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MUSEOLOGY, MUSEOGRAPHY, MUSEUM STUDIES (Muzeologia, Muzeografia, Muzealnictwo)

100%
Folga-Januszewska D.
Muzealnictwo
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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.
2

LITERARY HERITAGE IN MUSEUM EXHIBITIONS: IDENTIFYING ITS MAIN CHALLENGES IN THE EUROPEAN CONTEXT

75%
Strepetova M., Arcos-Pumarola J.
Muzeológia a kultúrne dedičstvo
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2020
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vol. 8
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issue 3
95 – 109
EN
Literary heritage presents a dialectic relationship between tangible and intangible elements. This complex duality presents challenges for curators, who must try to communicate this immaterial essence through the exhibition language. This article, structured on a two-phase research process, aims to identify the main challenges for literary heritage valorisation and communication in the museum context. First, interviews with specialists in literary heritage and museology from Catalonia and Russia were carried out to identify the main issues to be considered when designing a literary heritage exhibition and managing a literary heritage centre. Second, the websites of three renowned literary European museums were analysed to inspect whether and how these aspects are tackled by these museums and presented to their potential visitors. Results show that, firstly, the duality of literary heritage is vital in the designing of the exhibition; and secondly, that concepts such as human mediation, literary tourism, and promotion are important in finding new strategies to communicate and visibilise literary heritage intangible meanings.
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