIE I STANACH ZJEDNOCZONYCH

Innovativeness of the museum offer in the cultural education of children and youth: The example of selected museum facilities in Krakow

Dinosaurs, Racial Anxiety, and Curatorial Intervention: Whiteness and Performative Historiography in the Museum

(R)evolution of museum education during the COVID-19 pandemic

W oczekiwaniu na Niepodległą – działalność kolekcjonerska Heleny Dąbczańskiej